Country: UK

THREE PORTRAIT SKETCHES

‘I like the idea of making a film equivalent of portrait painting. I did 3Ps of 3 of my friends in Rome [Three Portrait Sketches], and the next year, home in Orkney, I made a portrait of my mother [A Portrait of Ga] […] I was trying for a sort of formality – a juxtaposition of images related to colour, composition, movement.’ – M.T.

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A PORTRAIT OF GA

An intimate portrait of Tait’s mother, the film was made in Orkney shortly after Tait returned from Rome. Like the other film portraits Tait would go on to make, the film’s focus is on capturing the more elusive qualities of its subject. The camera lingers on fragmentary details: her mother’s hands waving in time to the music, fingers unwrapping a boiled sweet, the sun-lit creases of her eyes as she smiles to the camera. In this way, Tait’s camera mimics the close-up gaze of a child and establishes the intimate style of filmmaking that would eventually characterise the body of her work.

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WHERE I AM IS HERE

“The kind of precision which holds Where I Am Is Here together doesn’t depend on words: about half a dozen recurring themes – a stone thrown in the water, a car door shutting, traffic, buildings seen from passing buses, and so on – act upon each other, and are then accompanied by Hector MacAndrew’s music for my poem ‘Hilltop Pibroch.’” – M.T.

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AERIAL

A short, lyrical film invoking all things elemental. A perfect distillation of Tait’s idea of the film poem as it evolved over time. It is one of her shortest films at just over four minutes long and features no spoken words at all.

“The intention in Aerial is condensation, so that the emotional effect is direct, as in poetry.” – M.T.

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COLOUR POEMS

“Nine linked short films. Memory, chance observation, and the subsuming of one in the other. The titles within the film are: Numen of the Boughs, Old Boots, Speed Bonny Boat, Lapping Water, Incense, Aha, Brave New World, Things, Terra Firma. A poem started in words is continued by the picture, part of another poem is read for the last of the nine. Some images are formed by direct-on-film animation, others are found by the camera.” – M.T

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TAILPIECE

“The film was conceived as a coda to a longer (colour) film, Place of Work, made in the same year. It covers the time of finally emptying a long-time family home, with its personal memories and connection with some of my own work. Fragments of verse, along with young children’s voices released into the emptying rooms and staircases, and an ersatz pop music track, clarify the familiar and the alien in the situation.” – M.T

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SKIP DAY

Intimate glimpses of one very special day in the lives of high school seniors from an industrial corner of the Florida Everglades: prom is over, the future is uncertain, and the irresistible pull of the beach makes the long-time friends drive 60 miles to chill, pose, and revel in the waves.

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ROBOT & SCARECROW

A uniquely modern fairytale about love at a summer music festival. When a robot pop princess flees her keeper she runs straight into the arms of a lonely scarecrow desperate for adventure. They spend an incredible night together, caught in a heady vortex of music and magic.

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CIRCLE

A haunting portrait of a rape survivor, caught in the devious ploys of her family. Through the poignant and personal story of 13-year-old Khushbu, the film explores her gang-rape and the emotional abuse at the hands of her grandmother. Where does the circle begin? And can there be any way out?

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WHAT’S THE DAMAGE

A proposition and provocation, answering back to ongoing crises under white patriarchy, relaying and augmenting feelings and gestures of chronic unease, protest, and dissent.

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I SIGNED THE PETITION

Immediately after a Palestinian man signs an online petition, he is thrown into a panic-inducing spiral of self-doubt. Over the course of a conversation with an understanding friend, he analyses, deconstructs, and interprets the meaning of his choice to publicly support the cultural boycott of Israel.

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BRICKS DON’T MOVE IN THE WIND

Annabelle’s life is quite perfect. Annabelle just never had a boyfriend. Annabelle thinks she deserves to have someone she could do romantic things with. But Bryce picking her up with his vintage Volkswagen was probably the most romantic moment in Annabelle’s life. Annabelle met Bryce on Instagram.

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SONG FOR EUROPE

Inspired by a message for motorists on Eurotunnel trains, this film is an underwater celebration of Britain’s connection to mainland Europe.

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BRICKS DON’T MOVE IN THE WIND

Annabelle’s life is quite perfect. Annabelle just never had a boyfriend. Annabelle thinks she deserves to have someone she could do romantic things with. But Bryce picking her up with his vintage Volkswagen was probably the most romantic moment in Annabelle’s life. Annabelle met Bryce on Instagram.

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TAKING STOCK

Using his failed attempts at creating profitable stock footage, a filmmaker reflects on the absurd, mundane, and funny side of being trapped inside your own head as an out of work, self-employed freelancer

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