Join us for the resurgence of Film Night at William Morris Gallery, showcasing four films by independent filmmakers who each explore the themes of the natural world as a space for artistic inspiration, spiritual connection, and political and cultural explorations.

Great Sale Wood (2024) – Michaela Davis

A short, animated film crafted through the sustainable process of cyanotype, featuring over 2,800 hand-printed frames. Shot around Highams Park Lake, the film explores themes of ecology and climate crisis. A study of interconnected beauty in nature, the film contains a score featuring digitally manipulated audio recordings of the lake.

2:02 mins

The Land we Seek the Land we Dream (2022) – Fourthland

Fourthland’s film is a deep remembrance of, ‘the first story´, performed through various acts in the landscape and a conversation between a group of cross-cultural and intergenerational hands. This piece is an invitation to feel ourselves as part of nature. The main elements of the piece are filmed on and around Leyton Marshes.

17 mins (including meditative piece)

OCAK (2020) –  Zeynep Kaserci

OCAK offers an intimate portrait of a family harvesting hazelnuts, where questions of labour, gender, family, and love come to the fore. With its observational cinematography and unhurried editing style, it offers glimpses into the daily life in rural north-eastern Turkey and explores peoples’ connection to land and their hazelnut gardens, which have been inherited for generations. In Turkish with English subtitles.

28:20 mins

Effigy for a Black Soldier / Protector of the Children (2022) – Maya Campbell

Effigy for a Black Soldier uses a reworking of the folk song Wayfaring Stranger as a storytelling device to explore memories of the artist’s estranged father, who served in the British Army and had a strong Christian faith. This meditates on the complexities that come with being a black man in service of the British Army, suggesting themes of migration, longing for home and the lingering phantom of the British Empire on the diaspora. The unnamed location suggests borders, emphasised by the dynamic presence of the sea and watery interlude that follows.

Protector of the Children alludes to the Nepali folklore figure of the Lahkey, who is said to be a man-eating demon who protects children and townspeople, dwelling deep in the forests of Nepal. The work draws from the artist’s early encounter with the Lahkey mask, when placed into her grandmother’s care at the age of four, and is an intimate video-performance filmed during the artist’s residency at Space A in Kathmandu, Nepal, exploring walking as a methodology to build connection with ancestral land.

10:32 mins

 Image: Still from ‘Great Sale Wood’ Michaela Davis, 2024