Located in the darkness, a place of no boundaries, Delilah is a “meditation on violence,” love and survival. Interchangeable elements of the warrior, the sorceress and the lover weave a ritual, creating a dialogue of forces that shifts boundaries. This conversation of gesture and sound moves through tension and release, power and abandon. “The outside is within us. You moved like a warrior but I could not hold you.”

In Martina Attille’s own words Dreaming Rivers “illustrates the spirit of modern families touched by the experience of migration.” A Sankofa film production, the film evocatively weaves together the ambition-fuelled dreams and memories of Caribbean-born Miss T. and her family. As an allegory of migration, Dreaming Rivers was inspired by several key moments marking the dynamism and activity of the UK’s Black Arts Movement during the 1980s.

Priya is an extended aerial shot of a twirling Kathak dancer. The footage was buried in various organic materials deteriorating the initial image in an attempt to shift cultural specificity and linear narratives of time and space. Rituals of burial expound successive memories of entombment; the skin of the film becomes the body of the dancer, fracturing time into a darkly evocative, psychological space.

Filmed in Karachi, Lahore, and London, Eating Grass comprises five overlapping narratives, each representing different emotional states experienced throughout the day that are marked by the Muslim tradition of the five daily prayers. The film’s title references a remark made by Pakistan’s Prime Minister. Zulfikar Ali Bhutto in 1974 amid the nuclear arms race with India. He said his people would have their own nuclear weapon even if it meant “eating grass.”