Roseanna Anderson

After getting stung by a nettle plant, a young boy discovers a monster buried in the woods.

In a sleepy coastal town, an artist suffering from debilitating impostor syndrome struggles to deal with repressed memories that creep to the surface when haunted by a sinister, mermaid-like presence.

The film begins with Satan and Ballet Master Death discussing how to reintroduce chaos into a complacent society. Satan instructs Ballet Master Death to assemble an orchestra of human passions (Fear, Panic, Suspicion, Hatred, Heroism, Murder etc.) to provide the music for a corps de ballet of Nations to perform the dance macabre of war. What follows is an often-humorous assembly of the orchestra, filmed in the atmospheric cavernous tunnels beneath Bristol Temple Meads. Following this assembly, we see the core Nations perform their dance, joined by a larger cohort of Nations for the final act, Revenge. The film is interspersed with danced sections performed by a Chorus, evocative of the choric elements of classical Greek tragedy.

A figure moves through an abandoned house, whilst a distant voice reflects on what it means to age and to age queer. A meditative ode to growing older, gay gods and finding joy along the way.

The film begins with Satan and Ballet Master Death discussing how to reintroduce chaos into a complacent society. Satan instructs Ballet Master Death to assemble an orchestra of human passions (Fear, Panic, Suspicion, Hatred, Heroism, Murder etc.) to provide the music for a corps de ballet of Nations to perform the dance macabre of war. What follows is an often-humorous assembly of the orchestra, filmed in the atmospheric cavernous tunnels beneath Bristol Temple Meads. Following this assembly, we see the core Nations perform their dance, joined by a larger cohort of Nations for the final act, Revenge. The film is interspersed with danced sections performed by a Chorus, evocative of the choric elements of classical Greek tragedy.