Orla Smith

In an effort to continue using filmmaking as exposure therapy (after conquering her fear of the Tube in Tube Film), filmmaker Orla Smith tackles an even bigger fear: planes. On a trip to Porto, the camera is wielded as a shield against panic attacks. But this time, things don’t go exactly to plan.

A young woman rediscovers a letter from an old friend, forcing her to reconcile with the past.

A short film about communication in the time of social isolation.

Orla goes on the tube.

In an effort to continue using filmmaking as exposure therapy (after conquering her fear of the Tube in Tube Film), filmmaker Orla Smith tackles an even bigger fear: planes. On a trip to Porto, the camera is wielded as a shield against panic attacks. But this time, things don’t go exactly to plan.

In an effort to continue using filmmaking as exposure therapy (after conquering her fear of the Tube in Tube Film), filmmaker Orla Smith tackles an even bigger fear: planes. On a trip to Porto, the camera is wielded as a shield against panic attacks. But this time, things don’t go exactly to plan.

Set in a world where human beings are digitally uploading their consciousness, it is GIRL’s turn to make her decision. Will she decide to join her family and leave her physicality behind, as well as the relics of what it once meant to be human?

A young woman rediscovers a letter from an old friend, forcing her to reconcile with the past.

A young woman rediscovers a letter from an old friend, forcing her to reconcile with the past.

A young woman rediscovers a letter from an old friend, forcing her to reconcile with the past.

A short film about communication in the time of social isolation.

Orla goes on the tube.

Orla goes on the tube.

I went to Edinburgh last summer and, in retrospect, realised it was the happiest I was all year. So I went back to Edinburgh at New Year's and attempted to reconstruct the experience through film.

Burden of Other People’s Dreams is an attempt to cross the experience of reading a book with the experience of watching a film. Created by renowned film editor Joe Bini (Grizzly Man, All the Beauty and the Bloodshed, You Were Never Really Here), the piece explores the psychology of anonymity required in being an editor. Combining words and imagery, physical and digital media, it blurs the lines between fiction and non-fiction to tell a story about how stories are told.

A surreal, abstract memoir of Joe Bini's life as a film editor and storyteller, presented as a live cinema experience for one audience member at a time.