Live Action, Premiere
We talk to Eli Powers about using intimate handheld frames, moody guitar licks & layered performances to create an affecting portrait of grief in 'Fish'.
Matthew Wade tells DN why he wanted to embrace the natural disintegration of his images for memorising animated sci-fi trip 'Eyes at the Specter Glass'.
Ben Marshall walks us through the advantages he found of structuring his comedy short's hectic shooting day to allow for the magic of improvisation.
Folkert Verdoorn breaks down the rhythmic editing structure he utilised to convey a popstar's bizarre pre-show ritual process for comedy 'The Performer'.
Art & Fashion, Premiere
Adrián Suárez discusses conveying the interconnectedness of the human body and the Earth we inhabit in beautifully realised experimental short 'Skins'.
Matt Cascella enlightens DN on his free-form approach to directing in ‘Talking Dog’, a documentary ode to the dogs of Maine by their human companions.
Caroline Mackintosh discusses combining fast montage with voiceover to explore the different outcomes life can take in her playful visual poem 'The Doors'.
Argyro Nicolaou and Margaux Fitoussi discuss harnessing the unpredictable energy of photographer Tony Moussoulides in their experimental biopic 'I, Tony'.
Owen Schwartzbard explains his love of camcorder footage and why he blended it with a more polished look for his dark grifter tale 'Hello Ma'am'.
Hannah Brewerton explains how she channelled her frustrations with the 2019 UK general election into art for her RCA graduate animation 'Hit and Run'.
Émile V. Schlesser speaks to DN about the challenges of executing an ambitious water-based set piece for his debut short film 'Supehero'.
Liam Young deconstructs his visual poem 'Pub Kid', an examination of pub culture as seen through the eyes of a young boy raised amongst the locals.
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