On April 9th 2009, maverick video-maker and self-professed ‘outsider' Arkhip Ippolitov failed in his bid to commit suicide. The investigation that followed revealed a man on the fringes of sanity who had all but erased his identity in favour of living out his life as a fictional character; a character doomed from the outset. Most curious however is that the process of his breakdown was documented and released in the form of the award-winning motion picture ‘Goliadkin'. This documentary, produced in association with The Institute of Film and Video Studies, Copenhagen, attempts to discern fact from myth and make sensible the question: ‘Who is Arkhip Ippolitov?' “It is ironic that he [Ippolitov] chose to appropriate the character of Dostoevsky's Goliadkin as his own, for this is a character driven to desperation by the strange and sudden appearance of his Doppelganger. It is doubly curious when we consider the circumstances of his suicide, his towering resentment toward the success of his movie and the tragic codicil he sought to execute against himself. But what is by far most uncanny is that this movie is a record of his self-destruction and that we, the audience, are capable of taking pleasure in the spectacle.” Tomas Blauveldt Video-Critic and Lecturer, Department of Unscientific Research The Institute of Film and Video Studies, Copenhagen

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Based on the outcome of a five-year project, between 2004 and 2009 where Oliver Braid and two friends attempted to recreate the 1990's teenage witch film The Craft. Set in 2059 an ageing Oliver revisits the out-takes from the film for a 50th Anniversary DVD release, discussing behind the scenes relationships, the tensions of collaborative working and the experience of long term friendships.

The bath House Is a filmed a re-imagination of ‘The Bathhouse', a 1930's Russian Constructivist play written by Vladimir Mayakovsky and directed by Vesevolod Meyerhold, Mayakovsky's "drama in six acts with a circus and fireworks" was a satire on state bureaucracy, featuring a time machine rather than a bathhouse. Meyerhold used the play to display whole gamut of styles of theatre, from naturalism through dance to agitprop. Each served as an attraction in itself, but as a sequence became a stinging challenge to critical / ideological / political complacency. The Bath House video was commissioned by Collective Gallery and produced to mark a closure of the Royal Commonwealth Pool in Edinburgh. The Commonwealth Pool, designed by Edinburgh architects RMJM in the 1960s, is a classic piece of Scottish modernist architecture. Halonen was struck by the similarity of the building's interior, particularly its platforms and diving boards, to the set used for The Bathhouse, staged in 1930. The group mostly affected by the closure, the Edinburgh Diving Club's Junior members perform as actors creating their own demonstration against the closure. Half way through the original Maykovsky's The Bathhouse the actors rebel and take control of the direction, this process is paralleled in this re-imagination.

The shocking truth about the erosion of our fundamental civil liberties by Tony Blair's government. The Right to Protest, the Right to Freedom of Speech. The Right to Privacy. The Right not to be detained without charge, Innocent Until Proven Guilty. Prohibition from Torture. Taking Liberties will reveal how these six central pillars of liberty have been systematically destroyed by New Labour, and the freedoms of the British people stolen from under their noses amidst a climate of fear created by the media and the government itself. Irreverent but revelatory, outrageous but true, the program combines these real stories of the loss of liberty with never-before-seen footage, cheeky stunts and comment from leading politicians, celebrities, human rights organisations, academics and lawyers, which all add up to make Taking Liberties one of the most explosive and controversial films of the decade.

The home of the Palestinian person today, is no longer defined by geographic borders; “Take Me Home” is an observational first person pilgrimage introducing a unique person, Watfa, who carries with her the legacy of a family. A dispersed Palestinian family, who helped establish revolutionary movements, at times when the Arab world's faith in the individual's freedom and autonomy was self-evident. The director questions her personal fears, and desperately clings on to the resonance of intimate moments shared with her grandmother and great aunt; a passing generation whose hope has been continuously challenged by decades of oppression and conflict.

Studio Bankside was Derek Jarman’s first film. It is a diary recording daily activity in the studio where he lived and worked, and in the surrounding streets. He shot his Super8 films without prior plans, but gave weight to the resulting images by radically slowing them down, sometimes to three frames a second, and adding music. 3 Mostra de Vídeo Independent de Barcelona 1996.