Sandra Lahire

Ritualised through performance to camera, Stages of Mourning is Pucill’s journey of bereavement. In as much as this is a meditation on coming to terms with loss, the film is an exploration of how our relationship with the dead is made different through film. The artist orders image fragments of her late lover and collaborator, Sandra Lahire. By trying to physically immerse herself into photographs and film footage or by restaging these, Pucill forms a continuous stream of a life of two lovers. Through this doubling and layering, illusions accumulate as if these were a product of a machine that didn’t stop.

Cast creates a claustrophobic and haunting space where people and things invade worlds in which they do not normally belong. Lifeless dolls are heaped inside drawers, dolled-up life size figures lie motionless on a windy beach at the water’s edge; a chair rocks in an empty room, a mirror reflects and observes, and a chest of drawers is caressed by the sea. The film has a dramatic sensibility that sets up a false promise of narrative. Its structure, instead, is akin to that of dreams where different scenic spaces collapse and the inanimate and animate interchange. Wide-angled perspectives, shifting points of view and juxtapositions of sound and silence force inner and outer realities to collide, creating an unsettling psychic world.

Within this film Lahire deftly combines the fictional aspects of Plath's writing with the stark reality of her life.

Mirrored Measure features two women separated by a generation. The older woman ceremoniously lays a table – she repeatedly spreads a cloth and smoothes it out. The table is set and glasses and jug filled with water. A balanced and controlled ritual follows in which the jug is passed round and water is repeatedly sipped. Water becomes the lens through which we see and the medium through which the protagonists connect. The sense of connectivity is abruptly severed when the first glass tumbles.

"Night Dances is for my mother, who died whilst helping me to make this piano musical. The Dance of Death is bound to life - Lechaim - as we whirl together by Hebrew gravestones. A dreaming woman is ferried through our decaying city. This is the age of the Personal Computer - the Private Catacomb for the switched-on elite. Its dark doorways are for the wandering homeless... true survivors."

Eerie es un beso lésbico vertiginoso en un teleférico de montaña.

Lady Lazarus es una respuesta visual a la lectura de la poesía de Sylvia Plath. Estas lecturas más extractos de una entrevista dada justo antes de su muerte proporcionan un ancla para una película que celebra su humor macabro y visión cinemática. Un carrusel de imágenes en ventanas, una atmósfera de constante metamorfosis; su poesía como cine.

Lady Lazarus es una respuesta visual a la lectura de la poesía de Sylvia Plath. Estas lecturas más extractos de una entrevista dada justo antes de su muerte proporcionan un ancla para una película que celebra su humor macabro y visión cinemática. Un carrusel de imágenes en ventanas, una atmósfera de constante metamorfosis; su poesía como cine.

Lady Lazarus es una respuesta visual a la lectura de la poesía de Sylvia Plath. Estas lecturas más extractos de una entrevista dada justo antes de su muerte proporcionan un ancla para una película que celebra su humor macabro y visión cinemática. Un carrusel de imágenes en ventanas, una atmósfera de constante metamorfosis; su poesía como cine.

Parecen capilares luminiscentes o rojo sangre, el río serpentea sobre un país atomizado

Parecen capilares luminiscentes o rojo sangre, el río serpentea sobre un país atomizado

A memory-using location film of a stay with a uranium mining community. Using a kaleidoscopic array of experimental techniques, this film explores uranium mining in Canada and its destructive effects on both the environment and the women working in the mines. A plethora of images ranging from the women at work to spine-chilling representations of cancerous bodies are accompanied by unnerving industrial sounds and straightforward information from some of the women.

¿Es la mujer que trabaja en las terminales una extensión de los monitores de decantación de plutonio o es un germen en la planta nuclear que crece hacia el autocontrol?

A memory-using location film of a stay with a uranium mining community. Using a kaleidoscopic array of experimental techniques, this film explores uranium mining in Canada and its destructive effects on both the environment and the women working in the mines. A plethora of images ranging from the women at work to spine-chilling representations of cancerous bodies are accompanied by unnerving industrial sounds and straightforward information from some of the women.

War and violence against women in videos and on the news.’This short, named after Sylvia Plath’s last poem, is about the woman who is a daughter; icy, perfected and petrified for the patriarchy. She is also a mother drawing her two children with her into this death-in-life. Edge is the irony, which is the poet’s defiance. And it is the blade … how far can those controllers go with their instruments and armaments and still act as though our pieces and feelings can be stuck together again? There is no illusion of the woman’s ‘resistance’. Yet in this theme of woman as medical and war guinea-pig the silent scream becomes audible in lines of poetry and song.

Las mujeres necesitan trabajar en la tecnología en sus propios términos en vez de ser empujadas a los campos de la mano de obra.

Arrows uses a combination of live action and rostrum work to communicate the experience of anorexia and to analyse the cultural causes of the condition. 'I am so aware of my body', we are told on the soundtrack, whilst images of caged wild birds are intercut with images of the rib cage of the film's subject, the film-maker herself. The pressures placed upon women to be thin are articulated by an account of a new technique for surgical removal of fat. Once again, a woman who does not conform to male expectations in terms of her body-shape is classified as sick, in need of surgery. The constantly recurring motif of cages, bars and railway lines reiterates the feeling of entrapment throughout the film. Yet, taking the camera into her own hands, and revealing this process to the spectator by using a mirror, the film-maker shows herself in control of this representation of a woman's body.