Harvesting the Colourfield

21st Apr 16

It’s all here in black and white: colour is the new… Look, we’ve known
it for as long as we’ve had eyes. Sight craves the rainbow. That’s the
kind of full spectrum dominance we seek. Hue goes there.

So, in full-on palette party mode, here’s a paint shop sample pack of all
films colourific. Will we go for the most obviously titled? We shall.
Will we maximise the pastel playlist? We shall. Will we throw in some
arthouse-coloured curveballs? We shall.

So, with music as our suitable spine, from Hendrix to Idol, the Stones to
the Stranglers, the Beatles to Blue Velvet, Mitchell to the Moodys, New
Order to Nina and Prince to… Prince, with a dash of cocktails, old
masters, trooping and more, it’s a colour by numbers line up to dye for.
Oh Holi day (evening)!

Nena: 99 Red Balloons / 3.5 mins

Fairy Tales – Early Colour stencil films from Pathé / 2mins

The Stranglers: Golden Brown / 3.5 mins

How to make a Three Colour Cocktail (no alcohol) / 2 mins

The Beatles: Yellow Submarine / 3.5 mins

Urban Colour Archive / 2 mins

New Order: Blue Monday / 4.5 mins

Google Glass Videos: How to make oil paint like the old masters / 2mins

The Jimi Hendrix Experience: Purple Haze / 4 mins

Colours of Nature / 3.5 mins

Rolling Stones: Paint it Black / 3.5 mins

How to Mix Color: From Course: Color Theory Made Really Easy.com / 3 mins

Donovan: Mellow Yellow / 2.5 mins

Purple Rain: Official Trailer / 1.5 mins

Lana Del Rey: Blue Velvet / 2 mins

21st Apr 16
18.00 – 22.00


26th Sep 14

A triptych of works by award-winning London-based artist film-makers blurs the boundaries between documentary and fiction in their explorations of how and where we belong on the spectrum between the private and public. With a particular focus on the changing nature of the domestic, and the threatened nature of social housing, they reveal a city in constant flux, but also celebrate the necessary resilience of communities and individuals, often among the most vulnerable in the capital.

Followed by Q&A with Charlotte Ginsborg and Andrea Zimmerman, hosted by NOW Cinema Curator Gareth Evans.

Cinema opens at 7.30pm for 7.45pm start
Tickets £5


Andrea Luka Zimmerman: Towards Estate (2012) 15 mins

Towards Estate is a short film assembled from the diverse elements of the long term production of the Estate feature project, edited in its own terms concisely to relate several of the narratives of Haggerston estate, historically and in the present.

Capturing a moment of imminent transition, Towards Estate (15min, 2012) and its feature-length successor Estate: a Reverie (82 mins, 2014) reflect on urgent matters of regeneration, gentrification and architecture; its reasons, possibilities and consequences. Tracking the passing of Hackney’s Haggerston Estate and wider utopian principles of social housing, Estate offers an unruly celebration of extraordinary everyday humanity. As a 1930s block is bulldozed, a luxury-apartment-complex rises. Challenging tired stereotypes, Estate interweaves intimate long-term observational footage with the residents’ own historical re-enactments and dramatised reveries.



John Smith: Blight (1994-6) 14 mins

Blight was made in collaboration with the composer Jocelyn Pook. It revolves around the building of the M11 Link Road in East London, using images and sounds of demolition and road building in conjunction with the spoken words of local residents.

Taking these actualities as its starting point, Blight creates its own enigmatic stories, transforming the mundane into the mysterious. The musical qualities of the speech fragments and natural sounds form the basis of the score. Although the film is constructed from images and sounds of real events, Blight breaks down the conventional boundaries between documentary and drama, exploring the ambiguities of reality to create metaphorical fictions.



Charlotte Ginsborg: Melior Street (2011) 65 mins

Melior Street near London Bridge, a road with a diverse demographic and a confused architecture, functions as a stage set for an exploration of eight peoples’ relationship to community and transience within the city. Ostensibly a series of documentary portraits, the cast of real people who are all connected to the street, are not only the subject of the film but are major contributors to its content. The film investigates the power of the author’s voice within documentary as orchestrated actions, staged conversations and songs (created in collaboration with the composer Gabriel Prokofiev), puncture the sense of a recorded reality.


Cinema opens at 7.30pm for 7.45pm start
Tickets £5

Unshore: The Artists' Thames on Film

31st Oct 14

A sextet of works by award-winning London-living or -lived artist film-makers navigates the river-run of the metropolis, both from the shoreline and mid-stream, tracking the city and its hidden histories as much as the architecture of the waterfront and the economic / political struggles of waterway ownership. From rumbustious good humour to the revolutionary impulse, and processed excavation to pranksterish voyaging, this programme puts the Thames front and centre in the creative currents of the Capital.

+ in-conversation with Rosalind Fowler, William Raban and Steven Bode, Director, Film and Video Umbrella, hosted by NOW Cinema Curator Gareth Evans.

125 years on, in memory of the Great London Dock Strike (1899).

Cinema opens at 7.30pm for 7.45pm start

Tickets £5 

The Boudoir awaits you.

But before we start, we must of course mark today’s nocturnal activities, with a wonderful 5 minute animation, only 85 years young; to be revealed on the evening…


Andrew Kotting: Jaunt (1995) 5 mins

A trip up the Thames from Southend-On-Sea to the Houses of Parliament provides Kotting with many fine opportunities to indulge in his own idiosyncratic brand of taradiddles and horseplay. This film is a sort of trailer for his demented feature film Gallivant, and with its vivacious Super 8 camerwork and cast of cheeky characters, it’s great fun.



Premiere: Rosalind Fowler: Tamesa (2014) 10 mins

The filmmaker searches for traces from the ancient past by processing 16mm film on the foreshore of the Thames using water collected from the river. The experiment takes place adjacent to Battersea Bridge, a site where archaeological finds suggests significant ritual activity. Images of water patterns and foreshore detritus are combined with close-up textures of pre-historic objects discovered nearby. Shot in an area surrounded by extremes of consumerism and intense re-development into luxury living the artist performatively engages with the river past and present to imagine alternative meanings hidden within the landscape.



‘Colour on the Thames’ (1935) 8 mins

A travelogue of times past…


George Barber: River Sky (2001) 6 mins

Three people are taken for a short ride on the River Thames hanging upside down on the back of a speedboat. The journey is both a test of endurance and a simple way of forcing people to see differently. Upon reflection, the participants talk about their childhood and the places where they used to like to play and hang out. The very nature of the event leads the participants to remember and think about themselves and the way they have changed.



Anja Kirschner: Polly II: Plan for a Revolution in Docklands (2006) 30 mins

Part satirical sci-fi, part soap opera and part Brechtian ‘Lehrstueck’, Polly II portrays the lives of pirates and outcasts surviving in the flooded ruins of East London, a lawless zone set to become the latest in luxury waterside living according to government plans and venturing developers’ wet dreams. The film imagines a future insurrection coloured by the legacy of dispossessed peasants, political radicals, whores, sailors, pirates, and former slaves. Alluding to Polly (1728) – John Gay’s censored sequel to the popular Beggar’s Opera (1727), which resurrected the character of the robber Macheath in the disguise of the African pirate captain Morano (scheming to take revenge on a colony in the West Indies) – Polly II is populated by many of the characters made popular by Gay and Brecht.



William Raban: Thames Barrier (1977) Silent; 8 mins

Ships are already returning upstream. Chimneys, cranes, and gas storage tanks make a firm dark shape against the morning sky. The cranes cut space into angled planes between their girders. At midday the painted huts and rusting hulks burst into colour. They have lost the monotone flatness of silhouettes. Now the sun is stronger, colours on the north bank appear at shouting pitch. The clouds return and colour gives way to distance. At night there is a constant hum from the working barrier. The sodium lights are on, and a low pulse throbs from the cranes and jetties (WR)



Cinema opens at 7.30pm for 7.45pm start
Tickets £5

Capital: Framing London

28th Nov 14

As the city centre is gutted of diversities – social, economic and cultural – so the edgelands, the overlooked zones, the marginalised quarters, come fully into their own as sites of fecund and rewarding enquiry. Their devotees always knew it was thus. Now, Johnnys and Jills come lately, we can catch up. Fortunately for us, certain bold and boldly wandering film-makers were there before we were, and before the latte reservoirs spilled over and passageways between shops were sold for a lifetime’s wage work. So, from the suburbs to the fringes, from the escarpments to the wild east, please welcome a triptych of takes – prime cut examples of the fact that, with the right sight involved in proceedings, there is always something new to see under heaven.

These lensers are not in and out like would-be MPs on the pull, promising wells and electricity to the benighted and the thirsty. Theirs is the long haul, charting the full ground of their concerns; collaborators hale and hearty also, and with a strikingly writerly slant. Indeed, given we’re London-eyed here, and on foot for most of it, it would frankly be an oversight if the great urban chroniclers Iain Sinclair and Will Self did not make an appearance or two. And for those doubters, there’s firm evidence that Russell Brand has been as committed as he has been comic or celeb, and for somewhat longer than the latest Newsnight chatfest.

We start with Patrick Keiller (the filmic-topographic godfather of us all); we leave with a funeral. Perhaps it was ever thus. London is dead, long live London! Or, as certain port-veined uncles used to declare, capital!

+ John Rogers; hosted by NOW Cinema Curator Gareth Evans.

The Boudoir awaits you.

Cinema opens at 7.15pm for 7.30pm start

Tickets £5



Patrick Keiller: Norwood (1983) 26 mins

“Norwood continued the ‘story’ of Keiller’s first film Stonebridge Park (1981) and the technique, in another London suburb. These short films of increasing technical sophistication climaxed in 1989 with The Clouds, a further topographical exploration combining another anxious fictional commentary…” – Geoff Brown and Bryony Dixon, from www.screenonline.org.uk “Imbued with loss on the edge of despair, Norwood’s cultural pessimism is fitting for these fag-end times.” – Michael O’Pray “It is wry, funny and surreal; a wonderful film.” – Jo Comino, City Limits.



John Rogers: The London Perambulator (2009) 45 mins

This important essay film looks at the city we deny and the future city that awaits us. Leading London writers and cultural commentators Will Self, Iain Sinclair and Russell Brand explore the importance of the liminal spaces at the city’s fringe, it’s Edgelands, through the work of enigmatic and downright eccentric writer and researcher Nick Papadimitriou – a man whose life is dedicated to exploring and archiving areas beyond the permitted territories of the high street, the retail park, the suburban walkways.



Emily Richardson: Memo Mori (2009) 23 mins

Memo Mori is a journey through Hackney tracing loss and disappearance. A canoe trip along the canal, the huts of the Manor Garden allotments in Hackney Wick, demolition, relocation, a magical bus tour through the Olympic park and a Hell’s Angel funeral mark a seismic shift in the topography of East London; with commentary and readings from Hackney, That Red Rose Empire by Iain Sinclair.


The Astronomical Unknown

29th Jan 15

As Robert Orchardson digs deep into the beauties and symmetries of the astronomical unknown and brings back his findings to the gallery, so this evening’s programme of accompanying films – a 45 minute cycle – is designed to fit with almost cosmic harmony into the extended private view exactly four times.

Seeking correspondence with certain of Orchardson’s interests, whether thematic, formal, expressive or informing, these moving image works will gaze tangentially on the gallery space from the intimate splendour of the NOW cinema. The programme, which contains the hugely significant total of seven works, is designed to be enjoyed without the soundtracks that accompany half of the titles.

What goes around comes around, on no less than an quartet of occasions this evening, but on the understanding that one can never have too much of a good thing, we trust you will find the evening’s moving image proceedings of interest and even delight, however many times you encounter them. (Gareth Evans, NOW Film Curator).

Cinema opens at 7.15pm for 7.30pm start



All the Time in the World: Semiconductor (2005) 5 mins

The brilliant duo go sonic on us with a millions-year rush through Northumbrian geology.


Powers of Ten: Charles and Ray Eames (1977) 9 mins

In one of the greatest – in every sense – films ever shot, this brilliant duo give us the WHOLE story.


‘Jantar Mantar Jaipur Astronomical Observatory’ (2012) 6 mins, Silent

Thanks be to the tourist for bringing us one of the world’s singular architectural wonders.


Into the Light: Ian Helliwell (1998) 5 mins

An abstract super 8 film made by shooting directly into the beam of a projector through a distorting lens. Shards of coloured light pierce the blackness, accompanied by electronic music from customized circuits.


Perpetual Motion in the Land of Milk and Honey: AL + AL (2004) 6 mins

Free power and perpetual motion channelled via Britney Spears, the Lamb of God and a whole host of dazzling, alchemical strangenesses.


The Dante Quartet: Stan Brakhag (1987) 7 mins, Silent

This is what genius looks like. In his own words: “’this hand-painted work, six years in the making (37 in the study of The Divine Comedy) demonstrates the earthly conditions of ‘Hell’, ‘Purgatory’ (or ‘Transition’), and ‘Heaven’ (or ‘existence is song’, which is the closest I’d presume heaven to be from my experience). The film is in four parts, which are inspired by the closed-eye or hypnogogic vision created by these emotional states. Originally painted on IMAX and Cinemascope 70mm and 35mm, these paint-laden rolls have been carefully re-photographed and translated to 35mm and 16mm compilations by Dan Yanofsky of Western Cine.” – S.B.


Aelita, Queen of Mars: Yakov Protasonov (1924) 7 mins

To whet your appetite, just the opening minutes of this deliriously inventive Soviet silent feature in which the youthful Los hits Mars with its own Russian revolution, ably supported by the eponymous Martian monarch, who’s loved him quite literally from a distance, telescope style. Oh, how underused Hubble has been…



That's What I Call Dance on Film 1

27 - 28th Mar 15

Curator Gareth Evans curates a selection of films looped for the evening: “Dance away the heartache with this foot-stomping selection of clips, docs, artists’ films and more that take us to the beating heart of what could be called the choreographic in maverick practice, all served up with a healthy dose of star-gazing and speculative, cosmic comings and goings.”

We’ll wander through the halls of moving image and moving body memory with visits to the likes of ‘Bande a Part’, ‘Simple Men’, ‘Ikarie XB1’, ‘Logan’s Run’, ‘Pulp Fiction’ and more.

We’ll certainly be animated, in every sense. We’ll sing too, as we shuffle. And we’re delighted to show high energy shorts by Charlotte Ginsborg, Manu Luksch and Alex Reuben, who might well be there too, if the stars are aligned…

Other high-energy encounters include Turner prize winner Mark Leckey’s ‘March of the Big White Barbarians’ and Jarman award winner Ursula Mayer’s ‘The Crystal Gaze’.

You know it makes sense. Thank you for your attention.

Friday 27th March 6 to 9pm
Saturday 28th March 2 to 5pm


Pop Goes the Easel...

10th May 15

Celebrating the vibrant creations across multiple media of NOW Gallery’s featured artist Ricardo Cavolo, NOW Cinema dives deep into the great ocean that is visual pop culture. Taking our title cue from Ken Russell’s legendary documentary on the pop art explosion, we wash our eyes in a myriad of clips, shorts, extracts, trailers and more, from across a multi-hued smorgasbord of sources. Covering murals and street art, superheroes and tattoos, comic books and Mexico, influences and inspirations, we put Cavolo’s work in context and wander through his landscape of association. You’ll find Batman, Flash and Spider-pig; you’ll walk with Frida Kahlo and Diego Rivera; you’ll animate the Day of the Dead; you’ll share Pauline Boty’s nightmare (our clip from Ken Russell) and learn from two of the world’s great tattoo artists. There’ll be fictional aliens and real-life superheroes. It’s 48 minutes of popular pleasure, and it’s on all day. Immerse!

Sunday 10th May

Phoebe English

20th May 15

Films form an important part of the Phoebe English history and have been used as a creative tool for the past few years. For NOW Cinema the team have selected the most important – ones which succeeded in re-imagining the collection by giving a new insight into the clothing. These will be played alongside the show films which transport you to a moment in time that is an accumulation of a seasons work and ideas.

20th May 6 to 9pm

Films for Phoebe English

16th July 15

When we think about Phoebe English’s fashion, we think materials, vision, textures, precision, crafting, construction… all the things that make anything worth doing worthwhile. We know that muslin, rubber and latex are signatures, and surface is key to the clothes. We’ve noticed she installs rather than simply displays; and that glass has class in her environments. We know she lives in and loves Hackney. We know she gets a lot of her ideas walking from home to work. This sort of stuff is what informs us here. Oh yes, and maybe floating, falling, drowning and flying… (Gareth Evans)


Feeling My Way: Jonathan Hodgson (1997) 5.5 mins

Modes of the Moment: Unknown (1917) 3.5 mins

Glass Making in London: British Pathe (1963) 2.5 mins

The Crystal Gaze: Ursula Mayer (2007) 8 mins

Irma Vep: Olivier Assayas – final scene (1996) 2.5 mins

Clothing of the Future: British Pathe (1939) 1.5 mins

I Float Alone: David Lynch – with Julee Cruise (1989) 4.5 mins

The Story of a Star: Audio Productions (1956) 8 mins

Bedtime Story: Mark Romanek – with Madonna (1994) 4.5 mins

Mary Quant 1967: British Pathe (1967) 1.5 mins

Girl Chewing Gum: John Smith (1976) 12 mins

Making Glass Beads: Lisa Aagaard (2010) 3 mins

Murmuration: Sophie Windsor Clive and Liberty Smith (2011) 2 mins

9th July 6 to 9pm

Films supporting Home Affairs

20th Aug 15

NOW Gallery presents a series of contemporary short films by emerging African filmmakers exploring a range of social and aesthetic themes set in domestic spaces.

AFRICAN BOOTY SCRATCHER: Nikyatu Jusu (2009) 13:49

UDUDEAGU: Akwaeke Emezi, Lagos, Nigeria (2014) 1:45
HEY CELESTIAL, Akwaeke Emezi, Pantin, Paris (2014) 2:00

TO CATCH A DREAM: The Nest Collective (2015) 13:13


Venue: NOW Cinema
Date: 20 August 2015
Time: 18.00 – 21.00

NOW Gallery
The Gateway Pavilions
Greenwich Peninsula
SE10 0SQ

The Gates of Perception

23rd Sep 15

Moving image and the built environment: the art of human scale

n. 1823, “gateway to an Egyptian temple,” from Greek pylon “gateway,” from pyle “gate, wing of a pair of double gates; an entrance, entrance into a country; mountain pass; narrow strait of water,” of unknown origin. Meaning “tower for guiding aviators” (1909) led to that of “steel tower for high-tension wires” (1923).

There’s a wonderful, playful pleasure to Alex Chinneck’s illusionistic public sculptures which reminds us of how the city could be if more imaginative city servants were in positions of high office. Instead, most of the time we’re navigating arenas of often oppressive architectural form, imposed without a sense of history or lived experience, in which the human trace – and the always present species tendency towards resilience and the subtle appropriation and humanisation of hostile surroundings – are truly to be welcomed, and defended.

The moving image – operating in time and space – is particularly good at providing the perspective we seek. As the BFI’s welcome London on Film season continues along the river, NOW gallery’s cinema programme celebrates this city-focused POV with five works tracking stories, buildings and objects both real and imagined. In a genuinely necessary reversal of percentages, four women artists – and one male Turner prize winner (whose film returns by significant demand) – fuse the personal with the political, the prescient with the poetic – and reveal the public realm – whether housing estate or streetscape, office block or open space – to be both brooding and brilliant with possibility, a territory ripe for reverie and reflection.

And of course, given Alex’s commission, we couldn’t resist flagging up a couple of public information film gems, pylon promos from 1956 and 1966, wry reminders of the daily miracles we all too easily take for granted, praise songs to these energy-carrying wonders of the modern world (and the workers who made them), and all from a galaxy long, long ago, well before ‘health and safety’. So, hard hats on, sit back and enjoy (Gareth Evans).

+ in-conversation with Charlotte Ginsborg (FLAMIN award winner), David Roberts, social housing and public realm activist, artist and historian (Bartlett School of Architecture, UCL), Cordelia Swann and Andrea Luka Zimmerman (Jarman and Grierson awards 2015 shortlisted). Curated and hosted by Gareth Evans. .


Cordelia Swann: The Citadel (1992) 14 mins

‘Once there was a woman who lived alone in a fairly prosperous citadel. If the weather was fine, a rare and precious occurrence, she would go out and explore, or she would do the shopping…’ Inspired by the tragedy of Dido and the fall of Carthage, with references to the stoning of Mary Magdalene and the execution of others, The Citadel documents the perceptions, actions and dreams of a woman as she experiences, or rather, doesn’t experience, national and world events. Using a range of striking imagery within an allegorical structure, The Citadel follows the imaginary journey of this woman through a city of beauty and desolation. Shot in lyrical documentary tradition, akin to the work of Humphrey Jennings, the piece weaves together a subjective narrative with an idiosyncratic vision of London.


British Pathe excerpt: Pylon Men (1956) 2 mins


Emily Richardson: Block (2005) 12 mins

Day through night, Block is a portrait of a 1960s London tower block, its interior and exterior spaces explored and revealed, and its patterns of activity building a rhythm and viewing experience not dissimilar from the daily observations of the security guard sat watching the flickering screens with their fixed viewpoints and missing pieces of action. Block was made over a period of 10 months in a tower block in south east London from 2004–05. The film is a portrait of the place that came out of much time spent there. The contrast between the exterior and interior of the building, the impersonal common spaces and the personal spaces of the interior of people’s flats gives shape to the portrait. The security guards’ office and the bank of CCTV monitors with their random editing patterns and missing pieces of action were used as a starting point in terms of the camera techniques and editing structures employed in the film. All seeing, but seeing nothing at the same time. Working with static camera the fixed shots are repeated and edited together in sequence in a similar way to the CCTV camera recordings that flick from one camera view to another, often disrupting the (visual) ‘narrative’. The soundtrack was built up from recordings made on location at the time of shooting and sounds gathered from various sources and was composed and mixed by Jonah Fox.


Andrea Luka Zimmerman: Towards Estate (2013) 15 mins

Tracking the passing of Hackney’s Haggerston Estate and wider utopian principles of social housing, Estate offers an unruly celebration of extraordinary everyday humanity. As a 1930s block is bulldozed, a luxury-apartment-complex rises. Challenging tired stereotypes, Estate interweaves intimate long-term observational footage with the residents’ own historical re-enactments and dramatised reveries. Capturing a moment of imminent transition, Towards Estate and its feature-length successor Estate: a Reverie (83 mins, 2015) reflect on urgent matters of regeneration, gentrification and architecture; its reasons, possibilities and consequences. But more importantly, they are films about time and place, and the ability of hold forms of dreaming and the capacity for wonder within ongoing and growing daily systemic pressures. During this moment of transition (in social and architectural terms), where one structure has broken down, and a new one is about to emerge, another space unfolds; a space of proposals, of uncertainty, and of absolute initiative. In this opening, how might we ask important questions of our ideas of home, of history, always in the making, and of our capacity for an ambition of the imagination in straitened times; that which influences not only how we’re seen, but also how we see; how we dream…


British Pathe excerpt: Pylon Men (1966) 4 mins


Charlotte Ginsborg: The Mirroring Cure (2006) 28 mins

Tracing the life of a large construction site from demolition to the completion of new office space, The Mirroring Cure focuses on people’s relationship to their built environment, highlighting the complexity of personal identities formed through being at work. The film is told from the view point of the company secretary who has decided to carry out interviews with those employed around her. We witness her fascination with one of the architects whom she discovers suffers from a loss of balance, exacerbated by the large scale of the site. She becomes intrigued by the bizarre cure he develops to cope with his affliction. Appearing initially as a documentary detailing both the complexity of personal identities formed through being ‘at work’, and the effects of architecture on behaviour, the gradual introduction of a ‘story line’ leaves the viewer unsure as to what genre of film they are watching. To what extent the characters are acting remains ambiguous. Shot on 16mm over a two-year period the film forms an intimate portrait of five working lives set against the visually arresting and constantly shifting architecture of the building development.


Mark Leckey: The March of the Big White Barbarians (2005) 5 mins

London’s Public Sculptures are articulated by the concrete poetry of Maurice Lemaitre in a free translation by Leckey’s Jack Too Jack.


Venue: NOW Cinema
Date: 23 September 2015
Time: 19.00 – 21.00

NOW Gallery
The Gateway Pavilions
Greenwich Peninsula
SE10 0SQ

Booking essential: 0203 770 2212


Urban Dreams

12th Nov 2015

onedotzero presents a 30-minute programme of short films and animations curated for NOW Gallery, with a continued exploration of onedotzero’s fascination with the city via an eclectic series of filmic responses to urban environments and fast-paced city living. As more of the world’s population are now city dwellers than ever before, it is important to make sense of what it means to be part of a city as influencers and influenced, constructors and creators.

Urban Dreams offers perspectives from innovative filmmakers from around the world who share their utopian hopes, alternative realities and dystopian nightmares for city living now and in the future. Features brand new work alongside gems from the onedotzero archive.


George Alexander + Cesar Pelizer [weareseventeen]: Mr Selfie / UK 2015 / 2:00

Conceived as a comment on our times, Mr Selfie is a playful take on the modern phenomenon of smartphone obsession. With an increasing fixation with what is happening on our smartphones, are we in danger of missing out on genuine interactions and exciting experiences? weareseventeen is a London-based design and motion studio. www.weareseventeen.com


Jonathan Gales: Megalomania / UK 2011 / 4:32

Megalomania perceives the city of London in total construction. The built environment is explored as a labyrinth of architecture that is in a state of both growth and decay; unfinished, incomplete, broken or repurposed. A personal response to the state of infrastructure and capital in many developing cities. Jonathan Gales is a Bartlett School of Architecture Unit 15 graduate and Factory Fifteen co-founder.


Jonathan Gales + Paul Nicholls [Factory Fifteen]: Function / Void / The Bug / UK 2014 / 3:50

Visualising the collapse of a city in an alternative present. Inspired by sci-fi and futuristic fiction classics such as Huxley’s ‘Brave New World’ and Orwell’s ‘1984’, the narrative follows the life of a drone living in a totalitarian system, medicated to think, feel and function. A physical and fantastical break down of both the environment and the protagonist occurs when he stops conforming. Factory Fifteen and Nexus collaborated with The Creator’s Project and Ninja Tune to create this epic, monochrome VFX-driven short for acid-grime artist The Bug.


Po-Wei Su [Hi-Organic]: Power of City / Taiwan 2010 / 0:34

A silent swarm of unknown, organic life forms silently invade the urban skyline, drifting freely between skyscrapers and bringing colour and life to the grey cityscape. An abstract illustration of how cities come to life as a result of the power and energy of the people who inhabit them. Po-Wei Su is the founder and director of Taipei-based motion graphic studio Hi-Organic, who have expanded by opening studios in Osaka and, most recently, in London.


Matthias Hoegg [Not To Scale]: Upstairs / UK 2013 / 3:07

How much do we know about the lives of our next door neighbours in urban flats? A man is driven to distraction by an inexplicable sound from the flat above. Anxious to find out the truth about what’s really going on, he ventures upstairs… Created for the Random Acts season on Channel 4 by Matthias Hoegg, the London-based, BAFTA nominated Animation Director and Freelance Animator and graduate of the MA course in Animation at the Royal College of Art.


Arvind Palep [1stAveMachine]: New York City, 2050 / USA 2015 / 2:18

Depicting a dangerous and dystopian vision of New York in the year 2050. Inspired by the city’s skyscrapers and seemingly endless construction, this disturbing short blends live-action, visual effects, and animation to render the once familiar landscape unrecognisable. The narrative follows an NYPD patrol unit on their trail into the bowels of street level Manhattan. Director Arvind Palep is one of the original co-founders of 1stAveMachine – the New York-based collective of international directors, artists, designers and scientists who have been producing award-winning video, digital and experiential content since 2004


Benjamin Ducroz [eness]: Möbius / Australia 2011 / 1:21

A collaborative stop motion sculpture that transforms Melbourne’s landmark location Federation Square with a sculptural optical illusion of 21 triangles that behave in cyclical patterns, appearing to sink into and re-emerge from the ground. A suggestion of how public art may look and behave in the future. Established in 1997, eness is an award-winning art and design practice, based in Melbourne Australia.


Ludovic Houplain [H5]: Celsius / France 2010 / 01:20

Set in the future, a man observes an ever-evolving skyline as the city unveils its inner working mechanisms. Every frame of this stunning short looks like the page of a graphic novel, as the 3D animation of this monochromatic metropolis is distinctly rendered in a hand-drawn style. The Oscar winning creative studio H5 simply defies definition, cultivating its pioneering artistic identity above all in its twenty years of existence. http://www.h5.fr


Joe Kinch [Blue Zoo]: Commuter Glitch / UK 1:54 / 2015

Set on an underground train in a parallel universe, passengers manage to completely ignore the exceptional dance moves of a fellow passenger in this fun yet completely bonkers short. The ‘cadavre exquis’ style experimental animation was made collaboratively by 30 Blue Zoo animation, lighting and 3D render artists, who each worked on a section without seeing what the others had done. Blue Zoo are a multi BAFTA award winning animation studio in London, comprising of a passionate team of artists, animators and directors.


Universal Everything: Walking City / UK 2014 / 7:43

A slowly evolving video sculpture referencing the utopian visions of 1960’s architecture practice Archigram. A nomadic figure walks endlessly, morphing and adapting to reflect the different environments she encounters with materials and patterns seen in radical architecture. Creative Director Matt Pyke worked with animator Chris Perry and Sound Designer to Simon Pyke to create Walking City – Winner of Prix Ars Electronica 2014 Golden Nica: Computer Animation VFX. Universal Everything is a UK-based digital art and design studio founded by Matt Pyke in 2004.


Running time: approx 30 minutes
onedotzero profile

Merging arts, entertainment and technology to thrilling effect. onedotzero is an independent experience agency creating distinctive culturally significant experiences that merge arts, entertainment and technology to thrilling effect. onedotzero is led by Co-Founder and Creative director Shane Walter. Formed in 1996 onedotzero is a cultural leader curating and producing the globally recognised worldwide digital festival for nearly 20 years as well as curating landmark exhibitions including Decode, Digital Design Sensations at the V&A Museum. Recent commercial projects include work for Nike, Intel, Google, Jaguar, Acer, Panasonic and Sky.

Christmas Programme

11-13th Dec 15

A film programme isn’t just for Christmas, but this one is… ’tis the season to make merry, and the key word in that sentence is make, as this special seasonal cine-reel of all things festive goes widescreen in celebration of the craft thing. It’s all about the skill of the those who are hands on. So we’ll be digital for the… digital – it’s time for artisan manual labour at the movies.

We’ll be riffing directly on the role-call of stalls in the midwinter marketplace, with a range of responses from the archives of the image. So you can expect retro looks at leather, scarves and corsetry – how-to films from ages past – with a wash of wooden furniture making and a hint of the bridal to keep the whole team happy.

Add in a take or two on the city’s black cab culture, some hamper action and a flourish of jazz, and the festivities could well be complete, especially when you find some inevitable favourites somewhere in the stocking.

Crafted with care, almost a christmas cake of cinematic fruits, but you don’t have to be rich to partake – it’s all free! Enjoy (we hope).


Simpsons Christmas Opener / 2013

Carnaby Street at Christmas / 1967

Slade – Merry Christmas Everybody / 1973

Dresses from Scarves / 1952

Bing Crosby & David Bowie – The Little Drummer Boy / Peace On Earth / 1977

All set for Santa / 1965

The Nightmare Before Christmas – Official Trailer #1 / 1993

Leather Fashions – Colourful Purses, Handbags and Luggage / 1950s

Coca-Cola Christmas / 1950s

Modern Furniture / 1958

Another Simpsons Christmas Opener / 2014

Look at Life – Taxi! Taxi!! / 1960

Jona Lewie – Stop The Cavalry / 1981

Edward Snowden’s Alternative Christmas Message / 2013

Christmas Pie / 1952

Coca-Cola Christmas Hilltop Commercial / 1971

Rudolph The Red-Nosed Reindeer / 1944

CBS Christmas Message / 1966

Kirsty MacColl – A New England / 1985

Ambient Fireplace with Jazz & Classical Christmas Music Favourites