Film London Artists’ Moving Image Network (FLAMIN) has announced the latest winners of its development awards for filmmakers.
Selected from 92 submissions, London-based artist filmmakers Beatrice Gibson, Larissa Sansour and Sarah Turner will receive funding and bespoke mentoring for the next six months.
Following this process, each project will then be reviewed and considered for the available £100,000 production funding.
Supported by Arts Council England, the awards back single-screen work that is ‘ambitious in premise and duration (20 minutes or more), with an emphasis on projects with strong potential to reach audiences via galleries, cinema, broadcast and/or digital platforms.’
Adrian Wootton, chief executive of Film London and the British Film Commission, said: “I am incredibly proud of the art the scheme has produced over the last five years, and the artists we have worked with. I’m eager to see these new projects being developed.”
Recent successes include 2013 Turner Prize winner Laure Prouvost’s first feature length work, The Wanderer (2012). Fellow Turner Prize winner Elizabeth Prize’s film West Hinder (2012) was also part of the exhibition that led to her Turner Prize win in 2012.
Assisting in the selection process were external assessors Rebecca Shatwell, Director, AV Festival, Newcastle, and Helen de Witt, Head of Cinemas, BFI.
Rich tradition
Maggie Ellis, head of artists’ moving image at Film London said: “The selected projects will continue the rich tradition of experimental cinema in the UK, challenging established codes, pushing the boundaries of the medium and working without compromise. We look forward to commissioning a diverse slate of work which will repeat the fantastic success of the fund.”
Larissa Sansour’s film, In the Future, They Ate From the Finest Porcelain, is a sci-fi video essay inspired by the politicised archaeology carried out in present day Israel/Palestine. Filmed in black and white, it combines live action, CGI and archival photographs and is anticipated to be a 20 minute gallery work.
Sarah Turner’s feature-length work, Public House, fuses fact and fiction to explore memory, community and social reinvention.I It focuses on the community takeover of the Ivy House pub in London, SE15, and looks at how social spaces are shaped by individual and cultural memory.
For her long-form experimental film, Crippled Symmetries, Beatrice Gibson uses American author William Gaddis’ 1975 modernist satire, JR, as a departure point to explore subject and form.
For more information visit flamin.filmlondon.org.uk
