Enigmatic
EXPERIMENTAL FILMS
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Tharindu Ramanayaka
Sri Lanka, often called the “pearl of the Indian Ocean,” earned this name for its beauty and pearl fishery history. However, this title was tragically tarnished on May 20, 2021, when the X-Press Pearl caught fire off the coast of Colombo. Carrying 9,700 tons of toxic chemicals and epoxy resins, the ship caused the world’s worst nurdle spill, releasing 1,680 metric tons of plastic pellets into the ocean. Ironically, the ship’s name, “Pearl,” now resonates with disaster, as the nurdles resemble pearls—yet they are far from the pearls Sri Lanka was once known for.
The Sri Lankan government’s decision to allow the ship in its waters, hoping for financial compensation, led to a catastrophic environmental disaster, devastating marine life. As a filmmaker, I feel a duty to speak for those who cannot, especially the marine creatures affected. I titled my film This is Not a Pearl to highlight the tragic irony and raise awareness about human impact on the environment. This is not just a personal issue; it’s a shared responsibility. The X-Press Pearl disaster shows how our decisions affect not only Sri Lanka but the entire global ecosystem. To ensure a sustainable future, we must unite to protect our oceans and prevent future tragedies. Through awareness and action, we can safeguard the planet for future generations.
Peter Whittenberger
If Only We Had Eyes To See explores how quickly fortunes can change for gatekeepers of safety, natural resources, and wealth in the ravages of climate change. Trapped by antiquated concepts of nationalism and land rights, a lone figure is left to find safety in a world that denies migration as a fundamental, human right.
The freedom of migration as a human right is an important issue to all of us as climate change is a collective issue. The impacts of destructive climate change are felt by everyone, regardless of country of origin. The freedom to move for safety, survival, or a better life is a vital part of our species’ history. Migration needs to be protected as the climate rapidly changes, sometimes destroying homelands or making locations inhospitable. Old ideas of nationalism or borders need to be revisited and we need to become forward thinking in terms of unity as a species, over individual nations, to help each other in times of crisis.
Aidana (Aia) Kuanova
Tea for Two is a celebration of the human spirit, exploring the fluid nature of memory, identity, and reality. The film delves into how society, family, language, and culture shape who we are, reminding us that our pasts are not simply chapters left behind but threads that make complex layers of our identities.
At its heart, Tea for Two addresses the universal experience of alienation—both personal and collective. It reflects on the dissonance we often feel in navigating our relationships with others and ourselves, especially across cultural and societal boundaries. This exploration is made tangible through the simple, yet profound ritual of drinking tea. Tea becomes a metaphor for connection and separation—a practice that brings us together, yet sometimes emphasizes the spaces between us.
The issues raised in the film—identity, memory, and belonging—are relevant to all of us, no matter where we come from. The film’s message is deeply intertwined with mental health, as it invites audiences to reflect on how our memories and identities shape our inner worlds. In a time where many face the challenges of isolation, cultural displacement, and fractured identities, it is essential to recognise the importance of mental well-being. By addressing the complexities of our collective and personal memories, we can create space for healing, understanding, and connection.
Tea for Two is a gentle reminder that a safe, secure, and sustainable future begins with the recognition of our common humanity. It is also a moment to think that caring for our mental health is a shared responsibility. By fostering empathy and dialogue, we can build a future that supports not only a sense of belonging but also mental resilience for all.
Wes Viz
With ‘Digitally Rewilding the Westfjords’ I explore the concept of creating an immersive 3D environment to reimagine the landscape and decolonize the vegetation.
In July 2023, I arrived in Ísafjörður, Iceland to take part in an artist residency. Initially I wanted to make a ‘virtual land artwork’ in the
same vein as Robert Smithson, but had a realization during the drive there. There was an abundance of purple lupine flowers stretching alongside the roads. These flowers are famous in Iceland but when I reached Ísafjörður the locals explained they were not native; they had been brought to Iceland in 1945 in an attempt to prevent topsoil erosion. Over a century of cutting trees had taken its toll. The flowers’ rapid spread, coupled with global warming has become of extreme concern to Icelanders.
After returning home, the Maui wildfires broke out, a tragedy resulting in over 115 deaths. Global warming was the main culprit, but
scientists also attributed it to non-native grasses on the island. These highly flammable grasses were left to grow unchecked. This catastrophe struck me as a call to arms. Something could be done with immersive environments that could create awareness of what is happening to our environment.
‘Digitally Rewilding The Westfjords’ was created entirely by myself using Unreal Engine and real-world satellite data. No AI was used at any point in the creation of this film.