Two programmes for City Eye and the John Hansard Gallery as part of Southampton Film Week 2025.  

Double-Screen Energy, 14th November 2025, Mayflower Studios

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As part of the launch of this year’s Southampton Film Week, join us for an evening of experimental film selected by artists and curators Simon Payne and Andrew Vallance. The films they will introduce span the classic Berlin Horse (1970) by Malcolm Le Grice, through to more recent films in the tradition of experimental cinema. Jo Millet’s Surfeit (2010) centres on crashing waves. Cathexis (2025), by Steven McInerney, is a psychotropic mode of visual music. Simon Payne’s Intervals (2023) involves dynamic colour fields. Traction (2023), by Jenny Baines, depicts a tug-of-war that features the artist in contest with herself. Lynn Loo’s Leaving and Arriving and Andrew Vallance’s VIA (2024) take the viewer on journeys by train. The orchestrated thunder and lightning in Stephen Littman’s The Enlightenment (2016) is a charged electrical array of video imaging.

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Dark into Light, 21st November 2025, John Hansard Gallery

 

Lucy Harris’s Moons (2025) is a reflection on an archetypal poetic-cinematic image. In Laura Hindmarsh’s Atlas (2018) the artist-filmmaker plays the moon, enacting her own eclipse. Nick Collins’s Dark Garden (2011) is an investigation of plants and their environs as defined by illumination and shadows. Vicky Smith’s Not (a) part (2020) is a film of nature in miniature, made by laying dead insects and bees directly on the filmstrip. Psalter (2019), by Samantha Rebello, also involves extreme close-ups, with imagery that is alchemical. Nicky Hamlyn’s Pro Agri (2008) is a time-lapse film in which we see a tobacco processing plant as day turns to night. The fading image in Candle (2018), by Neil Henderson, is a unique meditation on filmic illumination and the illusion of movement.