‘Mega Unione Suprema’ is a grotesque and condensed journey willing to expose the commercial stereotypes and storytelling mechanisms that shape contemporary communication and film industry, to exhibit how the market has taken over the discourse and transformed it into mere communication of so-called “messages”. It is an experimental anti-film in the form of an ad, part of the YAY.RED art project (a brand which only promotes itself, and having as its only product to sell nothing but the advertisement of the brand itself). ‘Mega Unione Suprema’ is realized only using the poorest material one can find in communication: the stock footage. The film is created by combining and editing footage, music, images and graphics, to obtain YAY.RED self-referential advertisements. ‘Mega Unione Suprema’ is therefore a series of such senseless advertisements, which are at the same time the product themselves and the advertisement of the product.

A boy lends his friend a prosthetic arm for the day. As the moon inches closer and closer towards the sun, the friend sees something in the water…

‘Don’t think about earthquakes’ is a meditation on day-to-day life in Haiti as it is, without the weight of outsiders’ dominating narratives of poverty and destruction from the 2010 earthquake. Shot from a moving vehicle on the artist’s phone, footage of people interacting in the space is framed and slowed down so we can observe their movements and perhaps draw parallels with our own.

‘Come on Fish, sing to me.’ Ah! Hard Rain, an Art film: A story of aspiration, greed and shattered dreams told through the memories of a survivor [a fisherman]. The film takes us on a visually stunning journey into the ebb and flow of daily lives of a tiny [imagined] coastal village. The film travels through various stunning landscapes, Oceans and timelines, laces it with mesmeric cultural myth and costumes which emanates out of the characters and fills the air and screen with pure profound beauty to reveal the villagers in the fullness of their life; life before disaster. In the film we used Trinidad & Tobago traditional Mas characters, these characters were used in a new context to drive the visual narrative; they are the Moko Jumbie, Sailor, La Diablesse and Jab. Every day, we see images of people in the desolateness and the tragedy of their lives, as they flee poverty, war and environmental devastation in tiny boats on the vast Ocean. This is not an isolated incident, all through history people have taken and continue to take to the Ocean fleeing poverty, wars, religious persecution from all parts of the world, including Europe. Ah! Hard Rain explores this ongoing tragedy using film, dance and digital technology to create a powerful and evocative Art-film. ‘A Hard Rain’s a-Gonna fall.’ -Bob Dylan. ‘It is better to die trying than not try at all.’

The attempted coup d’etat of July 27, 1990 represents a deep rupture for the filmmaker along with many of the children who belonged to the Jamaat Al Muslimeen community. It signalled an end to life as they knew it. Nimah wrote ‘Islam island’ in January 2021 and decided to create a visual for the poem as a way to bring it to life.

Animation piece developed for Engage Earth, a short documentary that takes a look inside Brazilian artist, Denise Milan and her ongoing work with stones leading to an impactful art programme in Heliópolis, one of the largest favelas in the Americas located outside of Sao Paulo, Brazil.

The limitations we have all experienced over the course of 2020 and 2021 added another layer to what it means to be confined, not only by shorelines and external expectations, but to the very narrow scope of our homes, minds and physical beings. ‘Plexus’ draws on intricately branching internal networks of vessels or nerves that connect to keep us operative and aligned.

‘Home Movie Tape’ is a short collage piece made in the tradition of home movies. It combines a collection of footage taken through the Covid pandemic in Dominica, with audio from interviews of the filmmaker’s friends on life, love, death, and having kids in these trying times. Loose in form, with the filmmaker’s own voice absent, the film invites the audience to draw their own conclusions.

In ‘The wound is a portal’, Gesiye uses Afro-diasporic healing modalities to address generational trauma and weave a mythology of land and personhood. Eight Black Trinidadians were invited to participate in a series of tattoos and conversations about connection to the island. Each tattoo correlates to a larger story, facilitating a reclamation of agency and acting as a portal to reconnection with self, each other and the land.