SineScreen

some pics from artist @seemaworld_ ‘s speculative vision boarding workshop at @eprjcts as part of our 💫solar rites 💫 film programme. the workshop invited participants to manifest their own utopias foregrounded against seema mattu’s iconic solarpunk inspired digital landscapes. thank you to those that came and we’re obsessed with your creations ✨ In collaboration with @sine_screen as part of their “Whose Homeland “ touring film season.

𝑶𝑼𝑹 𝑫𝑬𝑨𝑹 𝑫𝑰𝑨𝑹𝒀 𝑺𝑪𝑹𝑬𝑬𝑵𝑰𝑵𝑮 𝑰𝑵 𝑩𝑹𝑰𝑺𝑻𝑶𝑳 𝑰𝑺 𝑵𝑬𝑿𝑻 𝑾𝑬𝑬𝑲 27𝒕𝒉 𝑴𝑨𝑹𝑪𝑯 7𝒑𝒎 @kit.form A diary is not an autobiography. A diary is a process, a conjunction, a moment ceased, an and & and + and, heading towards an unknown future. Sine Screen is excited to present an experimental diary film programme exploring the potentials of the diary form as an incomplete self-archive, a mode of self-representation that destabilises the idea of the fixed subject through recording temporal accumulation and lived presence. The screening will be followed by a group discussion workshopping the idea of the diary within our current times. Remember to bring a diaristic object with you – it could be something that holds a specific memory, or a tool you use to record the everyday. Tickets at link in bio on Headfirst!

As the last event of Whose Homeland 25–26 ESEA film season, we are happy to bring Migration, Homecoming and Autoethnography: artist film shorts programme to London audiences. In-person conversation with @erikatanlam will be presented after the screening as well. Guest curated by @clarechunyuliu Migration, Homecoming and Autoethnography is an artist film programme explores the lived experience of returning to an ancestral home within the Chinese diaspora. Across these works, three artists trace familial migratory trajectories from China to Indonesia, the Netherlands, Germany, Australia, Trinidad, Canada, Singapore, and the UK. Through acts of “coming home,” the films negotiate diasporic Chinese origins, identity, and the distance—emotional, cultural, and political—from the imagined homeland. 🎥Film programme: May You Live in Interesting Times (Fiona Tan, 60 mins) The Way to My Father’s Village (Richard Fung, 38 mins) Journeys of Remembrance (Erika Tan, 18 mins) 2:30pm 28 Mar 2026 @blocqmul Presented with the support of the BFI, awarding National Lottery funding. @britishfilminstitute #nationallottery #bfi #whosehomeland Image credit: Erika Tan, Journeys of Remembrance

Dear Diary Programme announcement 💥BRISTOL💥 𝑾𝑬 𝑯𝑨𝑽𝑬 𝑨𝑵𝑶𝑻𝑯𝑬𝑹 𝑺𝑪𝑹𝑬𝑬𝑵𝑰𝑵𝑮 𝑰𝑵 𝑩𝑹𝑰𝑺𝑻𝑶𝑳 𝑶𝑵 ❗️27𝒕𝒉 𝑴𝑨𝑹𝑪𝑯 7𝒑𝒎❗️ A diary is not an autobiography. A diary is a process, a conjunction, a moment ceased, an and & and + and, heading towards an unknown future. Sine Screen and not/nowhere’s experimental diary film programme explores the potentials of the diary form as an incomplete self-archive, a mode of self-representation that destabilises the idea of the fixed subject through recording temporal accumulation and lived presence. We are excited to present our programme, followed by a little workshop discussion around personal archives and how we preserve them now: 𝑯𝒆 𝑾𝒂𝒔 𝑯𝒆𝒓𝒆, 𝒂𝒏𝒅 𝒀𝒐𝒖 𝑨𝒓𝒆 𝑯𝒆𝒓𝒆 | 1985 | 𝒅𝒊𝒓. 𝑯𝒂𝒓𝒖𝒌𝒂 𝑫𝒐𝒊 | 8’ | 𝑱𝒂𝒑𝒂𝒏 𝑻𝒉𝒆 𝑺𝒍𝒆𝒆𝒑𝒊𝒏𝒈 𝑭𝒍𝒐𝒘𝒆𝒓 | 1991 | 𝒅𝒊𝒓. 𝑼𝒕𝒂𝒌𝒐 𝑲𝒐𝒈𝒖𝒄𝒉𝒊 | 7’ | 𝑱𝒂𝒑𝒂𝒏 𝑻𝒉𝒆 𝑷𝒍𝒂𝒄𝒆 𝑾𝒉𝒊𝒄𝒉 𝑰𝒔𝒏’𝒕 𝑵𝒆𝒄𝒆𝒔𝒔𝒂𝒓𝒊𝒍𝒚 𝑾𝒓𝒐𝒏𝒈 | 1996 | 𝒅𝒊𝒓. 𝑯𝒊𝒓𝒐𝒎𝒊 𝑺𝒂𝒊𝒌𝒊 | 19’ | 𝑱𝒂𝒑𝒂𝒏 𝑭𝒂𝒍𝒍𝒆𝒏 𝑫𝒂𝒚 | 2025 | 𝒅𝒊𝒓. 𝑿𝒊𝒂𝒐𝒍𝒖 𝑾𝒂𝒏𝒈 | 9’ | 𝑼𝑺𝑨 𝑭𝒓𝒐𝒎 𝒎𝒚 𝑪𝒍𝒐𝒖𝒅 | 𝒅𝒊𝒓. 𝑲𝒊𝒎 𝑴𝒊𝒏𝒋𝒖𝒏𝒈 | 2025 | 13’ | 𝑺𝒐𝒖𝒕𝒉 𝑲𝒐𝒓𝒆𝒂 𝑳𝒖𝒄𝒌𝒚 𝒍𝒖𝒄𝒌, 𝒕𝒉𝒊𝒔 𝒊𝒔 𝑸𝒊𝒈𝒐𝒏𝒈 𝑻𝒂𝒊 𝑪𝒉𝒊 𝒍𝒖𝒄𝒌 𝒈𝒂𝒕𝒆 𝒕𝒐 𝑫𝒂𝒏𝒕𝒊𝒂𝒏 𝒕𝒐 𝒌𝒆𝒆𝒑 𝒑𝒓𝒂𝒄𝒕𝒊𝒄𝒊𝒏𝒈 𝑸𝒊𝒈𝒐𝒏𝒈 𝒊𝒏𝒏𝒆𝒓 𝒔𝒕𝒓𝒆𝒏𝒈𝒕𝒉 (𝒕𝒓𝒂𝒏𝒔𝒍𝒂𝒕𝒆𝒅) | 𝒅𝒊𝒓. 𝒄𝒆𝒏𝒈𝒚𝒂𝒏𝒉𝒂𝒏 | 2025 | 1’ | 𝑪𝒉𝒊𝒏𝒂

Last chance to book: Sine Screen @sine_screen Presents: ‘Whose Homeland’ 📆Friday, 7 March ⏰1-5.15pm Guest curated and introduced by Clare Chun-yu Liu @clarechunyuliu , this Sine Screen event explores migration, internal displacement, and marginalised lives, approaching homeland as a concept continually in flux. Programme 1: ‘Whose Homeland: Migration, Labour and Storytelling’ centres migrant experience as a form of living archive, foregrounding poetry, play, and collective storytelling as modes of resistance and care, with a screening of So Yo-hen's @soyohen 'Taman Tamen', (2024). Programme 2: ‘Whose Homeland: Migration, Homecoming and Autoethnography’ brings together artist films by Erika Tan @erikatanlam , Richard Fung #RichardFung, and Fiona Tan #FionaTan, each reflecting on the act of “returning” — to ancestral villages, inherited histories, and imagined homelands — while questioning the possibility of belonging itself. Places are strictly limited and advance booking is necessary - Find out more and reserve your ticket via the link in bio. Image credit: 1-2. Erika Tan, 'Journeys of Remembrance', 2008, 18 mins, film still. Courtesy of the artist. 3. Richard Fung, 'The Way to My Father’s Village', 1988, 38 mins, film still. Courtesy of the artist. 4. Fiona Tan, 'May You Live in Interesting Times', 1997, 60 mins, film still. Courtesy of the artist and Frith Street Gallery, London.

💫SOLAR RITES: AN ARTIST MOVING-IMAGE SCREENING + WORKSHOP💫 In collaboration with @sine_screen , we’ll be bringing together three visionary artist films which contemplate utopian possibilities through an exploration of ritual, myth and land. Melted into the Sun (Saodat Ismailova, Uzbekistan) Ismailova traces the enduring ghost of Al-Muqanna, the “Veiled One,” an 8th-century revolutionary mystic of Central Asia. By weaving together his proto-socialist defiance of property and land extraction with the region’s deep spiritual traditions, the film unearths a radical heritage. Elysium vô bờ (Arlette Quynh-Anh Tran, Vietnam/South Korea)
Set on a Mekong Delta island, this animation reimagines the southern Vietnamese múa bóng rỗi ritual as a catalyst for ecological revolution. As dancers invoke celestial beings, their collective spiritual power manifests to dismantle a destructive hydroelectric dam. Slow Shift (Shambhavi Kaul, India/United States)
In the ancient ruins of Hampi, the boundary between history and the present dissolves. Kaul captures a landscape where geological time and the movements of wild monkeys converge, reimagining an archaeological heritage site as a living, breathing “more-than-human” geography. The screening will begin with a speculative vision-boarding workshop led by artist @seemamattu , and a chance to explore Eastside Project’s current exhibitions. 📆 Thursday 26th March 📍Eastside Projects @eprjcts , Digbeth WORKSHOP: 6pm - 7pm FILM PROGRAMME: 7pm - 8pm 🎟️ book your tickets through the link in our bio 🎟️

DEAR DIARY @not.nowhere 📔 Sunday 8 March // 2pm 📔 PROGRAMME REVEAL A diary is not an autobiography. A diary is a process, a conjunction, a moment ceased, an and & and + and, heading towards an unknown future. Sine Screen and not/nowhere’s experimental diary film programme explores the potentials of the diary form as an incomplete self-archive, a mode of self-representation that destabilises the idea of the fixed subject through recording temporal accumulation and lived presence. We are excited to present our programme below with two UK premieres, a 16mm projection and a TikTok: 𝑯𝒆 𝑾𝒂𝒔 𝑯𝒆𝒓𝒆, 𝒂𝒏𝒅 𝒀𝒐𝒖 𝑨𝒓𝒆 𝑯𝒆𝒓𝒆 | 1985 | 𝒅𝒊𝒓. 𝑯𝒂𝒓𝒖𝒌𝒂 𝑫𝒐𝒊 | 8’ | 𝑱𝒂𝒑𝒂𝒏 (𝑼𝑲 𝑷𝒓𝒆𝒎𝒊𝒆𝒓𝒆) 𝑻𝒂𝒌𝒂 𝒂𝒏𝒅 𝑨𝒌𝒐 | 1966 | 𝒅𝒊𝒓. 𝑻𝒂𝒌𝒂𝒉𝒊𝒓𝒐 𝑰𝒊𝒎𝒖𝒓𝒂 & 𝑨𝒌𝒊𝒌𝒐 𝑰𝒊𝒎𝒖𝒓𝒂 | 13’ | 𝑼𝑺𝑨 (16𝒎𝒎) 𝑻𝒉𝒆 𝑷𝒍𝒂𝒄𝒆 𝑾𝒉𝒊𝒄𝒉 𝑰𝒔𝒏’𝒕 𝑵𝒆𝒄𝒆𝒔𝒔𝒂𝒓𝒊𝒍𝒚 𝑾𝒓𝒐𝒏𝒈 | 1996 | 𝒅𝒊𝒓. 𝑯𝒊𝒓𝒐𝒎𝒊 𝑺𝒂𝒊𝒌𝒊 | 19’ | 𝑱𝒂𝒑𝒂𝒏 𝑻𝒉𝒆 𝑺𝒍𝒆𝒆𝒑𝒊𝒏𝒈 𝑭𝒍𝒐𝒘𝒆𝒓 | 1991 | 𝒅𝒊𝒓. 𝑼𝒕𝒂𝒌𝒐 𝑲𝒐𝒈𝒖𝒄𝒉𝒊 | 7’ | 𝑱𝒂𝒑𝒂𝒏 𝑭𝒂𝒍𝒍𝒆𝒏 𝑫𝒂𝒚 | 2025 | 𝒅𝒊𝒓. 𝑿𝒊𝒂𝒐𝒍𝒖 𝑾𝒂𝒏𝒈 | 9’ | 𝑼𝑺𝑨 𝑭𝒓𝒐𝒎 𝒎𝒚 𝑪𝒍𝒐𝒖𝒅 | 𝒅𝒊𝒓. 𝑲𝒊𝒎 𝑴𝒊𝒏𝒋𝒖𝒏𝒈 @temporarystupid | 2025 | 13’ | 𝑺𝒐𝒖𝒕𝒉 𝑲𝒐𝒓𝒆𝒂 (𝑼𝑲 𝑷𝒓𝒆𝒎𝒊𝒆𝒓𝒆) 𝑳𝒖𝒄𝒌𝒚 𝒍𝒖𝒄𝒌, 𝒕𝒉𝒊𝒔 𝒊𝒔 𝑸𝒊𝒈𝒐𝒏𝒈 𝑻𝒂𝒊 𝑪𝒉𝒊 𝒍𝒖𝒄𝒌 𝒈𝒂𝒕𝒆 𝒕𝒐 𝑫𝒂𝒏𝒕𝒊𝒂𝒏 𝒕𝒐 𝒌𝒆𝒆𝒑 𝒑𝒓𝒂𝒄𝒕𝒊𝒄𝒊𝒏𝒈 𝑸𝒊𝒈𝒐𝒏𝒈 𝒊𝒏𝒏𝒆𝒓 𝒔𝒕𝒓𝒆𝒏𝒈𝒕𝒉 (𝒕𝒓𝒂𝒏𝒔𝒍𝒂𝒕𝒆𝒅) | 𝒅𝒊𝒓. 𝒄𝒆𝒏𝒈𝒚𝒂𝒏𝒉𝒂𝒏 | 2025 | 1’ | 𝑪𝒉𝒊𝒏𝒂 Images from films in the order represented above. Remember to bring a diaristic object — could be a sentence, a thought, a photo, a rock for a group discussion on how we incorporate memory into the everyday 🌿🌿 Tickets at the link in bio or on @not.nowhere website 💐

𝑭𝑰𝑳𝑴 𝑷𝑹𝑶𝑮𝑹𝑨𝑴𝑴𝑬: 𝑺𝑪𝑹𝑨𝑷𝑺 𝑶𝑭 𝑴𝑬𝑴𝑶𝑹𝒀 ❗️𝓣𝓱𝓾𝓻𝓼 26𝓽𝓱 𝓕𝓮𝓫𝓻𝓾𝓪𝓻𝔂 2026❗️ @kit.form 𝓑𝓡𝓘𝓢𝓣𝓞𝓛 This short-film programme takes the 𝓯𝓪𝓶𝓲𝓵𝔂 𝓪𝓻𝓬𝓱𝓲𝓿𝓮 as its point of departure, exploring the complex personal and political histories of diaspora and migration. Both artists blur fact and fiction to question the reliability of narrative as a tool for constructing history, devising enthralling and formally experimental ways to engage with the absences and ruptures within their own familial pasts. For Sylvia Schedelbauer, she (re)constructs the family archive and questions her parents’ past in 𝘔𝘦𝘮𝘰𝘳𝘪𝘦𝘴 (2004), using family photos to map out what led to her parents’ meeting in Japan, details that were never revealed to the filmmaker. For queer Chinese-Trinidadian artist Richard Fung, he takes home movies, family photos and testimonies in 𝘚𝘦𝘢 𝘪𝘯 𝘵𝘩𝘦 𝘉𝘭𝘰𝘰𝘥 (2000), as a mode to connect his sister’s rare blood disease with his lifelong partner’s AIDS diagnosis, and places them both against Trinidad and Tobago’s history of colonialism and independence. Curated by @whatever.ren Tickets (from £5) at the link in bio and on Headfirst

Open for booking: Sine Screen @sine_screen Presents: ‘Whose Homeland’ Friday, 7 March 1-5.15pm Across two screening programmes featuring films by So Yo-hen @soyohen , Erika Tan @erikatanlam , Richard Fung #RichardFung, and Fiona Tan #FionaTan, 'Whose Homeland' considers migration, labour, and return as lived, embodied processes rather than fixed narratives. Together, the films foreground storytelling, memory, and autoethnography as counter-archival practices — ways of holding histories that exceed official records and national frameworks. Moving between collective imagination and intimate family histories, ‘Whose Homeland’ asks how ideas of homeland are continuously reshaped through displacement, labour, translation, and acts of remembering. The programmes are guest curated and will be introduced by Clare Chun-yu Liu @clarechunyuliu Advance booking is required as places are strictly limited, find out more and reserve your place via the link in bio. Image credit: So Yo-hen, 'Taman Tamen', 2024, 100 mins, film still. Courtesy of the artist @soyohen

Introducing the Whose Homeland 25–26 touring programme in Manchester Migration, Homecoming and Autoethnography: artist film shorts programme. Guest curated by @clarechunyuliu Migration, Homecoming and Autoethnography is an artist film programme explores the lived experience of returning to an ancestral home within the Chinese diaspora. Across these works, three artists trace familial migratory trajectories from China to Indonesia, the Netherlands, Germany, Australia, Trinidad, Canada, Singapore, and the UK. Through acts of “coming home,” the films negotiate diasporic Chinese origins, identity, and the distance—emotional, cultural, and political—from the imagined homeland. 🎥Film programme: May You Live in Interesting Times (Fiona Tan, 60 mins) The Way to My Father’s Village (Richard Fung, 38 mins) Journeys of Remembrance (Erika Tan, 18 mins) 7 Mar 2026 @eseacontemporary Presented with the support of the BFI, awarding National Lottery funding. @britishfilminstitute #nationallottery #bfi #whosehomeland Image credit: Erika Tan, Journeys of Remembrance

Sine Screen and not/nowhere are excited to present “Dear Diary…”, a screening and activity exploring the diary film form. A diary is not an autobiography. A diary is a process, a conjunction, a moment ceased, an and & and + and, heading towards an unknown future. Sine Screen and not/nowhere’s experimental diary film programme explores the potentials of the diary form as an incomplete self-archive, a mode of self-representation that destabilises the idea of the fixed subject through recording temporal accumulation and lived presence. The diary film has influenced the avant-garde tradition from its emergence in the late 1960s until present day and this programme traces the much over-shadowed history of East Asian artists working with the diary form from the 1960s until the present day. Structural cinema traditions are reinterpreted through intimate, lived realities, while performance reflexively stages the fictions we construct around the concept of the ‘self’. Bring a diary, a sentence, a thought, a memory - a photo, video or material. Following the screening, we will break into groups and share our ideas on how we incorporate memory through archiving the average day and how we document ourselves and those around us. An intimate show and tell, alongside some home-made snacks! Sunday March 8th 2026 2.00pm – 4.30pm not/nowhere £14 Ticket link in our bio. Concession tickets available on request. Stay tuned for our upcoming spring programme exploring the theme of the diaristic and journalistic.

On 26th March, we’ll be hosting a film screening at @eprjcts , curated with Radical Exhibition Collective and held as part of Sine Screen’s touring programme. The event presents an artist film programme contemplating utopian possibilities through connections between myth, spirituality, and contemporary worlds - embarking upon an exploration of social and environmental shifts and a de-centering of Western approaches to futurism. The screening will be accompanied by a drop in speculative vision-boarding workshop with Eastside Projects’ Incidental artist, Seema Mattu (@seemaworld_ ). Drawing on the world-building techniques central to her practice, Mattu invites you to manifest your own utopian futures. Alongside the workshop, you’ll have a chance to explore Eastside’s current exhibitions. Film programme Slow Shift (Shambhavi Kaul, India/United States, 9 mins) Elysium vô bờ (Arlette Quynh-Anh Tran, Vietnam/South Korea, 10 mins) Melted into the Sun (Saodat Ismailova, Uzbekistan, 39 mins) For more information, visit the booking link in our bio. Thu 26th Mar 18:00 - 20:00 At Eastside Projects Presented with the support of the BFI, awarding National Lottery funding. @britishfilminstitute #nationallottery #bfi #whosehomeland