31-12-16 / 'WORLD WAR' CUP ON NOWNESS

So, out with shitty 2016, and not a moment too soon. I finished the second draft of my feature film, made progress on a documentary which is still a way off, did a bunch of commercials, and my most recent documentary World War Cup, highlighting English nationalism, just debuted on Nowness.

26-09-16 / ENCOUNTERS FILM FESTIVAL

Another lovely edition of Encounters. World War Cup suitably baffled people in the Late Lounge XXXtra programme, plus I saw some solid films including the deserving winner of the Audience Award: Toma Waszarow's Red Light (Bulgaria/Croatia), the winner of the Grand Prix: Brady Hood's Sweet Maddie Stone (UK), and also Price James' Battlefield Casualties (just bloody funny), Sunit Parekh's Machine (utterly sublime to stare at), Anouk Fortunier's Strange Bird (a very pleasant surprise which turned out to be something I script-mentored in Belgium a few years ago), and Ibro Hasanovic's Notes On Multitude (my personal favourite amongst the inevitable swathe of refugee-themed films).

03-09-16 BFI LONDON FILM FESTIVAL

World War Cup will be screening at the BFI London Film Festival next month.

23-08-16 / RETROSPECTIVE & 'WORLD WAR CUP' AT DOKUFEST, KOSOVO

A week late in posting this due to a hectic workload. Having heard plenty about this festival over the years I was pretty excited to finally experience it for myself, and it certainly didn't disappoint. The only drag (apart from my luggage not arriving in Kosovo until a day later) was that a heckish schedule prevented me from arriving earlier to enjoy a longer stay. It certainly isn't the only festival to be staffed by such friendly, welcoming hosts, but this combined with lush weather and landscape, plus a bulging programme of films, made for a very special festival indeed. From the festival website - “British experimental filmmaker Simon Ellis, meanwhile, whose retrospective screened on Thursday, raised laughs by donning a wig for an irreverent discussion that veered from football culture to Star Wars to not getting nominated for an Oscar”.

I was in attendance to present a retrospective programme of my fiction work, a masterclass, and a competition screening of my most recent short film World War Cup. Mere hours before the masterclass, at a morning press conference, I joked to festival journalist Una Hajdari that it would be fun to present myself wearing a toupee. Lo and behold, three hours later, myself and host Alexei Dmitriev were gifted with middle-aged-lady wigs for the occasion. It got pretty hot under there but we managed to keep them on for the whole hour, oh yes.

The screening of World War Cup was open air and, despite the plummeting temperature, I have to say I enjoyed it immensely. I really felt its freshness in the context of a narrative short film programme and, technically speaking, it was bright, loud and lairy. Too much volume can be incredibly abrasive and damaging for film exhibition (much worse than being too quiet, in my opinion) but al fresco worked a treat.

Speaking of loud volume, the mosques' enchanting yet eerie call to prayer, echoing across town through loudspeakers five times a day, was especially haunting when experienced from the quiet of a hotel room at 5am. Perhaps inevitably, it became slightly less welcome after several nights of interrupted sleep, but shall always remain a key memory (as will the terrifying abundance of selfie obsessives).

Massive thanks to Samir Karahoda for inviting me to this wonderful festival. If any filmmakers out there get the opportunity to attend, I highly recommend doing so!

13-08-16 / 'JAM TODAY' RECEIVES VIMEO STAFF PICK

Ahhhh so nice to be chosen. Look at those views rocket upwards!

26-07-16 / 'JAM TODAY' ON 'SHORT OF THE WEEK'

Jam Today selected for Short of the Week.

26-07-16 / 'JAM TODAY' ONLINE DEBUT

Finally released my short film Jam Today online. If you're lovely enough to comment or give it a like, please hop over to its Vimeo page.

17-07-16 / DOKUFEST PROMO

DokuFest in Kosovo have made a promotional clip for my upcoming retrospective:

30-06-16 / ARTFILMFEST JURY DUTY IN SLOVAKIA, VIA FRANCE

Before Slovakia, I went to France to investigate Dinard further since whizzing through it 7 months ago. Despite the chill it was like a holiday with sun, sea and sand. Just what the doctor ordered. Then it was off to judge the short film competition at ArtFilmFest in Kosice (another genuinely delightful trip with Air France, who are always so nice to me). I last visited this festival in 2008 when it was based in the idyllic northern town of Trencianske Teplice, but this year it relocated to Slovakia's second largest city.

What a damn fine time. Amazing hospitality, scorching weather, great food and strong films. How many other festivals would allow the jury to spread out on the comfort of bean bags in screenings? The whole experience was so good that I extended my stay by a further 3 days to be there for the awards ceremony and my birthday (incidentally, both the festival and restaurant staff presented me with birthday goodies!). I was somewhat starstruck by fellow juror Kati Outinen, the legendary Finnish actress from a whole number of Aki Kaurismaki films. Such a funny lady with fantastic stories.

The festival boasted the first post-Cannes screening of Ken Loach's Palm D'Or winner I, Daniel Blake and I had much fun hanging out with Daniel Blake himself, actor Dave Johns. It just so happened that England played Slovakia in the European Championships while we were in town, and while I couldn't give a monkeys about football it was really something to see it in a huge outdoor theatre, on the biggest curved screen I ever saw. We were a tiny pocket of Englishmen amongst many Slovakians, but Dave is an utter charmer and somehow managed to join in the local chants.

Also watched another Cannes monster, the German comedy Toni Erdmann. At almost 3 hours long, I never imagined I would get through it, but ended up loving every minute. The following evening, the festival treated us to a lovely sunset trip to Tokaj Macik winery, out in the hills near the Hungarian border. This involved a lengthy tasting session in cooling subterranean caves, by candlelight, and is a memory I won't forget in a hurry.

Then there was the numbing news that the UK is leaving the EU (a Slovak said to me during the hotel breakfast "Enjoy your English breakfast"), which was impossible not to mention during the awards presentation. With the exception of 'Brexit' and returning to a still-raining, uncertain country, I have nothing bad to say about the whole experience. Thank you ArtFilmFest for a fantastic time, once again.

Some favourite shorts were Tim Ellrich's The Bathtub (Germany/Austria), Even Hafnor's Small Talk (Norway), Jorn Threlfall's Over (UK), Radu Barbulescu's 0068 Sniper's Nest (Romania), and once again Symbolic Threats (Germany) by Mischa Leinkauf, Lutz Henke & Matthias Wermke, which we awarded the prize..

08-06-16 / 'WORLD WAR CUP' AT HAMBURG INT'L SHORT FILM FESTIVAL

Bit of a nightmare getting to the airport for my departure to Hamburg. One weirdly congested road in Nottingham meant I had to take a taxi to Luton. Do you know how much a 100+ mile cab fare is? Plus the cost of the pre-booked/missed train. Brrrh, shudder, etc.

Slightly alarmed but amused by the festival's choice of still image for the catalogue (having personally selected an image with the phrase 'Come on England' and having it replaced with one exclaiming 'German Bastard'), I have to admit to feeling apprehensive about how the content of World War Cup might be received by German audiences. Certain that someone would stand up and holler disrespect, the film was ultimately received in good humour.

In other news, I played barman for an excellent three-hour party in the festival club, and also fell down a hill during sunrise. Sort of. How my feet managed to stay on the ground is by far my greatest accomplishment of the trip.

For my taste, some of the international shorts were medium-length films, some of which felt better suited to gallery exhibition, but other favourites were: Francisco Forbes & Matthew Barton's Sit and Watch (UK), Martina Carlstedt's The Love Agency (Sweden), Maximilien Van Aertryck & Alex Danielson's Ten Meter Tower (Sweden), Simon Schnellman's Das Leben ist Hart / Life is Rugged (Germany), Anja Dornieden & Juan David Gonzalez Monroy's The Masked Monkeys (Germany), and Duncan Cowles & Ross Hogg's Isabella (UK). I only just noticed that 4 of these 6 are co-directed, which must be the new big thing in films. Like 3D. Or lesbians.

26-05-16 / 'WORLD WAR CUP' DCP DELIVERY & POSTER

It's always hectic creating festival deliverables because I always (!) notice tiny mistakes that need ironing out (and this is after multiple "ironing out" passes). On the slightly more nerdy issue of creating a DCP for film festivals, it's no secret by now that you can create one from the convenience of your computer for free. For the last few years I followed Danny Lacey's excellent OpenDCP tutorial, until a mysterious audio issue caused me to switch to the much simpler DCP-o-Matic. Further to this, though I have yet to test it myself, I'm intrigued by a new way to view and test your DCP (previously only possible via a friendly cinema projectionist) in the shape of NeoDCP. Reviews are promising.

But better than all that stuff, Graeme Crowley, co-producer of my latest short World War Cup, just designed this smashing poster for the film:

09-05-16 / 'WORLD WAR CUP' TRAILER & PREMIERE / WALES & SCOTLAND SHOOTS

Pleased to announce that my new short documentary World War Cup is receiving its world premiere in competition at Hamburg International Short Film Festival. Given that I recorded the source audio for this film in Summer 2010, it's been a long time coming. How German audiences will respond to the chants of drunken, knuckle-dragging English football supporters remains to be seen.

In other news, it's been a hectic few weeks working on other projects. After a quick documentary shoot in Wales it was off to Scotland to film a short for a friend, where I got to try out the crazy little DJI Osmo camera (pictured below left by Peter Brill). Exciting times!

21-03-16 / UKRAINE

Just returned from Kiev after an 8-day stint prepping and shooting 3 short films/commercials for the Ukrainian National Police. I wasn't really sure what to expect, arriving to work with a team who were totally unknown to me and a cast who spoke limited English, but I'm happy to say that the experience was brilliant. Each film is a 30-second real time shot, intended to promote trust in Ukraine's brand new police force which took over from the controversial Militia. Real officers played the police roles (one was actually called away to a situation during his audition) and I got to shoot a car chase and a drunken stunt involving a glass bottle. A gallery of snapshots can be found here.

25-02-16 / AHEM

I just remembered I have a website. I received one of those emails from a 'search optimisation blahblahblah', pointing out the infinite problems with my site. Yes, I am well aware, thanks. Anyway, while it may look like I have absolutely nothing going on, it couldn't be further from the truth. The feature (re)drafting continues in earnest, I'm racing to the finish on my new short experimental doco World War Cup, and I'm getting right into the editing of a much bigger and different kind of documentary. It's not very becoming to blog about documentary editing technique or dramatic script structure so I opted for mysterious silence instead, and now people probably think I perished or something.

18-11-15 / BREST RETROSPECTIVE / FLENSBURG PROGRAMME / BRASS HEAVEN

Massive thanks to Massimiliano Nardulli for the invitation to present my 21st (!) retrospective at Brest European Film Festival in France. En route home I finally experienced lovely Dinard, spending a lucky afternoon with a smashing beach sunset. Considering the appalling terrorist attacks in Paris and subsequent closure of the country's borders, it was a surprisingly fuss-free departure the following morning, despite the nationwide security alert.

In other news, a programme I curated for Flensburg Short Film Festival in Germany screens tomorrow. The brief was to compile films specifically concerning British humour and/or aggression, with the playlist being Carolina Giammeta's Not Coming In, Johnny Barrington's Tumult, Sami Abusamra's Love Me Tinder, my own film Soft, Olly Williams' The Fly, Duane Hopkins' Twelfth Man, Christian Cerami's Black Sheep, and Joel Vietch's I Love You So Hard. Big thanks to all these filmmakers for taking part.

Brass Heaven has scooped more screenings, having just appeared at Interfilm Berlin and Leeds Film Festival, with Sleepwalkers Film Festival in Estonia imminent. Not too shabby for a film I'm only sending on request (the two exceptions, where I actually submitted, were rejected). I recently found a small write-up about the film on the BFI website here.

21-10-15 / MUSIC VIDEO FOR CJ MIRRA

This video spent too long sitting waiting to be finished, so it's nice to finally get it out there:

23-09-15 / EUROPEAN FILM COLLEGE / FLATPACK TALENT MODULE / ENCOUNTERS

So much going on just recently. Soon after Brazil it was off to North Wales for three days, filming for an ongoing documentary that I can't announce just yet. Suffice to say, I was in a factory for three days shooting the manufacture of an extraordinary product.

A few days later I visited the European Film College in Denmark's Jutland peninsula, for two days of guest lecturing. Quite the eye-opener, this one. To namedrop previous guests Thomas Vinterberg, Werner Herzog and Joshua Oppenheimer, my being invited to this fantastic place was clearly something of an honour. Arriving late at night to the sound of chirruping crickets, beneath a "ahhhhhh" blanket of brilliant stars, it wasn't until the following morning that I saw the surrounding hills and forest. One hundred and fifteen students board in these grounds for eight months, living and breathing filmmaking. Only two weeks into their year and the sense of community was already apparent. I can only imagine the spirit that develops as the course goes on.

My first lecture, unexpectedly energising for me, lasted three whole Earth hours. In the evening, I screened Jonathan Miller's 1967 version of Whistle And I'll Come to You and Mike Leigh's 1976 classic Nuts In May to mixed reactions. I love pairing these titles as they dovetail beautifully in terms of eccentric [British] character study, despite being poles apart in tone and intention. The following morning I presented a selection of some favourite short films, with further yak about said films' relevance, not without a dash of regret at running out of time. The EFC students are a bright and enthusiastic bunch and I genuinely can't think of a better option than this place for anybody considering a film school route.

After a quick stint in London's Pineapple Studios to cast dancers for an upcoming BBC job, it was off to Birmingham to speak alongside old pals the Blaine brothers at a Talent Module event hosted by Flatpack Film Festival and Creative England. The Blaines and I talked about career-type-stuff for a couple of afternoon hours, then everyone relocated to a nearby screening venue to have our films forced upon them. Lucky to have a good, warm crowd again. It was smashing to catch up with Ben and Chris, who I have only been in cyber-touch with for too many years, and who are now blazing a trail with their feature debut Nina Forever. Looking forward to seeing it. 

Straight from Birmingham to Bristol, by which point I'm feeling proper Michael Palin (Birmingham to Bristol, Bermuda to Barbados, what's the difference?). Brass Heaven was to receive its UK premiere at regular favourite Encounters Film Festival, but before that, a smashing short chiller I recently edited for Andrew Brand called What The Dog Saw (just before Brazil, take that Michael Palin) was screening in Channel Four's Moments of Horror programme. People gasped in the right place so I was wholly satisfied. The following evening, Brass Heaven, amusingly categorised as 'Other' in the comedy programme, went down nicely too. Stephen Fingleton gave an excellent talk and I'm very much looking forward to his upcoming feature debut The Survivalist. Check his short films here.

02-09-15 / RETROSPECTIVE IN SÃO PAULO

I blame my fall into the Twittersphere for this page having become all but extinct. That and my still-unsuccessful attempts to migrate to a more functional Wordpress site (one that will actually work on mobile devices). It's also not particularly interesting to write about writing, which is what I've largely been up to these last few months, though I'm proud to report that the first draft of my feature script is DONE. As for short films, ongoing work on two documentaries is, umm, ongoing.

I just returned from a hot winter in Brazil, attending São Paulo International Short Film Festival, courtesy of the British Council and Encounters Film Festival. My retrospective programme (10 titles) and masterclass session happened only one day after arriving, leaving plenty of time to soak up the rest of the festival, its films, and the city itself.

The first cinema I went to had leather seats with enough leg room to comfortably accommodate giants. Like the Dutch, for example. It wasn't until leaving that I noticed a glass-partitioned section at the rear of the auditorium, which turned out to be a bar (!) with its own incoming audio feed. The Brazilian shorts programmes had some of the freshest films I've seen in ages, with one screening particularly sticking in my mind. Excellent, energising stuff.

In no particular order, film highlights for me were Victor Lindgren's I Turn To You (Sweden), Truls Krane Meby's World Wide Woven Bodies (Norway), Ursula Meier's Quiet Mujo (France/Bosnia), Leonardo Mouramateus' The Party And The Dogs (Brazil), Vitor Medeiros' The Day I Remembered The Trip To Bicuda (Brazil - featuring the most painfully realistic sex I've ever seen on screen), and Isabel Joffily's Portrait Of Carmen D (Brazil).

There was a cracking child performance in Gala Sukhanova's Inspection (Russia) and I finally got to see Don Hertzfeldt's much-hyped World Of Tomorrow (USA) without being disappointed.

While roaming the city, I was photographing a beautifully decrepit and graffitied building which sat adjacent to a conversely plush glass construction, when what I had assumed was a female mannequin in an open window started to move. She turned out to be an underwear model, smiling and posing for us while being photographed from inside. All very bizarre.

Rua 25 de Março (March 25 street) felt as edgy as they say, and while I managed to do some filming without incident, I'd say I was lucky. The marketplace was packed and the atmosphere quite literally electric with the crackle of tazers on sale (!), and depressing shouts of "Self! Self! Self!" as vendors thrust selfie sticks into my vicinity. Signs forbidding phones and cameras in the Metropoltian Cathedral didn't stop one vain little man from taking shameless pictures of himself. With one foot up on the step, using a big tablet because it wasn't on the forbidden list, he posed with Jesus right in front of a class of school kids. What is wrong with these people?

I couldn't get enough of the ubiquitous electronic tat stalls and probably could have filled a case. These are equivalent to a toy shop for my adult self (toy shops, also). I've been slowly accumulating footage in various international cities for a daft new short film using a GoPro attached to a rather heavy monopod, and in São Paulo I found the proper piece of kit for just over a tenner. Absolute bloody bargain, though it'll probably snap or something at a crucial moment.

The non-vomiting record was reset AGAIN, in a very public way, after a smack of food poisoning from a random lunch buffet. The less said about that the better, but it definitely compromised what would've been a brighter dawdle around the city's street art. A small kink in the grand scheme of things. A dismally uncomfortable flight home with British Airways, but Graham the attendant looked like Ferris Bueller's dad, so that was good.

Stopped by an airport security pawn at Heathrow after landing, I was probed with questions about the nature of my trip, who I was travelling with and blablablah. My sleepless disorientation while trying to answer what felt like an absurd line of enquiry was clearly arousing further suspicion. When finally asked to list the titles of my films that screened (yes, this actually happened), imagine the wee pawn's face when my first words were "Telling Lies...".

26-06-15 / PROJECTS UNDERWAY

Birthday. Smashing to finally have a story that justifies a feature script, and it's only taken my whole career so far to find it. Also working on several short docs. Masterclasses and/or retrospectives coming up in Brazil and Denmark, and I'm curating a programme of shorts that deal with British aggression and/or humour for a November festival in Germany. More details on all this as and when, just to prove I'm not sitting around scratching my nuts.

17-06-15 / 'WORLD WAR CUP' SHOOT / HAMBURG SHORT FILM FESTIVAL

Long gestating short documentary World War Cup is the second in a series of 'fly on the wall' films based on audio recordings (Brass Heaven being the first). In June 2010 I taped the aggression and outrage in a city centre pub as Germany knocked England out of the World Cup football tournament. It took some time to find the right way of illustrating the abuse, and a shoot on the UK's south coast in Kent with photographer Graeme Crowley might just have nailed it.

Hamburg was mint, as always. Plenty going on for me, with four screenings of Brass Heaven (learned the cost of featuring white text on white clouds for certain projectors), plus an open-air screening of Telling Lies and Stew & Punch. Managed a nomination as barman for a certain Russian's barmy karaoke party without my ears weeping. More images from Kent and Hamburg on Instagram, and for any Hamburgers out there, a Best of the Festival programme including Brass Heaven screens at St. Pauli FC's stadium on the 29th of this month.

Must mention the short documentary Symbolic Threats by Mischa Leinkauf, Lutz Henke and Matthias Wermke (Germany), which won both the Audience Award and the German Competition. In 2014 the filmmakers climbed up the Brooklyn Bridge in the dead of night and replaced the American flags with white ones, leaving the NYPD and the public bamboozled and paranoid. Well worth seeking out.

29-04-15 / MILAN / 'BRASS HEAVEN' IN HAMBURG

Enjoyed a whistle-stop trip to Italy last week to chat with students at the American School of Milan, which is basically a U.S high school on the outskirts of the city. Surreal experience, like being in one of those films.

Also happy to report that my new short doc Brass Heaven will be screening at Hamburg International Short Film Festival. It's the first of a series of fly-on-the-wall docs, born of frustration when a lairy English stag party boarded my flight to Hamburg the year before.

28-03-15 / REGENSBURG SHORT FILM WEEK (AND A LITTLE BIT OF HAMBURG)

An appointment at Regensburg Kurzfilmwoche gave me the opportunity to start my trip in Hamburg to shoot material for a new very short film. Footage in the bag, I was lucky enough to catch up with excellent friends before rising early to catch a Bavaria-bound train to Regensburg. En route to the station, via the Reeperbahn, I had the misfortune to witness a pair of extraordinary, grotesque butt implants. I'd never seen butt implants in real life, or perhaps they've just been too subtle to notice, but these were like footballs stuffed into an otherwise slim girl's jeans. She was standing beside an older, smaller man while he withdrew cash from an ATM, most likely steeling himself for an imminent freakshow. One hell of a strange sight at 6am, but business as usual on the Reeperbahn, I suppose.

I managed to photograph the solar eclipse from the train window during the six-hour journey south, although it just looks like a crescent moon. Meh.

Regensburg was very pleasant and relaxed. My retrospective screening was fun enough but my main reason for attending was jury duty, alongside Butheina H. Kazim (Dubai) and Arna Bersaas (Norway). We awarded the prize to Miguel López Beraza's Walls (Spain), but other notable films were Piotr Litwin's Flora and Fauna (Poland), Sébastien Laudenbach & Sylvain Derosne's Daphné ou la belle plante (France), Guido Hendrikx's Onder Ons (Netherlands), Carl-Johan Westregard's Cams (Sweden), Clément Trehin-lalanne's Aïssa (France), and Victor Asliuk's Almaz (Belarus).

10-03-15 / TAMPERE FILM FESTIVAL, FINLAND

It's been nine years (!) since I last visited this great festival. The birthplace of The Moomins seemed less cold than I remember, but more expensive. Soft featured in the opening programme and Stew & Punch was part of the excellent 5 Star Stories programme.

There were too many films I didn't see and didn't want to watch on the small screens of the market in the hope of catching them at upcoming festivals. Some stand-outs for me were Hamy Ramezan & Rungano Nyoni's 'Listen' (Finland & Denmark), Monia Chokri's 'Quelqu'un d'extraordinaire' (Canada), Tiina Lymi's 'Just a name' (Finland), Sanna Liljander's 'Onni' (Finland), and a retrospective from Sámi filmmaker Marja Bål Nango (Norway).

17-02-15 / DIRECTOR'S CUT OF SMOKING COMMERCIAL

Totally forgot to feature my preferred cut of the commercial I did in December:

30-01-15 / INSTAGRAM

Square takes on a round world here.

29-01-15 / SIGHT & SOUND REVIEW

A nice, if somewhat belated review of Soft by Sight & Sound magazine.

21-01-15 / LONDON SHORT FILM FESTIVAL

A thoroughly pleasant time was had at London Short Film Festival. My retrospective programme featured seven titles and I somehow got through the subsequent Q&A, despite a too-indulgent night before. This was the first time I'd seen my remastered versions of older films in DCP format up on the big screen, and I'd say it's definitely been a worthwhile slog - those diddy DV (sub PAL) films look better than they ever did.

Due to accommodation complications and having to hop around the four corners of London over as many days, I didn't get to see nearly as many programmes as I would have liked, but there was plenty to like about those I did see. Especially reassuring, at least in the programmes I saw, was a sense of confident, elliptical storytelling. It's no secret that many shorts continue to pull the most obvious strings in order to tick boxes and bait the biggest, dumbest awards. It's an uncomplicated game one can play, and win, if one's soul is up to the challenge. Balance is everything in life and there should always be room for all types, so long as too many of one kind doesn't perpetuate an abundance of derivative, voiceless, samey films designed to appeal to the broadest, most commercial, unquestioning audience possible. LSFF rightly represents the full spectrum - this is where film festivals thrive, and why festivals like this are so important to a healthy and balanced UK short film scene.

06-01-15 / COMMERCIAL LAUNCHED ONLINE / RETROSPECTIVE SHOW IN LONDON

Spent the majority of the last couple of weeks sorting through my photography archives to finally give all those images a permanent online home. more on that soon. This site also needs an overhaul to be more phone and tablet compatible. In other news, it's been a pleasant Christmas and new year - I started and stopped myself writing a new short (aggghhh) which won't leave my head, I finished the treatment for my feature, and the anti-smoking commercial I recently directed has started scooping a fair bit of press. Some YouTube comments:

"No offence to your videos I know your trying to not make people smoke but this ad is gross please make ads what is not that gross"

"Everyone needs to 'pipe down' I personally think this should be shown to an all aged audience!"

"Tell that to my younger brother who threw up all while watching stampylongnose"

Also, David Blaine terrified me by following me on Twitter. Speaking of which, I'm not sure I have any shameless self-promotional tweets left in me to announce my upcoming retrospective show at London Short Film Festival. Grab your tickets here.

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