Sarah Turner

Perestroika

Sarah Turner

Sarah Turner

Sarah Turner's film is a ghost story that explores what we forget and how we remember. The stunning imagery comes solely from the window of the Trans-Siberian train, shot first in 1987-8 and then again in 2007-8. The re-enactment of the journey is a memory work, a re-enactment of the past in the present through the process of filming. But the return journey is haunted by the voices of two dead friends that dominate the soundscape of the 'archive' footage.

Cut

Sarah Turner

Lisa Palfrey, Julie Cox

A difficult night out sparks a traumatic memory for a woman whose way out is to ritualistically harm, then fix herself. Intercutting the two states of the protagonist's psyche, rich golden sweeps from the past begin to bleed into the reds and blues of the film's present.

Perestroika: Reconstructed

Sarah Turner

Re-mixes and extends Perestroika (2009) into two sequences. Sequence one constritutes the 2009 version, while the second sequence constructs a new framing narrative that reinterprets and reconfigures both the imagery and the experience of the first. Part psycho-geography, part dream and part environmental allegory.

One and the Other Time

Sarah Turner

One And The Other Time is an erotically charged experimental film exploring the dynamics between intimacy and violence. Grainy blue tinted images of a swaying branch of silver balls rhythmically knocking each other, mesmerise and evoke a sense of our own physical desire and fear. A hypnotic voice-over of a woman's account of a violent moment with her lover conveys a sense of the continual but unattainable desire to reconcile fantasy with external reality.

Public House

Sarah Turner

Experimental exploration of The Ivy House pub in Peckham, which was sold to developers as part of the gentrification of South London.

Sheller Shares her Secret

Sarah Turner

Short film about a young girl's rude retaliation for paternal humiliation. In voice over a young woman tells a subversive tale which interweaves suburban kitsch with childhood defiance. The film focuses its point of view on a child's gaze which interacts with the recounted story producing a sense of irony and challenging the truthfulness of the interpretation of events.

She Wanted Green Lawns

Sarah Turner

Featuring the Carpenters song ‘Close To You’, this is an ode to love and fantasy. Filmed in a gay bar, the roving camera hesitates on a woman’s face, on some lilies, on small groups of people drinking and enjoying themselves and on the proverbial kiss between two women. As if on cue, ten lesbians gather in line at the bar and nonchalantly perform a synchronised dance. A sublime fantasy, with pleasure as protest.