Programme:

dir. Alia Syed, UK 1987, 5 min., 16mm

A white swan prepares for flight, flexing and caressing, extending and folding its wings repeatedly as if bracing for a long journey. The close-up images of the swan are de-contextualised via repetition and framing; abstracting the natural form until it becomes a blank screen, onto which the viewer can project their own meaning.

dir. Alia Syed, UK 1986, 15 min., 16mm

Unfolding depicts the gendered space of the launderette as both a site of oppression and possible resistance.  

‘I was interested in making a film about women’s workspaces; the launderette is a functional space, but it is also a place where women meet socially. I got to know the women, took my Bolex (a wind-up camera), and after a while I felt comfortable enough to start filming. It made me aware of the way in which documentaries can be a form of control. On the one hand, it was a straightforward documentary and, on the other, it questioned my role as maker. It took a long time to make and was extremely rigorous.’

– Alia Syed

dir. Alia Syed, UK 1992, 20 min., 16mm

A personal documentary around journeys, memories and watching: a woman remembers her past by faces she sees while travelling on the London Underground. She begins to believe that these people, like her, have all taken part in the same event. The story, which takes the form of a letter to her friend Fatima, is spoken in Urdu with subtitles in English, although the subtitles do not always appear in conjunction with what is spoken. Syed expresses the dislocation of the diasporic experience while questioning the role of language in structuring power relations between class, race and gender.

dir. Alia Syed, UK 2003, 23 min., 16mm

Filmed in Karachi, Lahore, and London, Eating Grass comprises five overlapping narratives, each representing different emotional states experienced throughout the day that are marked by the Muslim tradition of the five daily prayers. Invested in a material reflection on language and translation, memory and displacement, Syed’s haptic cinema emphasises the tactility of 16mm film. Layering of voices and layering of images produce a hypnotic effect in this meditative and sensuous work.