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Stay updated.",{"html":135},"\u003Cp>By subscribing to our newsletter you are agreeing to receiving updates and communications from Ibraaz.\u003C/p>",{"globalSet":137},{"id":138,"handle":139,"activated":140,"heading":141,"richText":142,"text":144},"16767","notification",false,"Visitor Information",{"html":143},"\u003Cp>Please note that our Majlis is currently closed and will reopen with our next exhibition in early July. The rest of the building is open so please do visit!\u003C/p>\u003Cp>\u003Cbr /> \u003C/p>","Got it",{"globalSet":146},{"id":147,"handle":148,"heading":12,"richText":149},"11","gdpr",{"html":150},"\u003Cp>We use cookies to give you the best experience. By clicking 'Accept' you consent to the use of all cookies. \u003Ca href=\"/privacy-policy\">Privacy Policy\u003C/a>.\u003C/p>",{"entries":152},[153],{"uri":154,"title":155,"typeHandle":156},"ibraaz-publishing/watch/the-image-is-not-enough","Works from Radical Film School – Part I: The Image Is Not Enough","videoForm",{"categories":158},[159,164,168,172,176,180,184,188],{"id":160,"slug":161,"title":162,"groupHandle":163},"4488","exhibitions","Exhibition","events",{"id":165,"slug":166,"title":167,"groupHandle":163},"4490","talks","Talk",{"id":169,"slug":170,"title":171,"groupHandle":163},"15579","music","Music",{"id":173,"slug":174,"title":175,"groupHandle":163},"4489","performance","Performance",{"id":177,"slug":178,"title":179,"groupHandle":163},"4492","film","Film",{"id":181,"slug":182,"title":183,"groupHandle":163},"6390","library-in-residence","Library-in-Residence",{"id":185,"slug":186,"title":187,"groupHandle":163},"18154","special-projects","Special Project",{"id":189,"slug":190,"title":191,"groupHandle":163},"18170","workshops","Workshop",{"entry":193},{"id":194,"uri":154,"title":155,"slug":195,"postDate":196,"typeHandle":156,"sectionHandle":197,"meta":198,"categories":201,"figure":205,"pdf":219,"authorInfo":220,"richTitle":12,"richSubtitle":225,"richDescription":227,"richExcerpt":12,"image":229,"externalLinks":231,"entrySections":232,"related":342},"26995","the-image-is-not-enough","2026-07-31T08:00:00+01:00","watch",[199],{"title":155,"description":12,"image":200},[],[202],{"title":203,"slug":204},"Screening room","screening-room",[206],{"typeHandle":207,"image":208,"caption":215,"width":217,"ratio":218},"figure",[209],{"id":210,"path":211,"alt":12,"title":212,"width":213,"height":214,"mimeType":16},"27032","Radical-Film-School/Screenshot-2026-07-28-at-16.45.40.png","Screenshot 2026 07 28 at 16 45 40",3369,2519,{"html":216},"\u003Cp>Rev Sullivan, \u003Ci>Autonomy Transition \u003C/i>(2026)\u003C/p>","wide","landscape",[],[221],{"authorName":222,"authorBio":223},"Rev Sullivan, Maria Paradinas, Anuka Ramischwili-Schäfer & Vanga Mikashavidze, Florenza Deniz Incirli, Makella Ama, Layla Tosifi",{"html":224},"\u003Cp>\u003Cstrong>Mars K\u003C/strong> is an artist working with video, text and performance, and a writer published in \u003Ci>GRASS\u003C/i> \u003Ci>Magazine\u003C/i> and \u003Ci>Sticky Fingers Journal\u003C/i>, and editor of \u003Ci>Screwed\u003C/i>. Made in London with parts from Hull, they are a curator of queer cinema. Having led the DIY Fringe! Queer Film & Arts Fest for ten years and produced the first Trans Day of Joy in lockdown, they joined Radical Film School in 2024.\u003C/p>\u003Cp>\u003Cstrong>Rev Sullivan\u003C/strong>is a trans-femme audio-visual artist and producer working across film, installation, and live performance. Their practice responds to the politics of the mediated body through experimental image-making and examines how queer and trans identities are produced, surveilled, and distorted through post-internet visual cultures.\u003C/p>\u003Cp>\u003Cstrong>Maria Paradinas\u003C/strong> is a moving-image curator and filmmaker whose practice engages with colonial and political violence embedded within institutional archives. She is interested in how visual archival materials can be re-appropriated to foreground marginalised counter-narratives, challenging dominant historical frameworks and contesting constructed truths. Her recent research focuses on the relationship between silence and sound, exploring how absence, distortion, and reverb function as both aesthetic strategy and political gesture.\u003C/p>\u003Cp>\u003Cstrong>Anuka Ramischwili-Schäfer\u003C/strong> is a Georgian-German artist, programmer, and librarian based in Tbilisi, Georgia. Their creative work uses the form of the essay film and mixed media, and explores themes of displacement, dispersion, translation, dysphoria, and disability. They are the founder of the experimental screening series F(r)ictions, as well as the radical film festival Third Cinema Days, which held its first edition in March 2025.\u003C/p>\u003Cp>\u003Cstrong>Nino (Vanga) Mikashavidze\u003C/strong> is a Tbilisi-based film curator and cultural researcher whose practice spans moving-image programming, critical discourse, and the translation of seminal texts in philosophy and the social sciences. As co-founder of Third Cinema Days Film Festival and a long-standing collaborator with Tbilisi International Film Festival, she shapes spaces for alternative cinemas.\u003C/p>\u003Cp>\u003Cstrong>Florenza Deniz Incirli\u003C/strong> is a London- and Cyprus-based artist-researcher, focused primarily on moving-image and textual-based works, and engaging with memory, non-linear temporality, and ritual performances. Alongside a moving image practice, Incirli is deeply committed to alternative pedagogical spaces and public programming as a site of collective learning. Their practice is collaborative, exploratory, multilingual, and grounded in community.\u003C/p>\u003Cp>\u003Cstrong>Makella Ama\u003C/strong> is an anti-disciplinary maker with a practice that often takes shape through curation, visual anthropology, and speculative writing. Their practice is rooted in their community work with children in care and young refugees. Recently curated projects include Uzo Egonu at Museum of the Home (2025), London Short Film Festival (2025), Firelei Báez - Sueño de la Madrugada (A Midnight’s Dream) at South London Gallery (2024) and To Hold and To Be Held at Tate Britain (2024).\u003C/p>\u003Cp>\u003Cstrong>Layla Tosifi\u003C/strong> is an Iranian filmmaker based in New York whose work examines how political histories shape intimate relationships. Her second film, \u003Ci>A History of Sadness\u003C/i>, was screened at Sheffield DocFest, DOC NYC, and RIDM, amongst others, and was selected for the Voices of Canada programme by the Consulate General of Canada in NY. She is a recipient of grants from the NFB, Canada Council for the Arts, and the Ontario Arts Council. \u003C/p>",{"html":226},"\u003Cp>Screening until 21 Aug 2026\u003C/p>",{"html":228},"\u003Cp>Curated by Mars K and Rev Sullivan\u003C/p>",[230],{"id":210,"path":211,"alt":12,"title":212,"width":213,"height":214,"mimeType":16},[],[233,237,252,257,270,275,286,291,304,309,322,326,337],{"typeHandle":234,"richTitle":12,"richSubtitle":12,"richText":235},"content",{"html":236},"\u003Cp>The image is not enough. The ongoing genocides committed by Israel in Palestine and broader West Asia, live streamed on social media as the world watches, demonstrate this. The systemic complicity of Israel’s allies, and their repression of solidarity movements, cheapens state narratives about freedom of expression and defending democracy. What does this mean for moving-image practice? The evidence-image no longer compels the world’s authorities to act. What does it mean to work with material from state and colonial archives when those institutions hold images as trophies and expressions of violent conquest?\u003C/p>\u003Cp>In this programme of short films, participants of Radical Film School take the archive into their own hands, fragmenting and reworking existing images through their own subjectivities and positionalities in order break with the kinds of passive spectatorship and ambient viewing that characterises our digital present. The archival material presented in these films ranges from national histories to personal and family videos, and the dismantling and remixing of these audio-visual documents serve to foreground the socio-political dynamics and frictions embedded in this source material. \u003C/p>\u003Cp>Across these experimental works, different interventions into the archive are staged, and many hands are shown ripping, recaptioning, sharing, overlaying, and placing in dialogue fragments from the past and the present. As the old world burns and the new world struggles to be born, these films attempt to build an alternative world out of the embers.\u003C/p>\u003Cp> \u003C/p>\u003Cp> \u003C/p>",{"typeHandle":238,"caption":12,"video":239,"image":245,"width":217},"video",[240],{"id":241,"path":242,"alt":12,"title":243,"width":12,"height":12,"mimeType":244},"26998","Radical-Film-School/Autonomy_Transition.mp4","Autonomy Transition","video/mp4",[246],{"id":247,"path":248,"alt":12,"title":249,"width":250,"height":251,"mimeType":16},"27038","Radical-Film-School/Screenshot-2026-07-28-at-16.52.31.png","Screenshot 2026 07 28 at 16 52 31",2877,2092,{"typeHandle":234,"richTitle":253,"richSubtitle":12,"richText":255},{"html":254},"\u003Cp>Rev Sullivan, \u003Ci>Autonomy Transition\u003C/i> (2026, 5m 4s) \u003C/p>",{"html":256},"\u003Cp>In the tradition of archival sabotage, \u003Ci>Autonomy Transition\u003C/i> exposes imperial practices of manipulative control over bodies and land. By repurposing Israeli and British state-funded archival media, the film deconstructs the original imagery and messaging, exposing the pillars of an imperial regime pinkwashing colonial actions through homonormative agendas. The work questions the validity of affirming trans identity if such formal recognition is contingent on embedding oneself in genocidal practices. The work suggests that state affirmation is not intrinsically a sign of progress, but a marker of homonationalism. Transsexuals don’t belong in the military; they belong in the revolution.⚧\u003C/p>\u003Cp> \u003C/p>\u003Cp> \u003C/p>",{"typeHandle":238,"caption":12,"video":258,"image":263,"width":217},[259],{"id":260,"path":261,"alt":12,"title":262,"width":12,"height":12,"mimeType":244},"27025","Radical-Film-School/Stool_Pigeon.mp4","Stool Pigeon",[264],{"id":265,"path":266,"alt":12,"title":267,"width":268,"height":269,"mimeType":16},"27051","Radical-Film-School/Stool-Pidgeon.png","Stool Pidgeon",4480,2520,{"typeHandle":234,"richTitle":271,"richSubtitle":12,"richText":273},{"html":272},"\u003Cp>Maria Paradinas, \u003Ci>Stool Pigeon\u003C/i> (2025, 4m 23s)\u003C/p>",{"html":274},"\u003Cp>Composed of black-and-white archival aerial photographs of Jamaica on the cusp of independence, this film explores the colonial logics embedded in acts of image capture. The film re-appropriates images taken as part of photographic surveys – images initially used to delineate plantation boundaries, manage land tenure, and prospect for mineral resources including bauxite. They index British anxieties about a lack of geographic knowledge and a desire for economic control. Through the eyes of a bird instrumentalised to gather information on the land, the film travels towards Cockpit Country, a region that partially lies within Maroon territory. Though officially protected, it remains under threat from mining. The film questions extractive geographies that exclude local epistemologies and considers the enduring echoes of colonialism’s visual regimes.\u003C/p>\u003Cp> \u003C/p>\u003Cp> \u003C/p>",{"typeHandle":238,"caption":12,"video":276,"image":281,"width":217},[277],{"id":278,"path":279,"alt":12,"title":280,"width":12,"height":12,"mimeType":244},"26997","Radical-Film-School/A_Series_of_Light_and_Motion.mp4","A Series of Light and Motion",[282],{"id":283,"path":284,"alt":12,"title":285,"width":268,"height":269,"mimeType":16},"27054","Radical-Film-School/Screenshot-2026-07-28-at-17.19.23.png","Screenshot 2026 07 28 at 17 19 23",{"typeHandle":234,"richTitle":287,"richSubtitle":12,"richText":289},{"html":288},"\u003Cp>Anuka Ramischwili-Schäfer & Vanga Mikashavidze, \u003Ci>A Series of Light and Motion\u003C/i> (2026, 12m 9s)\u003C/p>",{"html":290},"\u003Cp>\u003Ci>A Series of Light and Motion \u003C/i>is an essay film about programming postcolonial film and Third Cinema in the Second World. It critically interrogates the cultural and political contexts of Georgia and the Caucasus and their position in West Asia and along the peripheries of Europe. The film was co-directed by Vanga Mikashavidze and Anuka Ramischwili-Schäfer of Third Cinema Days in Tbilisi, Georgia, and was originally created for \u003Ci>darkmatter\u003C/i> journal. \u003C/p>\u003Cp> \u003C/p>",{"typeHandle":238,"caption":12,"video":292,"image":297,"width":217},[293],{"id":294,"path":295,"alt":12,"title":296,"width":12,"height":12,"mimeType":244},"27000","Radical-Film-School/They_Gave_Me_A_Camera_To_Know_Where_Im_From.mp4","They Gave Me A Camera To Know Where Im From",[298],{"id":299,"path":300,"alt":12,"title":301,"width":302,"height":303,"mimeType":16},"27052","Radical-Film-School/TheyGaveMeACamera_1.png","They Gave Me A Camera 1",2608,1748,{"typeHandle":234,"richTitle":305,"richSubtitle":12,"richText":307},{"html":306},"\u003Cp>Florenza Deniz Incirli, \u003Ci>They Gave Me a Camera to Know Where I'm From\u003C/i> (2024–26, 11m 17s)\u003C/p>",{"html":308},"\u003Cp>Part of an ongoing research project, this work-in-progress excavates the director’s personal archives. Family videos from the early 2000s, recorded by her journalist father Serhat İncirli, are assembled to reveal fragments of a politicised familial life at a time when he was contending with the possibility of political exile from Cyprus. Both father and daughter mediate their experiences of the world through the camera and text. Through repetition, ritual, and conversation, this work explores the director’s perceptions and experiences of memory, cultural identity, and displacement during their childhood in the diaspora.\u003C/p>\u003Cp> \u003C/p>\u003Cp> \u003C/p>",{"typeHandle":238,"caption":310,"video":312,"image":317,"width":217},{"html":311},"\u003Cp>Makella Ama, \u003Ci>someone left an eyelash on the kitchen table \u003C/i>(2024\u003Ci>, \u003C/i>4m 42s)\u003C/p>",[313],{"id":314,"path":315,"alt":12,"title":316,"width":12,"height":12,"mimeType":244},"26999","Radical-Film-School/Someone_Left_An_Eyelash_On_The_Kitchen_Table_Top.mp4","Someone Left An Eyelash On The Kitchen Table Top",[318],{"id":319,"path":320,"alt":12,"title":321,"width":268,"height":269,"mimeType":16},"27053","Radical-Film-School/Screenshot-2026-07-28-at-17.16.51.png","Screenshot 2026 07 28 at 17 16 51",{"typeHandle":234,"richTitle":323,"richSubtitle":12,"richText":324},{"html":311},{"html":325},"\u003Cp>Drawing from archival footage and video diaries filmed in Accra, Ghana (2020), this short presents a non-linear journey through time, Black Film archives, the somatics of singing, and speculative poetry. Using the tool of mosaic layering, the film interweaves static, children embodying airplanes, figures in flight, Dionne Brand's \u003Ci>No Language Is Neutral\u003C/i>, and voice to create a multi-textured meditation on what Saidiya Hartman refers to as ‘scraps of the archive’.\u003C/p>\u003Cp> \u003C/p>\u003Cp> \u003C/p>",{"typeHandle":238,"caption":12,"video":327,"image":332,"width":217},[328],{"id":329,"path":330,"alt":12,"title":331,"width":12,"height":12,"mimeType":244},"27026","Radical-Film-School/AHOS_phonecomp_04.MP4","AHOS phonecomp 04",[333],{"id":334,"path":335,"alt":12,"title":336,"width":268,"height":269,"mimeType":16},"27055","Radical-Film-School/A-History-of-Sadness.png","A History of Sadness",{"typeHandle":234,"richTitle":338,"richSubtitle":12,"richText":340},{"html":339},"\u003Cp>Layla Tosifi, \u003Ci>A History of Sadness\u003C/i> (2024, 18m 26s)\u003C/p>",{"html":341},"\u003Cp>\u003Ci>A History of Sadness\u003C/i> examines the complex evolving bond between mother and daughter through the lens of displacement and identity, focusing on three generations of Iranian women: a grandmother, a mother, and her daughter.\u003C/p>\u003Cp> \u003C/p>",[343],{"title":12,"relatedEntries":344},[345,367,383],{"typeHandle":346,"entries":347},"channelsEntries",[348],{"title":349,"uri":350,"image":351,"readCategories":358,"writeCategories":362,"missionCategories":363,"authorInfo":364},"In the Cut","ibraaz-publishing/read/in-the-cut",[352],{"id":353,"path":354,"alt":12,"title":355,"width":356,"height":357,"mimeType":16},"15772","Naeem.png","Naeem",1484,1047,[359],{"title":360,"slug":361},"Essay","essay",[],[],[365],{"authorName":366},"Naeem Mohaiemen",{"typeHandle":346,"entries":368},[369],{"title":370,"uri":371,"image":372,"categories":377,"authorInfo":380},"Huge Likeness: Ex-Soviet Archives","ibraaz-publishing/watch/huge-likeness-ex-soviet-archives",[373],{"id":374,"path":375,"alt":12,"title":376,"width":268,"height":269,"mimeType":16},"1834","hellishes-on-earth/Image-for-landing-page.png","Image for landing page",[378],{"title":379,"slug":238},"Video",[381],{"authorName":382},"Ala Younis",{"typeHandle":346,"entries":384},[385],{"title":386,"uri":387,"image":388,"categories":394,"authorInfo":398},"The Maroons","ibraaz-publishing/listen/the-maroons",[389],{"id":390,"path":391,"alt":12,"title":392,"width":393,"height":393,"mimeType":16},"21710","Firas-Shehadeh/The-Maroons_Firas-Shehadeh_2026_cover.png","The Maroons Firas Shehadeh 2026 cover",4160,[395],{"title":396,"slug":397},"Soundscape","soundscape",[399],{"authorName":400},"Firas Shehadeh"]