I Was There (2025, UK/Poland, 13 mins)
A haunting exploration of familial bonds, intergenerational memory, and the enduring impact of shared narratives. Filmmaker Kamila Kuc steps into the emotional stream of inherited family history as the lines between documentary, testimony, and fiction blur.
The Last Forever (2023, UK/USA, live cine-performance), with Scott Stark, 60 mins
During the pandemic, artists Kamila Kuc and Scott Stark perused hundreds of discarded 35mm family slides from garage sales, lab castoffs, flea markets, eBay, gifts from friends, as well as their own archives. In many of these seemingly mundane images, the artists discovered subtle indicators of interpersonal family dynamics captured by the camera during dinners, parties and travels. This is a sprawling narrative - about a spouse that’s gone missing - a story that is fanciful, poignant, occasionally illogical but always entertaining.
Her Plot of Blue Sky (2023, Morocco, HD), 22 mins
The film features a group of women who reside in a care home in a small market town of Sefrou, Morocco. Her Plot of Blue Sky is a record of one of the days in which the Amazigh women inhabitants of the care home were seen using the cameras. Woven into their narratives is Rachida Madani’s poem, Tales of a Severed Head.
Winner of the British Association of Film, Television and Screen Studies Best Screen-Based Practice Research (Short) Award 2024.
Winner of the Jean Ruch Award, The Society of Visual Anthropology Film & Media Festival, Tampa, Florida, 2024.
What We Shared (2021, UK, Abkhazia, HD), 69 mins
Seven inhabitants of a de facto state on the Black Sea unfurl a web of stories about loss and displacement through the re-imaginings of dreams and memories of the 1992-93 war in Abkhazia.
Available globally on Klassiki.
uchronia, no.1 (2020, UK, HD), 4 mins
Past time, suspended time. Macro vision serves as a tool to experience what has long been known. At once disturbing and nostalgic, the soundtrack lures the viewer into a claustrophobic and apocalyptic space as we have to find new ways of being with the world.
Winner of the Jury Award, 59th Ann Arbor Film Festival, Ann Arbor, Michigan, USA, March 2021.
noonwraith blues (2020, UK, Super8), 3 mins
Ominous cinegrams of Albrecht Dürer’s Melencolia print intercut, like cascading scythes, with depictions of a woman in a field, evoking repetitions that exist in harvest rituals, as well as in gestures of madness. A pastoral horror.
Winner of the Honourable Mention Award, Super 8 Film & DV Festival, New Brunswick, New Jersey, USA, January 2021.
Winner of the Jury Award, The Bomb Factory Artist’s Film Festival, The Bomb Factory Art Foundation, London, December 2020.
I Think You Should Come to America (2017, USA/UK/Poland, 16mm, Super8), 21 mins
In I Think You Should Come to America the correspondence between two young and naïve penfriends serves as a vehicle to explore the dangers of seeing cultures different from our own as ‘other.’ A young Polish woman (myself), coming of age in the dying embers of Communist Poland, seeks escape in the re-imagining of a romance with the American Dream through her correspondence with a young Native American man.
Winner of the Honourable Mention Award, LA Underground Film Forum, Los Angeles, California, USA.
Batum (2016, UK/Georgia, Super8), 8 mins
Batum takes as its starting point my experience of near drowning in the Black Sea of Batumi, Georgia. As such, the film is induced with a desire for an auto-ethnographical self-interrogation. Images that feature in the film are a constellation of personal and prosthetic memories, acquired through historical and cultural knowledge as exemplified by the poems of Osip Mandelstam and Joseph Stalin, among other cultural tropes.
Nominated for Best Experimental Film, Short to the Point Film Festival, Bucharest, Romania, 2016
Nominated for Best Cinematography, Best Director of Photography and Best Experimental Short, Creative Arts Film Festival, New York, USA, 2016
Nominated for Best Experimental Film, Bucharest ShortCut Cinefest, Bucharest, Romania, 2016.
Fluchtpunkt (2015, UK, Super8), 2 mins
Many beliefs and cultures perceive circle as a pure, divine shape. Da Vinci’s Vitruvian Man, positioned in a circle, symbolises perfect proportions. In Fluchtpunkt, the recurring and accidental circular patterns pervade the out-of-date film. They reinforce the ironic take on anthropocentrism as seen through the silently observed Stutthof concentration camp. Fluchtpunkt takes as its starting point traumatic occurrences in my family history to explore an auto-ethnographic impulse through a detached approach to filming.
Rehearsal (2015, UK, 16mm/HD), 11 mins
Based on David Foster Wallace's short story ‘Signifying Nothing’ (2001), Rehearsal aims to examine the complex nuances of his literary language. Foster Wallace’s use of repetition, his strong sense of the ambiguous and absurd, as well as the intricacy of his American jargon appear even more visible when rehearsed by a Bulgarian theatre actor. Thus Rehearsal is therefore also a portrayal of a performer at work. Foster Wallace’s story is used here as pretext to portray the elusive nature of personal memory of a (possibly made up) traumatic event.
Nominated for VGIK Award, Blow-Up Arthouse Film Fest, Chicago, IL, USA.
In the Same Room (2014, UK, HD), 5 mins
Non-human creatures occupy human spaces. The disconcerting atmosphere is achieved here largely through Timothy Nelson's carefully orchestrated sound.