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rumour had it that in the north eastern reaches of japan, taxi drivers were picking up passengers that turned-out to be non-existent — ghosts or imaginings, perhaps due to the grief felt almost a decade on from a tsunami in the region. katharine took this as an opportunity to make a film that inquired into memory, myth, life and death. using fixed cameras in the taxi cabs of the small port town of kamaishi, she filmed four drivers weaving their way through the streets picking up occasional passengers and conversing with visitors to the town about their lives. what came from this experiment is something ineffable, moving and beautiful to watch.

needless to say we leapt at the chance at making a poster for the film. after presenting a range of directions the poster could go in, katharine chose the one you see here. izzy roth-dishy and caspar made the poster on laptops back and forth between new york and berlin.

the film was selected to have its world premiere at visions du reel whilst we were making the poster. if you have the means, do see this film. we can't recommend this film enough.

simply put the film is about a women who for all intents and purposes becomes a chair, and about a man who for all intents and purposes then falls in love with that chair. it's a clever, stylish and undeniably thought-provoking film, and it stars one of our all time heroes, juliette lewis.

we were already fans of amanda's work, and it was great to chat to her again. we presented a range of ideas for the poster and she chose the one you see here. caspar made it in berlin with some close-up photos he asked amanda to take of "the chair". then with a few drops of water, a camera and a laptop, the final piece slowly but surely came into being.

you can watch a trailer for the film here. it's one of the more original trailers we've seen in a while. 

the film is called afufu. it tells the story of a day in the life of an african housemaid, grace, who works for and lives with a wealthy, white, american family. the family's home has become a veritable museum of african artworks and these, combined with the intimate moments she's been stealing with the father of the family, of course make grace feel variously objectified herself. when grace accidentally breaks one of the african sculptures—afufu—on display, conflict ensues. the film questions where the lines of cultural appropriation are these days – can the owners see through their own acts of misperceived benevolence and cultural celebration to the harm they are in fact doing? similarly can grace come to terms with why she feels the position she's in makes her nevertheless surperior to her family back home?

caspar presented a series of directions the poster could take, and ellie went with this one.