“Emily Wardill puts her viewer between a rock and a hard place. Her films focus on those brief moments of clarity, when truth and fiction blur, and our reason is sent ricocheting across the universe like a pinball.” Says The Guardian.

Wardill’s work is a precision-engineered example of how to rework a basic axiom of film so as to best engage with a particular subject. Rockridge’s aim was to explore how language, metaphor and framing (as used in politics) project images into our minds. When compiling the film from over 8 hours of interviews with Rockridge staff, Emily realised that her film too had to start with language as a projection: an imageless film, projecting ideas and (linguistic, metaphoric) images from black film leader and sound (“When I told Peter Gidal that his almost entirely black film with a soundtrack of interviews of Nicaraguan revolutionaries had been in my mind when I was editing my own 51-minute entirely imageless film, he replied ‘That’ll be a hit’.”).