Katharine Round


Filmmaker


CONTENTS

· Mosaics
· Road Movies
· Symphonies and Expanded Cinema
· All the Films I Never Made
· About



ABOUT
My films are driven by a deep curiosity towards "ordinary" human beings: our contradictions, humanity and fallibility as we attempt to make sense of the world.

My work often explores specific situations that illuminate wider thematic ideas, with formalist intervention to “provoke reality” and uncover new ways of seeing our lives. I don’t hide my presence and aim to question myself as much as I do others, and as such, my films acknowledge a vision of the world through "imperfect" eyes: a cinema of lies as much as of truth. 

I've made work for, and had support from, the Arts Council, BFI, Creative Europe, Forma Arts, CPH:LAB, Dartmouth Films, Passion Pictures, the Guardian, Serpentine Galleries and many others.

This site acts as a notepad for past and ongoing work, nothing is permanent as I aim to share my evolving thought processes as well as the results.

My work is produced via Disobedient Films.


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CONTACT
Disobedient Films
10-28 Millers Avenue
London E8 2DS




Home



About


I was born in Leeds, West Yorkshire in the late 70s. Even from an early age, I’ve always been an outsider, not quite fitting in anywhere. I spent most of my teenage years with a sketchpad in hand, sitting on the street, in parks, in pubs, just observing life. My art teacher wisely told me that art is about learning how to look rather than the act of pencil on paper. I have a deep fascination and curiosity about life, and quickly realised my sketchpad gave me a means through which to observe and encounter others.  As I got older, I replaced the sketchpad with a camera.

I studied documentary film at Leeds University and from there took a wide range of roles as a director, producer, and development executive. I became involved with the rapidly burgeoning independent documentary sector, establishing Doc Heads as a means for filmmakers to meet and share independent, artistic work. These early years showed me that whilst there is no one way to approach a film artistically, that working with “the real” means approaching each piece from the heart and with a curiosity to discover something I don’t already know. I only make films that I feel a connection to, and my work tends to arrive in the world in its own idiosyncratic way: in cinemas, television, in galleries, online, and on the street.

I don’t set out to “choose” stories, I find my inspiration in elements of life that intrigue me. I try and look at the things others feel are insignificant as it is often in the spaces in between that the more interesting contradictions of life are revealed. My films often include intersecting characters, formal invention, the poetic use of place and time, conversations in cars and mirrors, and the construction of “situations”. As time has gone on my work has become more personal and reflexive, often questioning the role of the filmmaker (and sometimes the viewer too) in inventing reality.

My first feature-length film, The Divide, was released in 2016. It was my first “mosaic” film, a form I have returned to in different ways since. Supported by the BFI and Creative Europe, the film premiered at Sheffield Doc/Fest to widespread critical acclaim, had a national theatrical release across 200+ UK cinemas, and broadcast on Netflix.  I’ve also worked on a number of “symphony” films, producing the Michael Powell Award nominee London Symphony, and creating and directing the “live documentaries” Twelve Thousand Years in Fragments and Anthropocene in C Major, part of the collaborative multidisciplinary Climate Symphony project supported by CPH:DOX, Serpentine Galleries, Forma Arts and Arts Council England. I’m currently working on two films that explore the car as a provocative documentary “situation”: A Japanese Ghost Story and Keith and I.

I co-founded Disobedient Films in 2014, and filmmakers collective Doc Heads in 2009. In 2018 I was asked to run a summer school at UCL’s Open City Documentary School, which launched a parallel research and teaching practice that has informed and aided how I approach my films. I’m currently working as a Lecturer on the MA Ethnographic & Documentary Film at UCL, and conducting practice-based research at LCC. I have also taught and given masterclasses at Royal Holloway, London Film School, Four Corners, Sheffield Doc/Fest, BAFTA and the Roundhouse, amongst others.


Films and Works (selected)


Ghosts in the Machine (exhibited as part of hybrid work Anthropocene in C Major)(2021) World Premiere CPH:DOX 2021. Selected for Visions du Reel Film Market 2021.

All the Films I Never Made (2021-)

Keith & I(in production, 2020-) Selected for Belfast DocMarket 2019. Recipient MEDIA Award 2019.

A Japanese Ghost Story (in production, 2020-)

Twelve Thousand Years In Fragments (2020) Commissioned by Electric Dreams Festival of Immersive Storytelling, with support from Arts Council England.

Oil Coal and Gas For Three Cellos (2020) Commissioned by Serpentine Galleries.

Bonded (2019)

London Symphony (2017). Michael Powell Award Nominee, Arts Council award recipient. Distributed on BFIPlayer. Selected for Little White Lies 100 Greatest British Films (1905-2018)

Dearborn, Michigan (2017) Commissioned by Guardian Documentaries. Nominee Short Film Prize, Shuffle Festival.

The Walled Off Hotel (2017) Permanent film installations in hotel established by Banksy in Palestine.

Flatline (2017)

Climate Symphony: Labs (2017) Arts Council awarded. Produced by Forma Arts and Disobedient.

A Tale of Two Lands (2016)

The Divide (2016) Recipient MEDIA Production Award / Recipient BFI Award /Nominee Best British Film at Open City Documentary Festival.

Testbed for a Climate Symphony (2015) part of the Serpentine Transformation Marathon

The London Recruits (2014) A “disobedient film” exploring resistance and nonconformity through form. Interactive exhibition, Disobedient Objects at the V&A.

Transplant (2011, co-director) Grierson shortlisted for BBC 1.



As Executive Producer (selected)

Once Años (in post production). Funded by Fondo De Desarrollo Cinematografico, with support from The Guardian and Ford Foundation.

1001 Days (in post production). Recipient of Bertha Foundation Award / Recipient of Lush Award /DocBarcelona Award

Listen to Britain: Learning to Swim (2017). Commissioned by BFI and BBC4.

Some Will Forget (2016). Commissioned by Creative England.

Nightcrawlers of Phnom Penh (2016). Commissioned by Rankin.


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