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


All The Films I Never Made 


A few months ago I decided to create a loose series of shorts inspired by a series of recurring nightmares over 2020 recalling all the films and projects I have started and aborted.  In All The Films I Never Made I finally create something from the rushes sat on my hard drives - one scene films, brief encounters, and moments in time that have been lost or considered “less important” along the way. They are mostly single scenes and meetings that in their transience I hope say something about what it means to live. 

I like observing fragments of life and I like films where I glimpse a bit of life without
knowing how it began or how it ends.  Sometimes the thing that's most important takes place behind the scenes, we don't see it. 


Part 1: In-Between Places


About Time

A young man in a rural idyll seems restless as he plays a solitary guitar. He joins the filmmaker on the bench and we learn that all is not what it seems. The encounter spans less than 10 minutes but invites us to contemplate how time reverberates: it haunts, comforts, frees and imprisons.

  

Office Hours 

The story of Bertha unfolds in a single place, over one night, in what feels like “real time”. The film has no dialogue and much of the “story” we don’t see at all, we simply exist in our protagonist’s world, feeling it as she does. The experience creates a tension that invites the viewer to create their own sense of Bertha’s life. 

  

The Driving Seat 

An abandoned camera in the train driver’s cabin provides a humourous meditation on the idea of control. 

Potatoes

An old woman sits alone peeling potatoes. Who is she peeling them for?
In one scene, we explore freedom, love and belonging.

[I woke up after a vivid dream about Jill a few months ago. I haven't seen her for nearly ten years yet that one afternoon is still etched in my mind. I wonder if Jill is still spending her Saturdays peeling potatoes and hope she is happy]

Wait

A filmmaker starts to film outside her window, waiting for something to happen.  As she does so a succession of calls, encounters and conversations begin off-screen.  The filmmaker continues to wait patiently for “the story”. 

All About Nothing

Over the course of one day in a Norwegian coastal village, the frustrations, joys and secrets of one family unfold in quiet meditation on ordinary life and it's unpredictability. 



Part 2: Re- Visitations


A Stranger Comes to Town




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