Noonwraith Blues (2020)

Ominous 35mm cinegrams of Albrecht Dürer's 1514 'Melencolia' print are intercut, like cascading scythes, with saturated super-8 film of a woman in a fresh-cut farm field, evoking repetitions that exist in harvest rituals, as well as in gestures of madness. Specters of familial anxieties creep into this loose take on the myth of Poludnica (noonwraith or Lady Midday), a Slavic harvest spirit that could cause madness in those who wandered the fields alone. The starting point for this subtle portrayal of the familial effects of transgenerational trauma is Erwin Panofsky's 'Life and Art of Albrecht Dürer' (1955) in which he associates Dürer's engravings with fear, withdrawal, depression and madness. In this pastoral horror, luscious landscape serves as the site of a woman's idyllic childhood memories but ones that are disturbed by her ancestors' experiences of wars and domestic violence. The interplay of the banal and the uncanny is highly suggestive as the film poses a question of whether the effects of trauma can reverberate down the generations through epigenetics?