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part of
double bill #19

Swollen Stigma

Sarah Pucill, United Kingdom, 1998, 21’
Videolisboa

1997

Impakt Film and Video Festival

1997

Swollen Stigma is a visual, surrealistic narrative about a woman travelling both literally and psychically through several rooms. Memories, or fantasies, of another woman, fill her imagination. The film proposes lesbian imagery, and its shifting points of view jump between the protagonist, fantasy spaces, and her lover, making an internal world leak into what is external.

Bio Sarah Pucill

Film artist Sarah Pucill’s work is distributed by LUX, London, and LightCone, Paris. Pucill also teaches at the University of Westminster. Central to her work is “a concern with mortality and the materiality of the filmmaking process.” Much of her work is situated in the restrictions of domestic spaces. Pucill has been making 16mm films since completing her MA at the Slade in 1990. Retrospectives of Pucill’s work have been screened at Tate Britain, BFI Southbank, Anthology Film Archives (NY), Pleasure Dome (Toronto), Ecole des Beaux-Arts, and LA FilmForum.

Sarah Pucill’s visually arresting 1998 short film Swollen Stigma explores how time passes while considering one’s physical experiences and the limitations imposed on womanhood by society. The main motifs are flowers, frequently shown in an inflated or warped way, illuminating the inner conflicts women face as they navigate a culture that frequently minimises them. Flowers symbolise the tension between individualism and societal standards by serving as a critique of how beauty can be both praised and weaponised.

Iris Diane Palma
© Untitled III (Sarah Pucill, 2001)
Untitled III (Sarah Pucill, 2001)
interview
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Folding Time

On Sarah Pucill’s Surrealism

Laura Stoeckler
23.08.2025

Over the last thirty years, Sarah Pucill’s films have shown a sustained engagement with feminist politics, surrealist aesthetics, and the material language of cinema. Her work is connected by a visual and conceptual vocabulary that keeps evolving. Figures, motifs, and techniques reemerge—the principle of continuity is key to understanding how the artist’s work coheres, drawing strength from its self-reflection.

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Credits

Cast
Rachel Gomme, Sally Pucill
Camera
Sandra Lahire, Sarah Pucill
Editor
Sandra Lahire, Sarah Pucill
Sound
Sandra Lahire, Sarah Pucill
Producer
Sarah Pucill
287
experimental avant-garde eroticism fantasy poetry romance surrealism

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Oh Willy...

Emma De Swaef, Marc James Roels, Belgium, 2011, 17’

A gentle, middle-aged man returns to the nudist colony he grew up in to visit his elderly mother. Her sudden death leaves Willy in a state of sadness. He soon finds himself lost in the midst of a savage wilderness, trying to find comfort.

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The Room

Chantal Akerman, Belgium, 1972, 11’

Panning shots in a repeating full-circle movement show a room as a succession of still lives: a chair, some fruit on a table, a collection of solitary, waiting objects. There is the presence of a young woman: filmmaker Chantal Akerman herself, sitting on the bed eating an apple.

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Devotion

Cynthia Madansky, Turkey, 2003, 34’

A sparing and minimal travelogue of Istanbul. A foreigner meditates on the unraveling of a relationship while moving from hotel room to hotel room. In a city simultaneously devoted to Islam and secular nationalism, she finds refuge in the frailty and severity of rituals.

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In Curve Notes _ Stream

Flavia Regaldo, Portugal, 2023, 7’

Hand-painted watercolours explore bodies, desire, and the tension between both in this experimental animated film. Due to an explosion of colour and movement that escapes classical animation, an unusual sensorial force is achieved. Alternating colours, lines, and density, the drawings question pornography and normative sexuality.

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Snow Edge

Juan Francisco Rodríguez, Colombia, 2021, 15’

The thaw of the so-called eternal snow of Páramo, a neotropical alpine ecosystem in the high Andes, exposes a layer of meaning about the origins and survival of the landscape.

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The Age of Anxiety

Taiki Sakpisit, Thailand, 2013, 14’

An audiovisual meditation on the fin de siècle in Thailand.

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Red Giant

Anne Verbeure, Belgium, 2021, 11’

Day and night, a giant sits on a hill, far away from his smaller fellow man. He fills his days organising things and making sure everything is in the right place at the right time.

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Loveboard

Felipe Casanova, Belgium, Switzerland, 2023, 17’

A broken phone and the digital memory of a broken queer relationship. Through the careful manipulation of discarnate metal components and the filmmaker’s attentive look at an intimate archive, a fading first love surfaces. Loveboard is a playful reflection on what remains.

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