Instagram Story Viewer
View Instagram Stories Anonymously
opencitydocs
Open City Documentary Festival
The art of non-fiction.
14–19 April 2026, across venues in London.
Short courses & MA / MFA at @uclanthropologyofficial.
Star Spangled to Death (Ken Jacobs, 1956-62/2004)
This screening of Star Spangled to Death is an epilogue to the retrospective Seeing Through Film: Ken and Flo Jacobs at Open City Documentary Festival 2026.
Celebrating the work and lives of Ken and Flo Jacobs, who both passed away in 2025, the programme coincides with the publication of I Walked Into My Shortcomings, an anthology of Jacobs’ writings edited by William Rose for The Visible Press.
Almost 7 hours long, Star Spangled to Death is Ken Jacobs’ magnus opus, his great New York film which would have to wait from 1959 until 2004 for completion as affordable digital video. Starring Jack Smith as The Spirit Not of Life but of Living and Jerry Sims as Suffering, this social critique of the USA, “stolen and dangerously sold-out” in Jacobs’ own words, feels as poignant and relevant today as in the 1950s when it was originally shot.
There will be 10-minute breaks between Parts 1 and 2, and between Parts 3 and 4, and a 30-minute break half-way through the screening, between Parts 2 and 3.
Star Spangled to Death screens Sunday 10 May at @barbicancentre, 11am
Star Spangled to Death (Ken Jacobs, 1956-62/2004)
This screening of Star Spangled to Death is an epilogue to the retrospective Seeing Through Film: Ken and Flo Jacobs at Open City Documentary Festival 2026.
Celebrating the work and lives of Ken and Flo Jacobs, who both passed away in 2025, the programme coincides with the publication of I Walked Into My Shortcomings, an anthology of Jacobs’ writings edited by William Rose for The Visible Press.
Almost 7 hours long, Star Spangled to Death is Ken Jacobs’ magnus opus, his great New York film which would have to wait from 1959 until 2004 for completion as affordable digital video. Starring Jack Smith as The Spirit Not of Life but of Living and Jerry Sims as Suffering, this social critique of the USA, “stolen and dangerously sold-out” in Jacobs’ own words, feels as poignant and relevant today as in the 1950s when it was originally shot.
There will be 10-minute breaks between Parts 1 and 2, and between Parts 3 and 4, and a 30-minute break half-way through the screening, between Parts 2 and 3.
Star Spangled to Death screens Sunday 10 May at @barbicancentre, 11am
Star Spangled to Death (Ken Jacobs, 1956-62/2004)
This screening of Star Spangled to Death is an epilogue to the retrospective Seeing Through Film: Ken and Flo Jacobs at Open City Documentary Festival 2026.
Celebrating the work and lives of Ken and Flo Jacobs, who both passed away in 2025, the programme coincides with the publication of I Walked Into My Shortcomings, an anthology of Jacobs’ writings edited by William Rose for The Visible Press.
Almost 7 hours long, Star Spangled to Death is Ken Jacobs’ magnus opus, his great New York film which would have to wait from 1959 until 2004 for completion as affordable digital video. Starring Jack Smith as The Spirit Not of Life but of Living and Jerry Sims as Suffering, this social critique of the USA, “stolen and dangerously sold-out” in Jacobs’ own words, feels as poignant and relevant today as in the 1950s when it was originally shot.
There will be 10-minute breaks between Parts 1 and 2, and between Parts 3 and 4, and a 30-minute break half-way through the screening, between Parts 2 and 3.
Star Spangled to Death screens Sunday 10 May at @barbicancentre, 11am
Star Spangled to Death (Ken Jacobs, 1956-62/2004)
This screening of Star Spangled to Death is an epilogue to the retrospective Seeing Through Film: Ken and Flo Jacobs at Open City Documentary Festival 2026.
Celebrating the work and lives of Ken and Flo Jacobs, who both passed away in 2025, the programme coincides with the publication of I Walked Into My Shortcomings, an anthology of Jacobs’ writings edited by William Rose for The Visible Press.
Almost 7 hours long, Star Spangled to Death is Ken Jacobs’ magnus opus, his great New York film which would have to wait from 1959 until 2004 for completion as affordable digital video. Starring Jack Smith as The Spirit Not of Life but of Living and Jerry Sims as Suffering, this social critique of the USA, “stolen and dangerously sold-out” in Jacobs’ own words, feels as poignant and relevant today as in the 1950s when it was originally shot.
There will be 10-minute breaks between Parts 1 and 2, and between Parts 3 and 4, and a 30-minute break half-way through the screening, between Parts 2 and 3.
Star Spangled to Death screens Sunday 10 May at @barbicancentre, 11am
1-day course | Documentary, Mental Health & Wellbeing: Global Perspectives Through Film.
Exploring representations of mental health, wellbeing, therapy and the diverse filmic strategies used to convey psychological experience. Examined through global films, readings, and discussions.
In Person, UCL East, Stratford, London.
Run by Jasminka Letzas, a lecturer, artist and researcher
WHEN: 1-6 PM, Saturday, 30th May 2026. (with a 1-hour break)
BOOK: link in bio ❤️
.
.
.
#ucl #filmeducation #shortcourse #london #mentalhealth #weelbeing #greygardens
The View from Our House (Anthea Kennedy, Ian Wiblin, 2013)
A woman witnesses the ordinary oppression and fear of the early years of National Socialism. She describes the sounds she regularly hears on passing a military barracks whilst walking from her house to the station. Images of the barracks recur throughout the film, suggesting the routine tyranny that precipitates the woman’s increasing fear and eventual journey into exile in London.
The film’s structure of repetition and retelling foregrounds the way in which her life is stunted by increasing marginalisation and terror. “I’m only just eighteen but sometimes I already feel so old that I think of dying,” she writes in a letter to her would-be lover.
The View from Our House is based in part on the memories, unsent letters and notebooks of a young photographer who lived in Berlin-Tempelhof. Aspects of her life are mapped out within this small area of Berlin through a succession of haunted images and sounds that imbue place with a sense of memory and history.
The film is the first in a loose trilogy of films focused on different members of the same family during the early years of the Nazi regime.
The View from Our House screens Sunday 3 May at @closeupfilmcentre, 8pm. Followed by a Q&A with the filmmakers.
The View from Our House (Anthea Kennedy, Ian Wiblin, 2013)
A woman witnesses the ordinary oppression and fear of the early years of National Socialism. She describes the sounds she regularly hears on passing a military barracks whilst walking from her house to the station. Images of the barracks recur throughout the film, suggesting the routine tyranny that precipitates the woman’s increasing fear and eventual journey into exile in London.
The film’s structure of repetition and retelling foregrounds the way in which her life is stunted by increasing marginalisation and terror. “I’m only just eighteen but sometimes I already feel so old that I think of dying,” she writes in a letter to her would-be lover.
The View from Our House is based in part on the memories, unsent letters and notebooks of a young photographer who lived in Berlin-Tempelhof. Aspects of her life are mapped out within this small area of Berlin through a succession of haunted images and sounds that imbue place with a sense of memory and history.
The film is the first in a loose trilogy of films focused on different members of the same family during the early years of the Nazi regime.
The View from Our House screens Sunday 3 May at @closeupfilmcentre, 8pm. Followed by a Q&A with the filmmakers.
The View from Our House (Anthea Kennedy, Ian Wiblin, 2013)
A woman witnesses the ordinary oppression and fear of the early years of National Socialism. She describes the sounds she regularly hears on passing a military barracks whilst walking from her house to the station. Images of the barracks recur throughout the film, suggesting the routine tyranny that precipitates the woman’s increasing fear and eventual journey into exile in London.
The film’s structure of repetition and retelling foregrounds the way in which her life is stunted by increasing marginalisation and terror. “I’m only just eighteen but sometimes I already feel so old that I think of dying,” she writes in a letter to her would-be lover.
The View from Our House is based in part on the memories, unsent letters and notebooks of a young photographer who lived in Berlin-Tempelhof. Aspects of her life are mapped out within this small area of Berlin through a succession of haunted images and sounds that imbue place with a sense of memory and history.
The film is the first in a loose trilogy of films focused on different members of the same family during the early years of the Nazi regime.
The View from Our House screens Sunday 3 May at @closeupfilmcentre, 8pm. Followed by a Q&A with the filmmakers.
The View from Our House (Anthea Kennedy, Ian Wiblin, 2013)
A woman witnesses the ordinary oppression and fear of the early years of National Socialism. She describes the sounds she regularly hears on passing a military barracks whilst walking from her house to the station. Images of the barracks recur throughout the film, suggesting the routine tyranny that precipitates the woman’s increasing fear and eventual journey into exile in London.
The film’s structure of repetition and retelling foregrounds the way in which her life is stunted by increasing marginalisation and terror. “I’m only just eighteen but sometimes I already feel so old that I think of dying,” she writes in a letter to her would-be lover.
The View from Our House is based in part on the memories, unsent letters and notebooks of a young photographer who lived in Berlin-Tempelhof. Aspects of her life are mapped out within this small area of Berlin through a succession of haunted images and sounds that imbue place with a sense of memory and history.
The film is the first in a loose trilogy of films focused on different members of the same family during the early years of the Nazi regime.
The View from Our House screens Sunday 3 May at @closeupfilmcentre, 8pm. Followed by a Q&A with the filmmakers.
The View from Our House (Anthea Kennedy, Ian Wiblin, 2013)
A woman witnesses the ordinary oppression and fear of the early years of National Socialism. She describes the sounds she regularly hears on passing a military barracks whilst walking from her house to the station. Images of the barracks recur throughout the film, suggesting the routine tyranny that precipitates the woman’s increasing fear and eventual journey into exile in London.
The film’s structure of repetition and retelling foregrounds the way in which her life is stunted by increasing marginalisation and terror. “I’m only just eighteen but sometimes I already feel so old that I think of dying,” she writes in a letter to her would-be lover.
The View from Our House is based in part on the memories, unsent letters and notebooks of a young photographer who lived in Berlin-Tempelhof. Aspects of her life are mapped out within this small area of Berlin through a succession of haunted images and sounds that imbue place with a sense of memory and history.
The film is the first in a loose trilogy of films focused on different members of the same family during the early years of the Nazi regime.
The View from Our House screens Sunday 3 May at @closeupfilmcentre, 8pm. Followed by a Q&A with the filmmakers.
Built from archive news, cartoons and films, Star Spangled to Death (2004) is a daring, epic social critique of the USA.
This monument of cinema was directed by the late Ken Jacobs (1933–2025). It clocks in at a runtime of almost seven hours – and was almost fifty years in the making.
Piercing his country’s attitudes to race, religion, wealth and war, Jacobs’s critique of history is just as striking today as it was when the film was shot.
Round out a great season of @opencitydocs with this special screening on Sun 10 May. Tickets available via the link in our bio 🔗
Built from archive news, cartoons and films, Star Spangled to Death (2004) is a daring, epic social critique of the USA.
This monument of cinema was directed by the late Ken Jacobs (1933–2025). It clocks in at a runtime of almost seven hours – and was almost fifty years in the making.
Piercing his country’s attitudes to race, religion, wealth and war, Jacobs’s critique of history is just as striking today as it was when the film was shot.
Round out a great season of @opencitydocs with this special screening on Sun 10 May. Tickets available via the link in our bio 🔗
Built from archive news, cartoons and films, Star Spangled to Death (2004) is a daring, epic social critique of the USA.
This monument of cinema was directed by the late Ken Jacobs (1933–2025). It clocks in at a runtime of almost seven hours – and was almost fifty years in the making.
Piercing his country’s attitudes to race, religion, wealth and war, Jacobs’s critique of history is just as striking today as it was when the film was shot.
Round out a great season of @opencitydocs with this special screening on Sun 10 May. Tickets available via the link in our bio 🔗
Built from archive news, cartoons and films, Star Spangled to Death (2004) is a daring, epic social critique of the USA.
This monument of cinema was directed by the late Ken Jacobs (1933–2025). It clocks in at a runtime of almost seven hours – and was almost fifty years in the making.
Piercing his country’s attitudes to race, religion, wealth and war, Jacobs’s critique of history is just as striking today as it was when the film was shot.
Round out a great season of @opencitydocs with this special screening on Sun 10 May. Tickets available via the link in our bio 🔗
Built from archive news, cartoons and films, Star Spangled to Death (2004) is a daring, epic social critique of the USA.
This monument of cinema was directed by the late Ken Jacobs (1933–2025). It clocks in at a runtime of almost seven hours – and was almost fifty years in the making.
Piercing his country’s attitudes to race, religion, wealth and war, Jacobs’s critique of history is just as striking today as it was when the film was shot.
Round out a great season of @opencitydocs with this special screening on Sun 10 May. Tickets available via the link in our bio 🔗
Built from archive news, cartoons and films, Star Spangled to Death (2004) is a daring, epic social critique of the USA.
This monument of cinema was directed by the late Ken Jacobs (1933–2025). It clocks in at a runtime of almost seven hours – and was almost fifty years in the making.
Piercing his country’s attitudes to race, religion, wealth and war, Jacobs’s critique of history is just as striking today as it was when the film was shot.
Round out a great season of @opencitydocs with this special screening on Sun 10 May. Tickets available via the link in our bio 🔗
Built from archive news, cartoons and films, Star Spangled to Death (2004) is a daring, epic social critique of the USA.
This monument of cinema was directed by the late Ken Jacobs (1933–2025). It clocks in at a runtime of almost seven hours – and was almost fifty years in the making.
Piercing his country’s attitudes to race, religion, wealth and war, Jacobs’s critique of history is just as striking today as it was when the film was shot.
Round out a great season of @opencitydocs with this special screening on Sun 10 May. Tickets available via the link in our bio 🔗
Built from archive news, cartoons and films, Star Spangled to Death (2004) is a daring, epic social critique of the USA.
This monument of cinema was directed by the late Ken Jacobs (1933–2025). It clocks in at a runtime of almost seven hours – and was almost fifty years in the making.
Piercing his country’s attitudes to race, religion, wealth and war, Jacobs’s critique of history is just as striking today as it was when the film was shot.
Round out a great season of @opencitydocs with this special screening on Sun 10 May. Tickets available via the link in our bio 🔗
Built from archive news, cartoons and films, Star Spangled to Death (2004) is a daring, epic social critique of the USA.
This monument of cinema was directed by the late Ken Jacobs (1933–2025). It clocks in at a runtime of almost seven hours – and was almost fifty years in the making.
Piercing his country’s attitudes to race, religion, wealth and war, Jacobs’s critique of history is just as striking today as it was when the film was shot.
Round out a great season of @opencitydocs with this special screening on Sun 10 May. Tickets available via the link in our bio 🔗
The 2026 festival has now come to a close ❤️🔥
We would like to thank every single audience member, filmmaker, panelist, speaker, volunteer, projectionist, partner, sponsor and our amazing team.
Until next year!
The 2026 festival has now come to a close ❤️🔥
We would like to thank every single audience member, filmmaker, panelist, speaker, volunteer, projectionist, partner, sponsor and our amazing team.
Until next year!
The 2026 festival has now come to a close ❤️🔥
We would like to thank every single audience member, filmmaker, panelist, speaker, volunteer, projectionist, partner, sponsor and our amazing team.
Until next year!
The 2026 festival has now come to a close ❤️🔥
We would like to thank every single audience member, filmmaker, panelist, speaker, volunteer, projectionist, partner, sponsor and our amazing team.
Until next year!
The 2026 festival has now come to a close ❤️🔥
We would like to thank every single audience member, filmmaker, panelist, speaker, volunteer, projectionist, partner, sponsor and our amazing team.
Until next year!
The 2026 festival has now come to a close ❤️🔥
We would like to thank every single audience member, filmmaker, panelist, speaker, volunteer, projectionist, partner, sponsor and our amazing team.
Until next year!
The 2026 festival has now come to a close ❤️🔥
We would like to thank every single audience member, filmmaker, panelist, speaker, volunteer, projectionist, partner, sponsor and our amazing team.
Until next year!
The 2026 festival has now come to a close ❤️🔥
We would like to thank every single audience member, filmmaker, panelist, speaker, volunteer, projectionist, partner, sponsor and our amazing team.
Until next year!
The 2026 festival has now come to a close ❤️🔥
We would like to thank every single audience member, filmmaker, panelist, speaker, volunteer, projectionist, partner, sponsor and our amazing team.
Until next year!
The 2026 festival has now come to a close ❤️🔥
We would like to thank every single audience member, filmmaker, panelist, speaker, volunteer, projectionist, partner, sponsor and our amazing team.
Until next year!
The 2026 festival has now come to a close ❤️🔥
We would like to thank every single audience member, filmmaker, panelist, speaker, volunteer, projectionist, partner, sponsor and our amazing team.
Until next year!
The 2026 festival has now come to a close ❤️🔥
We would like to thank every single audience member, filmmaker, panelist, speaker, volunteer, projectionist, partner, sponsor and our amazing team.
Until next year!
Day 5 @ Open City Documentary Festival 💗🌅
📸
@adam_pietraszewski
@dettmartomas
@vaalrios__
Day 5 @ Open City Documentary Festival 💗🌅
📸
@adam_pietraszewski
@dettmartomas
@vaalrios__
Day 5 @ Open City Documentary Festival 💗🌅
📸
@adam_pietraszewski
@dettmartomas
@vaalrios__
Day 5 @ Open City Documentary Festival 💗🌅
📸
@adam_pietraszewski
@dettmartomas
@vaalrios__
Day 5 @ Open City Documentary Festival 💗🌅
📸
@adam_pietraszewski
@dettmartomas
@vaalrios__
Day 5 @ Open City Documentary Festival 💗🌅
📸
@adam_pietraszewski
@dettmartomas
@vaalrios__
Day 5 @ Open City Documentary Festival 💗🌅
📸
@adam_pietraszewski
@dettmartomas
@vaalrios__
Day 5 @ Open City Documentary Festival 💗🌅
📸
@adam_pietraszewski
@dettmartomas
@vaalrios__
Day 5 @ Open City Documentary Festival 💗🌅
📸
@adam_pietraszewski
@dettmartomas
@vaalrios__
Day 5 @ Open City Documentary Festival 💗🌅
📸
@adam_pietraszewski
@dettmartomas
@vaalrios__
Day 5 @ Open City Documentary Festival 💗🌅
📸
@adam_pietraszewski
@dettmartomas
@vaalrios__
Day 5 @ Open City Documentary Festival 💗🌅
📸
@adam_pietraszewski
@dettmartomas
@vaalrios__
Day 5 @ Open City Documentary Festival 💗🌅
📸
@adam_pietraszewski
@dettmartomas
@vaalrios__
Day 4 @ Open City Documentary Festival 🌟🪩
📸
@jj_gr_
@adam_pietraszewski
@virginia.pak
@_.ameliag._
Day 4 @ Open City Documentary Festival 🌟🪩
📸
@jj_gr_
@adam_pietraszewski
@virginia.pak
@_.ameliag._
Day 4 @ Open City Documentary Festival 🌟🪩
📸
@jj_gr_
@adam_pietraszewski
@virginia.pak
@_.ameliag._
Day 4 @ Open City Documentary Festival 🌟🪩
📸
@jj_gr_
@adam_pietraszewski
@virginia.pak
@_.ameliag._
Day 4 @ Open City Documentary Festival 🌟🪩
📸
@jj_gr_
@adam_pietraszewski
@virginia.pak
@_.ameliag._
Day 4 @ Open City Documentary Festival 🌟🪩
📸
@jj_gr_
@adam_pietraszewski
@virginia.pak
@_.ameliag._
Day 4 @ Open City Documentary Festival 🌟🪩
📸
@jj_gr_
@adam_pietraszewski
@virginia.pak
@_.ameliag._
Day 4 @ Open City Documentary Festival 🌟🪩
📸
@jj_gr_
@adam_pietraszewski
@virginia.pak
@_.ameliag._
Day 4 @ Open City Documentary Festival 🌟🪩
📸
@jj_gr_
@adam_pietraszewski
@virginia.pak
@_.ameliag._
Day 4 @ Open City Documentary Festival 🌟🪩
📸
@jj_gr_
@adam_pietraszewski
@virginia.pak
@_.ameliag._
Day 3 @ Open City Documentary Festival 2026 🌸
📸
@adam_pietraszewski
@dettmartomas
@jj_gr_
@virginia.pak
@vaalrios__
Day 3 @ Open City Documentary Festival 2026 🌸
📸
@adam_pietraszewski
@dettmartomas
@jj_gr_
@virginia.pak
@vaalrios__
Day 3 @ Open City Documentary Festival 2026 🌸
📸
@adam_pietraszewski
@dettmartomas
@jj_gr_
@virginia.pak
@vaalrios__
Day 3 @ Open City Documentary Festival 2026 🌸
📸
@adam_pietraszewski
@dettmartomas
@jj_gr_
@virginia.pak
@vaalrios__
Day 3 @ Open City Documentary Festival 2026 🌸
📸
@adam_pietraszewski
@dettmartomas
@jj_gr_
@virginia.pak
@vaalrios__
Day 3 @ Open City Documentary Festival 2026 🌸
📸
@adam_pietraszewski
@dettmartomas
@jj_gr_
@virginia.pak
@vaalrios__
Day 3 @ Open City Documentary Festival 2026 🌸
📸
@adam_pietraszewski
@dettmartomas
@jj_gr_
@virginia.pak
@vaalrios__
Day 3 @ Open City Documentary Festival 2026 🌸
📸
@adam_pietraszewski
@dettmartomas
@jj_gr_
@virginia.pak
@vaalrios__
Day 3 @ Open City Documentary Festival 2026 🌸
📸
@adam_pietraszewski
@dettmartomas
@jj_gr_
@virginia.pak
@vaalrios__
Day 3 @ Open City Documentary Festival 2026 🌸
📸
@adam_pietraszewski
@dettmartomas
@jj_gr_
@virginia.pak
@vaalrios__
Day 3 @ Open City Documentary Festival 2026 🌸
📸
@adam_pietraszewski
@dettmartomas
@jj_gr_
@virginia.pak
@vaalrios__
Day 3 @ Open City Documentary Festival 2026 🌸
📸
@adam_pietraszewski
@dettmartomas
@jj_gr_
@virginia.pak
@vaalrios__
Day 3 @ Open City Documentary Festival 2026 🌸
📸
@adam_pietraszewski
@dettmartomas
@jj_gr_
@virginia.pak
@vaalrios__
Day 3 @ Open City Documentary Festival 2026 🌸
📸
@adam_pietraszewski
@dettmartomas
@jj_gr_
@virginia.pak
@vaalrios__
Day 3 @ Open City Documentary Festival 2026 🌸
📸
@adam_pietraszewski
@dettmartomas
@jj_gr_
@virginia.pak
@vaalrios__
Every year Open City Documentary Festival commissions a filmmaker previously screened at the festival to create the trailer for the following edition.
Our 2026 Festival trailer marks the 50th anniversary of John Smith’s classic film The Girl Chewing Gum.
We spoke with John about the film and reflections 5 decades on.
You can read the full interview via the link in bio 🔗
Day 2 @ Open City Documentary Festival 2026 🎞️
📸
@maldo_filmmaker
@adam_pietraszewski
@vaalrios__
@jj_gr_
Day 2 @ Open City Documentary Festival 2026 🎞️
📸
@maldo_filmmaker
@adam_pietraszewski
@vaalrios__
@jj_gr_
Day 2 @ Open City Documentary Festival 2026 🎞️
📸
@maldo_filmmaker
@adam_pietraszewski
@vaalrios__
@jj_gr_
Day 2 @ Open City Documentary Festival 2026 🎞️
📸
@maldo_filmmaker
@adam_pietraszewski
@vaalrios__
@jj_gr_
Day 2 @ Open City Documentary Festival 2026 🎞️
📸
@maldo_filmmaker
@adam_pietraszewski
@vaalrios__
@jj_gr_
Day 2 @ Open City Documentary Festival 2026 🎞️
📸
@maldo_filmmaker
@adam_pietraszewski
@vaalrios__
@jj_gr_
Day 2 @ Open City Documentary Festival 2026 🎞️
📸
@maldo_filmmaker
@adam_pietraszewski
@vaalrios__
@jj_gr_
Day 2 @ Open City Documentary Festival 2026 🎞️
📸
@maldo_filmmaker
@adam_pietraszewski
@vaalrios__
@jj_gr_
Day 2 @ Open City Documentary Festival 2026 🎞️
📸
@maldo_filmmaker
@adam_pietraszewski
@vaalrios__
@jj_gr_
Day 2 @ Open City Documentary Festival 2026 🎞️
📸
@maldo_filmmaker
@adam_pietraszewski
@vaalrios__
@jj_gr_
Day 2 @ Open City Documentary Festival 2026 🎞️
📸
@maldo_filmmaker
@adam_pietraszewski
@vaalrios__
@jj_gr_
Day 2 @ Open City Documentary Festival 2026 🎞️
📸
@maldo_filmmaker
@adam_pietraszewski
@vaalrios__
@jj_gr_
Day 2 @ Open City Documentary Festival 2026 🎞️
📸
@maldo_filmmaker
@adam_pietraszewski
@vaalrios__
@jj_gr_
The Case Against Space (Graeme Arnfield, 2026)
Graeme Arnfield’s second feature The Case Against Space depicts, what appears to be, the first organised strike beyond Earth’s orbit. The film reconstructs the events of the 1973 Skylab 4 mission: in protest against the pressures and working conditions aboard their space station, commander, pilot and science pilot ceased work and cut communications with mission control.
Drawing on transcripts of exchanges between the crew and NASA, Arnfield combines extensive research with speculative interpretation, imagining the tensions and human dynamics that led to this unprecedented event. He employs a distinctly lo-fi aesthetic, recreating the Skylab space station in a studio. The astronauts’ testimonies are performed by actors and filmed in claustrophobic close-ups using 1970s CCTV black-and-white cameras.
The intersection between technology and ecology is a recurring theme in Arnfield’s work. This new project extends these ideas and upon his earlier found footage works to craft a compelling reconstruction of a unique moment in the history of space exploration.
The film closes the festival Sunday 19 April at the @icalondon, 7pm 🚀
Closing Night: SLET 1988 + The Case Against Space
We are delighted to be closing the festival with new works from Marta Popivoda and Graeme Arnfield.
The Case Against Space reconstructs the 1973 Skylab strike, using lo-fi CCTV aesthetics to explore labour disputes beyond Earth.
In SLET 1988, dancer Sonja Vukićević performs in an empty Belgrade gym, her aging body serving as an archive of Yugoslavia’s splintered history and lost ideologies.
Followed by a Q&A with the filmmakers.
The films screen Sunday 19 April at @icalondon, 7pm 🌟
Closing Night: SLET 1988 + The Case Against Space
We are delighted to be closing the festival with new works from Marta Popivoda and Graeme Arnfield.
The Case Against Space reconstructs the 1973 Skylab strike, using lo-fi CCTV aesthetics to explore labour disputes beyond Earth.
In SLET 1988, dancer Sonja Vukićević performs in an empty Belgrade gym, her aging body serving as an archive of Yugoslavia’s splintered history and lost ideologies.
Followed by a Q&A with the filmmakers.
The films screen Sunday 19 April at @icalondon, 7pm 🌟
Closing Night: SLET 1988 + The Case Against Space
We are delighted to be closing the festival with new works from Marta Popivoda and Graeme Arnfield.
The Case Against Space reconstructs the 1973 Skylab strike, using lo-fi CCTV aesthetics to explore labour disputes beyond Earth.
In SLET 1988, dancer Sonja Vukićević performs in an empty Belgrade gym, her aging body serving as an archive of Yugoslavia’s splintered history and lost ideologies.
Followed by a Q&A with the filmmakers.
The films screen Sunday 19 April at @icalondon, 7pm 🌟
Closing Night: SLET 1988 + The Case Against Space
We are delighted to be closing the festival with new works from Marta Popivoda and Graeme Arnfield.
The Case Against Space reconstructs the 1973 Skylab strike, using lo-fi CCTV aesthetics to explore labour disputes beyond Earth.
In SLET 1988, dancer Sonja Vukićević performs in an empty Belgrade gym, her aging body serving as an archive of Yugoslavia’s splintered history and lost ideologies.
Followed by a Q&A with the filmmakers.
The films screen Sunday 19 April at @icalondon, 7pm 🌟
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.