Cate Blanchett returned to International Film Festival Rotterdam to welcome and present the five selections for the first cycle of Displacement Film Fund which aims to champion and fund the works of filmmakers who were displaced due to wars and conflicts happening in their countries. The second cycle was just unveiled during the festival, more information on the fund here.
Cate also attended the Q&A after the screening Jim Jarmusch’ FATHER MOTHER SISTER BROTHER later in the evening.
Cate spoke to Variety and De Volkskrant about the film fund, and with Revista Ñ about Father Mother Sister Brother, more below.
Father Mother Sister Brother release dates:
26 February – Germany, Ukraine, Slovakia
27 February – Austria
1 April – Denmark
10 April – Norway, Sweden
16 April – Netherlands, screenings at IFFR on 5 and 6 February, tickets here
Displacement Film Fund Second Round Unveiled at IFFR
Speaking from an International Film Festival Rotterdam (IFFR) press conference at Fenix in Rotterdam today, Cate Blanchett, actor, producer and global Goodwill Ambassador for UNHCR, the UN Refugee Agency, together with the IFFR’s Hubert Bals Fund, announced a second round of the Displacement Film Fund (DFF) short film grant scheme.
Bestowing up to five individual production grants of €100,000, the DFF was established to champion and fund the work of displaced filmmakers, or filmmakers with a proven track record in creating authentic storytelling on the experiences of displaced people, and to bring these stories to a wider audience.
The purpose of the Fund, launched as a pilot scheme at IFFR 2025, strongly aligns with HBF’s history of supporting underrepresented voices, especially with filmmakers from countries where local filming and infrastructure is lacking or restrictive. The shared ambition is that the pilot project develops into a longer-term legacy.
The announcement was made ahead of the World Premieres at International Film Festival Rotterdam 2026 of the inaugural films backed by the DFF, directed by Maryna Er Gorbach (Rotation), Mo Harawe (Whispers of a Burning Scent), Hasan Kattan (Allies in Exile), Mohammad Rasoulof (Sense of Water) and Shahrbanoo Sadat (Super Afghan Gym).
During the press conference, Blanchett acknowledged the unique mix of collaborators and thanked the Founding Partners of the pilot scheme – including Droom en Daad – whose financial backing enabled these productions. She welcomed a new Major Partner in Aarti Lohia and the SP Lohia Foundation, who pledged their support for DFF following the success of the pilot year.
Cate Blanchett, UNHCR Goodwill Ambassador, said: “Human displacement is one of the biggest challenges facing us as a species. While we wait for political solutions we risk sidelining the stories and perspectives of displaced individuals from our slates and our screens. So much opportunity lost! So – it’s a joy to announce that we are progressing to a second cycle of the Displacement Film Fund. Our supporters are committed and filmmakers are eager to engage with the program. I’m excited for audiences to delve into these captivating, surprising and inspiring narratives.”
With one in every 70 people on earth forcibly displaced due to conflict, war, or persecution, the global community is witnessing an unprecedented crisis. The Displacement Film Fund was first initiated at UNHCR’s Global Refugee Forum, the world’s largest gathering dedicated to addressing challenges faced by refugees and their host communities.
Filmmakers will be selected for the 2026 Fund following a two-step process developed during the pilot year. A longlist of filmmakers will be determined by a Nominations Committee and a Selection Committee will decide on final recipients, with selected filmmakers announced ahead of Cannes Film Festival 2026. The finished projects will have their World Premieres at IFFR 2027.
More about the fund’s second round here.
“For many filmmakers, a film festival is the starting point,” Cate tells ANP. “With a second round, we can look further ahead.” First, she says, attention must be paid to the films’ visibility after the festival. “It’s difficult for anyone to ensure their film is seen, whether you’re displaced or director David Fincher. But I think audiences will be surprised: these films offer perspectives that many people have never considered.”
Mohammad Rasoulof paid tribute to the IFFR and to Cate Blanchett, the actor, producer and global Goodwill Ambassador for UNHCR, who is one of the driving forces behind the Fund, for “convincing me to make a film I really didn’t feel I could do and didn’t want to…but they were very persuasive”.
“I left Iran a year and a half ago, overland, over the mountains, illegally,” he recalled. “I wanted to break this myth that when an artist leaves his homeland, they are no longer able to make any meaningful work.”
All five of the DFF films received a rapturous reception in Rotterdam. A second round of the grant scheme was announced earlier in the week.
At the end of the evening, Cate Blanchett was invited by IFFR managing director Clare Stewart, to articulate what the five films mean to her.
“These are complex narratives that have been realised in an incredibly short period of time,” said Blanchett. “I think that speaks to the passion…and to how much these stories have been bottling up inside the filmmakers. It’s hard enough to make a film in so-called ordinary circumstances but to make them in such extraordinary circumstances, when you’re outside your culture, outside of your filmmaking practice, and give them to us in such a generous way, speaks to your incredible heart.”
“When you see these stories on the big screen, you realise how much we all have in common,” Blanchett continued. “There are so few places now where we can gather and celebrate difference rather than shoot one another because we are frightened of that difference.”
“The filmmakers have lived experience of geographic and cultural displacement and what that does to one’s spirit. But we are all at risk of being displaced from our humanity. We do so at our peril. Cinema allows us to reconnect.”
More on ScreenDaily
Cate Blanchett Unveils Round 2 of Displacement Film Fund in Rotterdam
Cate Blanchett and the world premieres of the first five short films made by directors from Iran, Syria, Afghanistan, Somalia and Ukraine with grants of €100,000 ($120,000) each from the Displacement Film Fund, a scheme unveiled last year by the star and the International Film Festival Rotterdam (IFFR)’s Hubert Bals Fund were in the spotlight in the Dutch port city on Friday.
Also unveiled during a press event was a second round of the grant scheme, whose strategic partner is the UN Refugee Agency, UNHCR. Amahoro Coalition, Master Mind, the Tamer Family Foundation, and UNIQLO return as founding partners, with the SP Lohia Foundation joining as a new major partner.
Calling the Displacement Film Fund “a passion project,” Australian star Blanchett lauded how different the five short films are. “The experience of being displaced is not monolithic,” she said. “There are commonalities and themes that emerge, but they’re wildly different, and each film is so distinct and comes from the inner being of all of these filmmakers. But when you see them together as a suite of films, as a cohort, I was so alive to the different points of view.”
That is particularly important these days, Blanchett argued. “I think we’re quite unmoored from truth at the moment in the world,” she said. “And, of course, truth is made up from many different perspectives.”
The films can also help address “stigmas” and “misunderstandings” about what displacement means at a time of conflict, repression, violence and war, Blanchett said, pointing out “how displaced we are becoming from our own humanity.”
What’s next? “Now we need to find courageous distributors” for the shorts, she concluded, arguing that “audiences are hungry” for the kind of cinematic experiences created by the first filmmakers supported by the Displacement Film Fund, she said.
Blanchett’s comments came the day after Rotterdam 2026 kicked off with an impassioned plea by festival director Vanja Kaludjercic to protect the freedom of the arts at a time when U.S. President Donald Trump has been reshaping the John F. Kennedy Center for the Performing Arts, including by renaming it the Trump-Kennedy Center. She also put a spotlight on cinema as a unifying, community-enabling force at a time of repression, violence, wars and upheaval around the globe.
The press event for the fund’s first group of shorts took place at the Fenix Museum of Migration, an art museum dedicated to human migration.
Now, the creatives and the fund are looking for distribution opportunities for the five films. “It’s a work in progress, but we want to capitalize on that momentum [built from the fund having moved quickly on its first round of grants] and find distributors and platforms that are as courageous as the people who got involved so far,” Blanchett told THR. “There’s been so much desire [to see these films]. There’s much more interest in this than we’re led to believe by that xenophobic, banal discourse that we’re forced to eat on a daily basis.”
The Guardian gave the short film collection a five-star review, excerpt below.
With considerable chutzpah and elan, and in her capacity as producer and UNHCR Goodwill ambassador, Cate Blanchett has achieved a geopolitical film-making coup. In concert with festival authorities in Rotterdam, she has secured cash and commissioned short films on the subject of displacement from five directors – including Mohammad Rasoulof, now in exile from his native Iran due to his pro-democracy activism, in effect making his first public statement since the recent massacres and apparently expressing his fears that he may never go home again.
The films are far from solemnly earnest – this is an anthology of five brilliant miniature artworks. By turns shocking, funny, confessional and deeply mysterious, this is a tremendous collection; the constituent films of which benefit in some enigmatic way from being shown together.
The films all bristle with intensity and life – each has the ambition and accomplishment of a feature. They are a collective hit for this festival.
More here
Cate Blanchett on Funding Displaced Filmmakers in Times of ‘Flagrant Inhumanity’
Speaking exclusively with Variety ahead of the festival, Blanchett says she could “not be more excited” to share the films with the world. “The stories and the filmmakers’ approach to the experience of being displaced are deeply personal and heartbreaking, with moments of absurdity in them as well. They are as diverse and exciting as I could have hoped.”
Blanchett, also a UNHCR Goodwill Ambassador, launched the Displacement Film Fund last year to champion and fund the work of displaced filmmakers, or filmmakers with a proven track record in creating authentic storytelling on the experiences of displaced people. The fund is supported by Master Mind, Uniqlo, Droom en Daad, the Tamer Family Foundation and Amahoro Coalition as founding partners, the Hubert Bals Fund as management partner and UNHCR, the UN Refugee Agency, as strategic partner.
“Displacement is a global issue,” says the actor. “We have strong men and criminals trying to write themselves into the history books through force and flagrant inhumanity, which only exacerbates the collective challenge and distress around displacement. At some point, we in the industry need to welcome these displaced perspectives into our narratives and slates.”
To the actor-turned-producer, works by displaced filmmakers offer a “huge opportunity” that the industry is currently missing out on by “sidelining” stories that are “not mainstream.” “For a healthy industry, the more perspectives you have, the more alive and vibrant and relevant it is.”
Blanchett gushes over how quickly the initiative and the delivery of the projects came together, a priority to her and the team, who deeply understood the element of urgency that often accompanies stories by displaced creatives. Having all projects be short films directed by experienced filmmakers also tapped into this need for speed, with a “rigorous two-stage process” established by the nomination and selection committee. “Because it all came together quickly, with the Hubert Bals Fund helping manage the budgets, we were very involved. It has all been very transparent.”
The selection committee consisted of Blanchett, “Wicked” star Cynthia Erivo, “Green Border” director Agnieszka Holland, “Flee” director Jonas Poher Rasmussen, IFFR festival director Vanja Kaludjercic, “For Sama” director Waad Al Kateab, activist and refugee Aisha Khurram and Amin Nawabi [alias], an LGBTQ+ asylum seeker who inspired “Flee.”
The “TÁR” actor says it has been a “privilege” working with the selection committee and getting to know its members. “Every single person on the committee, whether it was Cynthia or Jonas, comes from different cultures, yet displacement has touched them. It does touch all of our lives, and I think some of us get sold a fear-based narrative around it. In these dark times, working together has been a big energy booster.”
Working on the project also granted Blanchett “valuable” insight into European and international funding structures. She recalls how, many years ago, “Father Mother Sister Brother” director Jim Jarmusch told her how he would “cobble his films together.”
“It was easily over a decade ago, and he would already get money from Japan, Germany, Belgium and the Netherlands to maintain creative freedom,” she adds. “He opened his perspective from having to deal with finances coming from all these different cultures. This is the same thing. Sometimes, the form of something echoes the content, and given that displacement is a global challenge, the challenge of getting these shorts funded has been a global one.”
As for the future, Blanchett says she is immensely grateful for “the willingness of the private sector” in supporting initiatives like the Displacement Film Fund, and adds that it is the fund’s “responsibility and challenge” now to make sure the films move to other festivals. “We know that this is a challenging moment for the film industry more widely. Even if you have time, money, access and names, it doesn’t necessarily mean your work gets seen.”
The actor emphasizes that the shorts exist in their own right, but also as a cohort. “It became clear there were threads of experience.” Blanchett’s “dream,” she says, is that people get to experience the films together. “Eventually, once we get a passionate partner, it would be wonderful if they existed as a cohort because seeing the intersection between them is the most rewarding for me.”
More on the selections here.
Google translated from Dutch to English
Cate Blanchett on her fund for displaced filmmakers: ‘Those who flee are not just ‘refugees”
“Not bad,” Cate Blanchett replies when asked how she’s doing. “A little worried about the world. Like everyone, I suppose, who has a beating heart and a functioning brain.”
Blanchett has been a goodwill ambassador for the UN Refugee Agency for over ten years. “When I started, there were nearly sixty million people on the run. That number has more than doubled now. While self-interested ‘strongmen’ preoccupied themselves with grabbing and plundering resources to build their empires, the number of refugees and displaced people continues to rise as a result…”
There’s a second of silence on the phone line. “Sorry, I’ll just dive right in.”
Between filming a new film, Blanchett takes some time to talk about the Displacement Film Fund. This fund, co-founded by her, was launched last year in Rotterdam.
Five “displaced” filmmakers received a grant of €100,000, and the short films they created with the grant will now have their world premiere at IFFR. Among the filmmakers, who fled Syria, Ukraine, Iran, Afghanistan, and Somalia, are some big names. One example is Mohammad Rasoulof, the Iranian dissident who was nominated for an Oscar last year for his clandestinely shot drama The Seed of the Sacred Fig .
“I’ve seen the rough cuts,” says Blanchett. “The films are so diverse. Mohammad Rasoulof tells an incredibly personal and poetic story about missing his country. Or Maryna Er Gorbach (from Ukraine), I could name them all, but hers has a very atmospheric, almost alienating reality. Very beautiful. These stand-alone films, yet somehow they form a whole. It’s incredibly exciting: this is a pilot program. We hope the fund can grow into something permanent.”
– Is the number of filmmakers on the run also increasing?
Yes. And people fleeing war and persecution are often only seen as ‘refugees.’ Yet they are also architects, lawyers, doctors, artists, painters, writers, and musicians. They have so much to offer. It’s simply a waste if we, as the film community, don’t do more to support these filmmakers. They possess a unique perspective and specific cultural and technical knowledge that we can all benefit from.
– What makes the short film such a suitable narrative form?
It‘s one of the most powerful forms. I always find myself returning to Krzysztof Kie?lowski’s Dekalog : short films with the Ten Commandments as a common thread. Short film lends itself enormously to experimentation. And if you’re already swimming against the tide, like these displaced filmmakers, the opportunity to experiment is something you cherish. That’s essentially what we’re saying to these filmmakers: feel free to experiment.
– Suppose one of the displaced filmmakers had asked you for a role?
“That never came up, but I was prepared for it. I’ve appeared in short and feature films and also worked with video artists, where the work ended up in a museum instead of a cinema. I come from the theater, so I’m always open to experimenting with form.”
– The Golden Lion winner Father Mother Sister Brother is also screening at IFFR. You’re appearing in one of the parts of this triptych by Jim Jarmusch. Does it feel like a short film to you – as an actor?
Yes, besides the fact that those three stories are connected, they’re also one story. And perhaps that will soon be the case with the films of our filmmakers, from the Displacement Film Fund: that the audience will recognize an overarching theme in them. That’s what I find so interesting about festivals: how all sorts of themes appear in films, which only become clear to the filmmakers afterward, when the audience identifies them for you.
– Like George Clooney, Jarmusch recently applied for French citizenship. In theory, they could also apply for the Displacement Film Fund next year.
Jim and George, I think, are in a different situation. But I recently read an article about non-binary and transgender Americans seeking asylum in countries like the Netherlands because their lives were in danger. Ultimately, it comes down to this: no one wants to leave their home, no one wants to get on a boat. People only do that when they absolutely have no other choice. And if there are fewer safe and legal ways to move, people will take illegal routes.
– Do you have time to see some films in Rotterdam?
Last year I managed that. And then I also went to the ocean for a sunset swim. It’s a bit of a whirlwind visit this time, because I have to get back to the set. But I hope so.
IFFR Photocall
Google translated from Spanish to English
Cate Blanchett talks about her character in Father Mother Sister Brother
Australian actress Cate Blanchett plays a daughter who, along with her sister, enjoys an afternoon tea and pastries at the home of their strict mother, who casts a watchful eye on her daughters’ lives. Revista Ñ participated in an international press conference with the Australian actress regarding the upcoming release of this feature film on the MUBI platform. The film won the Golden Lion at the Venice Film Festival in 2025.
–How did you compose the body language in this piece? It’s wonderfully subtle.
– The spatial relationships were partly defined by the costumes; aspects like that begin to take shape when working on the characterization. Once you know what you’re going to wear, you figure out how you’re going to move, and space becomes another element to consider. Also, most families have a performative quality. In this family dynamic, there’s a theatrical formality, like in the tea ceremony scene that’s being organized. It’s a bit like a Mishima, so charged with discomfort. The character has an innate awkwardness that was interesting to experiment with; I hope I managed to convey it subtly.
–Her style is truly fascinating: the glasses, the hairstyle, the stockings. How did she arrive at that look? Did it help develop the character?
– We often evolve into completely different people outside of the family dynamic. In that lovely final scene of the two sisters together, Jim (Jarmusch) really wanted to show them holding hands again, as if returning to their childhood. Initially, when Jim and I started talking about the film, he thought I would play Vicky’s character. I imagine that was because there was a connection to one of the characters I played previously in Coffee and Cigarettes. However, I wanted to play Timothea. I found her to be a very peculiar, somewhat mysterious character. She doesn’t talk much and is seen as the boring one in the family, but that’s precisely what attracted me. I was interested in exploring that kind of personality, someone who doesn’t monopolize attention or space. Quiet people are often overlooked or misinterpreted as insecure or uninteresting, when in reality they can have great depth. I found Timothea charming because she finds moments of quiet on her own, and I found that fascinating. As for the costumes, Jim had a very clear color motif that had to be integrated into all the characters: the use of red. For me, it was essential to know what the other two actresses were going to wear, as I wanted to ensure that we visually functioned as a complementary trio. It wasn’t about working on the look from an isolated perspective, but rather following a collective harmony.
–The film focuses on the dynamics of family relationships. What do you consider important for achieving a happy and functional family?
– Does such a thing really exist? I think it’s almost fiction. I don’t believe there’s a definitive solution to the chaotic and sometimes hilarious messiness that defines a family. Families are always in constant flux, like an itch you can never fully scratch. We’re always trying to deal with those awkward, painful, annoying, distressing, and baffling parts that are part of our family interactions. All this while families are continually evolving. A friend once told me about his understanding of happiness, a definition that stuck with me. He said, “You capture a happy moment and then move on until you find another, only savoring it fleetingly.” That’s why I think when families laugh together or manage to connect, that instant acts as a kind of emotional lifeline. It’s enough to sustain the bond for another year. In the film, these two sisters and their mother are forced to live together and meet, but even after that encounter, they spend the entire year processing that commitment. Families haunt us and shape our identity in some way. However, we are completely different people when we are not immersed in that family dynamic.
–With Rampling and Krieps, did you reflect on the things you didn’t say or, perhaps, wish you had expressed in the scenes, considering what each of you was hiding at those moments?
– I’d never worked with Charlotte before but I’ve always thought her performances are incredibly intimate. She’s spectacular and physically striking in every role she plays. However, the emotional depth and intensity of her characters is what has impacted me most as an actress; it’s something that has left an indelible mark on me. I was surprised to discover how much Charlotte enjoyed talking about these issues. We spent a lot of time talking. We had dinner together, we shared time in her room… in fact, Vicky and Charlotte would spend hours huddled together on her bed. We even had lunch there. It was like a two-week slumber party. During that time, we became a quirky little unit. We talked a lot, especially about family, perhaps because it was related to what we were portraying in the story we were telling. So yes, we discussed it quite a bit, a little more at the beginning, but mainly during filming.”
–How do you think your part of the film connects with the other two?
– I think it’s all in the subtleties. Obviously, there are the linguistic and physical connections: the cars, the clocks, the houses, the spaces, the round trip, the photographs. All those things that we sometimes think make our families unique, with their own particular tropes and concerns. But then you talk to someone else about their relationship with their siblings or about what it’s like to be the youngest or oldest child, and you realize there are many commonalities. It all depends on your position in your family, your age, or how you reflect on it from a similar perspective. When the film was screened in Venice, I felt something similar to what happens with Jim Jarmusch’s films. Despite being very particular works, there’s something about that specific team that manages to capture universal themes that resonate with the audience. It was very rewarding to experience that. Interestingly, the script, as a document, seemed much more distant compared to the spirit behind the experience of creating it. I think casting is essential for any director, but for Jim it has an even more special meaning; it’s what truly brings the stories he wants to tell to life. You can tell how much he enjoys working with the actors.
–What is the emotional significance of this film for you?
– The experience of making a film is usually very different from watching it, especially when you share it with an audience. But in this case, it was a very warm experience. Seeing Vicky and Charlotte now, I feel like we formed a little family. You don’t expect something like that to happen, but when it does, it’s truly delightful. I felt like I got to know them quite quickly and deeply, and that was wonderful. It’s always rewarding to reconnect with a filmmaker with whom, due to circumstances or the passage of time, you’ve drifted apart. Being able to reunite with him was very special.
–Did you come to understand who Timothea, your character, was and what she was like?
– It’s a similar feeling to when I’m putting on a costume. There are lots of ideas floating around, but everything starts to take shape around a silhouette, which really serves as a guide. I perceive it in a way similar to how we’re often unaware that our identity isn’t fixed. I think we don’t have a clear idea of who we are. Our perception is very imperfect, and we often only begin to truly understand ourselves through the reactions of others, in this case, family members. It’s in their relief, in how they react or don’t react, that we begin to truly grasp who we are. And then, of course, there’s the camera’s perspective. Many times, after shooting a scene, looking at the monitor once can be enlightening: Ah, that’s how it all looks. While you can never know for sure, it at least gives you a closer, more familiar notion of what you’re trying to convey.
–What place does Jim Jarmusch occupy in your career?
– All the great directors I’ve been lucky enough to work with—and there have been many—have made me feel incredibly fortunate. You learn what’s possible and abandon the idea that you just show up and act; rather, you need to be fully aware of what you’re being asked to do. All great directors seem to have a peculiar combination: an incredibly confident vision and a profound humility to perceive what’s happening in front of them. There’s a certain fluidity to that, as they usually have a very clear picture of how they want the film to look and feel, but at the same time, they’re willing to let go of everything and adapt to what emerges in the moment. As a result, their films become truly vital. Furthermore, they are professionals capable of balancing the technical with the emotional, handling the inherent intensity of cinema. And Jim is certainly at that level. He’s an icon.
–How much room was there for instinct and improvisation on set?
– It’s all based on instinct. You can have a preconceived idea of what you plan to do, but you won’t achieve anything if you don’t react to what others present to you. Sitting around a tea table with Charlotte Rampling and Vicky Krieps would be a mistake if you didn’t let yourself go and try to offer something in return. In a way, the process was meticulous because of the context: many days sharing sandwiches and cakes around a table, with every move between the characters functioning like a game of chess. Once we understood how to play that game, we had to repeat it. It was like a delicate, improvised tapestry, but at the same time, we had to make it seem like everything was flowing spontaneously. Jim’s films have that quality of controlled chaos, a unique atmosphere that brings freshness.
–Currently, one of the biggest topics in Hollywood is artificial intelligence. What are your thoughts on this?
– On this point, I don’t believe fear is the right path forward; rather, awareness can lead us to a better place. Before the writers’ strike, this topic wasn’t widely discussed, but now it’s the industry’s responsibility, as a public and forward-thinking space, to address and seriously question it. I believe these conversations are crucial to benefit those who lack a voice, platform, or the opportunity to meet and discuss this issue. Something that strikes me is hearing Ethan Hawke, whom I greatly admire, mention that he finds artificial intelligence boring. To some extent, I agree with him. Often, discussions lose sight of the essential question: the why. That’s always the initial question in any creative endeavor, and it’s fundamental to question in order to develop systems that are truly worthwhile. We need rigor. However, I find the lack of a deep and serious public debate about the development of AI—the data it uses and the people excluded from these processes—alarming. There seems to be a huge lack of questioning about the why and the what. In this regard, I appreciate being part of conversations that are seriously exploring this topic. Furthermore, I believe it’s important to highlight the fundamental role that many women are playing in this rigorous analysis.
–What are you specifically focusing on during 2026?
– The landscape we find ourselves in as a species is extremely complex. I think many of the lessons learned and opportunities that arose from overcoming the pandemic have been somewhat wasted. That’s why it’s important to stay strong and maintain a positive attitude. I haven’t lost hope, but there’s still much to be done, and, to be honest, it’s sometimes difficult to decide where to focus our efforts. Generally, my focus revolves around girls and women.
–You highlighted empathy as an essential foundation for resolving conflicts.
– In this late stage of capitalism, it is crucial to defend the power of empathy. When all human emotions become commodities, it is essential to keep this in mind. Empathy is like a human superpower and represents our greatest distinguishing characteristic.
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A Manual for Cleaning Women (202?)
Electra/Persona (2026)
Sweetsick (202?)
Father Mother Brother Sister (2025) 
Black Bag (2025) 
The Seagull (2025)
Bozo Over Roses (2025)
Disclaimer (2024) 
Rumours (2024) 
Borderlands (2024) 
The New Boy (2023) 
