Barbara Sykes, a master craftswoman of electronic visuals, manages to wrangle the abstract into the familiar. Bending and warping the raw colours and shapes of the Sandin Image Processor, she creates a series of images that seem to emanate from some ancient subconscious. Mixed together tightly with its percussive soundtrack, the film is a vibrant experiment in visual music.

It’s hard to imagine a more thorough, trenchant and disturbingly compelling account of how the US arrived at its current state than Lee Anne Schmitt’s formidable fourth feature. Her starting point is personal: Her father worked for infamous American chemical company the Olin Corporation, the dolls he used to send her from his business trips forming one of the film’s leitmotifs. While wreaking environmental havoc across the nation, Olin also birthed its own foundation, whose deep pockets helped the racist, classist neoconservative movement gain the necessary traction. Sites of significance, archive material, intertitle quotes, shots of salient literature and snatches of domesticity: the building blocks of a comprehensive political takedown.