Kathryn Ferguson

view on that theme and does it through music which I think makes it very accessible and certainly you know we've had a lot of screenings now it launched at the BFI London Film Festival in October there's a lot of conversations after it and people you can see people really trying to process what they've just watched and their understanding I guess of the north of Ireland.

Sure.

I mean, all of the work I've been making for the last 15 years, I'd say all of it, the majority of it has been very centred on, I guess, the female story at its core.

I'm very interested in revisionist storytelling and particularly women's stories that have often been misrepresented, wrongly told or just completely erased.

And a lot of what I'm trying to do and what I want to do is try to really...

put a spotlight on those stories.

It certainly isn't exclusively what I'm doing.

I mean, nostalgia was very much about male toxicity.

But I think it's trying to tell stories in general that are often left untold or told wrongly.

And that's something I am very passionate about.

I think we're very consciously aware now of the world that we're living in and how stories are

misconstrued and I guess it's that it's interesting just even asking me about why I'm doing it all I guess every single story that I tell or want to tell or feel like I need to tell comes from a personal place obviously the Sinead one's very obvious as I mentioned but even with nostalgia in my own family my mother's cousin had been killed in a paramilitary shooting in a bar in

1972.

So whilst I read the story, Nostalgia, and it didn't even immediately jump out at me as the reason why I'd want to tell that it is, of course, inherent in my own family history and in the ether around my family of something very tragic that happened.

And I guess trying to put that into a film, I think I'm always trying to

transmute what's inside into films and it's almost sometimes once I've made them then I can make sense of why I've done that but nearly everything I do that seems to cut through and communicate with others has come from a very personal place without me even being hugely conscious of that being the driving force that seems to be what's happening.

That's nice observation.

Yeah, because I guess everything I'm trying to do, and I've now got a small production company with Eleanor Emtage, producer and director that I work with, and everything that we want to make, everything that we've made, we're very conscious, we want to be able to make work that goes to the absolute truth of the matter.

and can be a really uncomfortable watch, but doesn't leave viewers like rudderless.

And I've said it before, but winded, this sense of coming out of something where you feel like you've almost attacked the viewer and they've nothing to do with that, you know, with those emotions.