- ⁠Rise of Fascism

- ⁠Impact of the Digital World (AI harmful not harmful, robots taking over)

- ⁠Censorship/Propaganda in Society (e.g Banksy Art Mural) but also with age restrictions ID thing

- ⁠Immigration/Asylum seekers

- ⁠Climate change

- ⁠Loneliness (people finding it more difficult to make connections) - can also be connected to Incels

-Migrant Voices

-Exploring Gender (queer identities, body autonomy rights)

-Cost of Living (why is everything so expensive, housing, groceries)

-Global Majority Voices

-Is the world going to end

-Connecting with your inner child (nostalgia, going back to a more simple time before adulting and stress)

-Resistance (of young people) - all the ways that young people are not consenting to the established order - in terms of gender, politics (resisting fascism, activism, community organising), racism / borders (experiences of young asylum seekers), environment etc...

/"we do not consent" as theme title

/focus is on agency of young people - how they live and come of age while finding new forms for themselves and ways to resist

- 'Understandings and Misunderstandings'- this could be on an interpersonal, community, national or international level

- Addiction

https://www.youtube.com/watch?v=m-3qqu-8KL0&t=9s

I really like works that blur lines between fiction and non fiction too.

Nguyen Trinh Thi does this really well especially in this work -https://nguyentrinhthi.wordpress.com/2015/05/21/in-smoke-and-clouds-2015/

https://www.youtube.com/watch?v=dI0a_IW9-LM

(low key biased for her work bc i love her and everything she does lmao)

Or even investigative pieces like what Forensic Architecture does - really urgent and important stuff! (TW for the second link - colonial violence and genocide)

https://forensic-architecture.org/

https://forensic-architecture.org/investigation/german-colonial-genocide-in-namibia-the-hornkranz-massacre

Side note: I also had this other idea (it's a bit far fetched but would be a nice gesture) where one of the screenings is just a free screening for custodians/cleaners who work in the Barbican and their families - maybe we can also serve free food and run family friendly workshops or something idk... I often find that issues regarding class never gets fully addressed in art spaces, even if what the works surround themes of exploitation and migrant issues!

https://josegarciaoliva.com/traces

This could also have a Q&A with climate activists or artists whose work focus on such issues! I saw some silent films on Nowness featuring shots of shadows and trees (nature’s dance) - could be great to show similar works in a room where there’s surrounding noise (aka not a cinema)

Romance - Impactful in how Breillat deconstructs the cinematic idea of romance and emotionally affecting and empowering in how it depicts sexual desire as vital to your personhood. 

Point Break; most exciting film ever! I also love how it plays with homoerotic desire and i think is pretty subversive

All That Jazz; made me realise I love musicals!

I also thought I'd share my letterboxd as might be a good way for us all to learn more about eachothers tastes? https://letterboxd.com/tinyq/

film festival answer from my application:

1. Tell us about a film event you would like to programme at the Barbican and what makes it relevant now.

I’d programme a weekly film club with a panel discussion and audience social after the final screening. I’d show Blue Steel, Silence of the Lambs and Santosh, films about policewomen. There would be a social after each screening which would allow audience members to socialise and meet other film fans and discuss the films which have been chosen as I think they they are challenging and rich texts and would hopefully provoke conversation about topics that I think are relevant to young audiences: copaganda, sexual violence in film, representation politics, changing attitudes to gender. I think younger audiences are interested in questioning the current justice system and I think all these films offer a complex portrait of the intersection between gendered violence and justice. The final film screening would be followed by a panel that would be presented by film critic Ellen E Jones and director of Santosh, Sandhya Suri which would provide more context for the films. I think this event would be relevant to now as it’s engaging head on with themes and ideas that young people care about without being didactic, the main aim would be to create a dialogue.

Favourite Films:

1. The Medium by Banjong Pisanthanakun (2021)

2. Princess Mononoke by Hayao Miyazaki (1997)

3. Bottoms by Emma Seligman (2023)

Honourable mention: Monkey Man by Dev Patel (2024) <33333333

Film Event:

One event I would like to programme would be a short film screening

and a portrait drawing/discussion session, surrounding the theme of

self-documentation, self-portraiture, and personal archives. It has not

only allowed people around the world to witness the impact of

genocide and war, but has also allowed stories on the margins to be

remembered and reframed.

The programme will begin with 4 short films - A Remake of a Revolutionary

Film (2021) by Assa El-Hassan who reconstructs the last five minutes

of someone's life through personal photo albums, Ohida Khandakar's Dream Your Museum (2022) counters the colonial

museum model, A Letter to Uncle Boonmee (2009) by Apichatpong

Weerasethakul focuses on concepts of remembrance and extinction

set in Thailand, and An Unfair War (2006) by Thuyen Nguyen, a Sims 2 machinima of a man telling his story from the middle of a war zone.

During the portraiture drawing session, art materials will be provided and participants will sit in-front of mirrors/other reflective surfaces to doodle themselves and/or each other. Through (optional) guiding questions, we hope that this session can allow audiences to reflect on what they had watched with each other.

“Cameraperson” (2016) dir. Kirsten Johnson

• effectively 100 mini-documentaries in one, a really moving montage of out-of-context footage from Johnson’s career as a cinematographer. Feels like you’ve lived an entire lifetime by the end. V beautiful.

“Greener Grass” (2017) Dir. Jocelyn DeBoer & Dawn Luebbe

• A film I have seen about 50 times and shown to so many friends, it’s a surreal comedy spoofing suburbia and it’s electric. so dumb. so gross. future cult classic energy.

“Weekend” (2011) dir. Andrew Haigh

• every gay film/play since has tried to capture something about this, which is basically two characters talking in rooms. Low-budget British film-making jam packed with heart and ideas, v dear to my heart.

——-

Theme-wise, I’m v interested in pitching the entire of “protest” and our relationship to it today. I’m sure many of us have been concerned by a social and governmental rejection of peaceful protests by organizations such as Palestine Action, and I think it’s a pertinent moral issue of contemporary London that would allow for a range of types of cinema to be shown.

Ed

There are lots of films that I like but three that I really enjoy watching are...

1. Pretty in Pink (1986)

2. The Holdovers (2024)

3. Little Women (2019)

Film event from application

A film event that I would like to programme at the Barbican would explore the voices of refugees in the UK and across the world. In Britain right now, the far-right is on the rise, with Reform UK’s membership and anti-migrant rhetoric growing and new stories on the topic in the news every day.

I believe an interesting film event would be one that showcases pieces of cinema, whether feature films, short films, documentaries and immersive events, which look at the lives of refugees living in Britain and across the world, such as the challenges that displacement raises and the reality of living without a permanent home.

My inspiration for this event is films such as by Matteo Garrone’s Io Capitano, Anthony Chen’s Drift and Ben Sharrock’s Limbo.

There could even be room to work with third sector charities and groups such as Refugee Action or Refugee Council to host interactive sessions and Q&As.

The event would make people think and prompt conversation at a time when the world seems to be becoming progressively polarised and opinions distant.

And my Letterboxd: https://letterboxd.com/GeorgeBaxter/

1. Heartbeats (2010) dir. Xavier Dolan

Québécois film following messy love triangle. Watched it when I was 18 and remember being struck by how well the humour translated, despite the language barrier. Great house party scene too.

2. Marcel the Shell With Shoes On (2021) dir. Dean Fleischer Camp

While seemingly twee, actually proves to be an emotionally intelligent mockumentary. Touches on community, family and role of documentary-makers. Only film that I will shed a tear for x

3. Nénette (2010) dir. Nicolas Philibert

Studied this animal doc at university and thought it was brilliant at shifting the classic documentary voiceover by only having the voice of visitors to the orangutan, Nénette, in a zoo. Reveals a lot about how we perceive ourselves from how we perceive animals.

Which brings me nicely along to...

My Film Event from Application:

The misuse and misrepresentation of animals in cinema.

Hollywood has a terrible track record for the welfare of animals in films, from its early origins - Electrocuting an Elephant (1903) - through 'classics' like Apocalypse Now (1979) and blockbusters like The Hobbit (2012). I think we should be looking at the way in which we depict animals as subjects for entertainment. And, how we project our very human concepts onto animals.

Possible strands:

1. The treatment of animals throughout cinematic history

2. Documentaries that challenge the typical 'wildlife doc' narrative, e.g. Cow (2021), Sweetgrass (2009).

3. Anthropomorphizing and the 'cuteification' of animals, including children's animated films.

4. The literal use of animals and wildlife in filmmaking, e.g. the use of gelatin in film stock, the destruction of wildlife from films like The Beach (2000) and Titanic (1997).

i saw the tv glow - very directly and literally changed my life

yi yi - watched years ago and it's stuck with me for so long, very quietly meditative and perfects the feeling of slowly building emotional resonances across a long period which i love in films

something you said last night - beautifully observed and so tonally perfect, clarified to me a lot of what i want to do in my own work as a writer

how to save a dead friend - really haunting doc & an amazing statement of personal witness thru cinema

event from barbican app

My event is a retrospective screening of United in Anger: A History of ACT UP (2012). This important documentary punctures the white-male sacrificial narrative of AIDS and shows ACT UP as a women and POC-led act of resistance against corporate greed and the system at large.

Our current political situation makes this film vital. State repression and fascism are on the rise, and a new generation are making sacrifices to stand up against genocide and the erosion of trans rights. The ongoing catastrophe of this moment starkly parallels the height of the AIDS pandemic, when injustice and resistance were found in equal measure.

I would programme this alongside a panel / Q&A session which would put this US-centred film in conversation with the UK’s activist history and present. The panel would involve past ACT UP members from the UK alongside community organisers involved in present struggles. Along the lines of the film’s own perspective, women, gender nonconforming and POC voices would be privileged for the panel.

The discussion would explore what we can learn from United in Anger’s depiction of ACT UP, with the aim of both educating and galvanising the audience to explore activism themselves.

“List 3 films that have had an impact on you and why...”

Scott Pilgrim vs The World (Dir. Edgar Wright, 2010)

Although it’s a bit problematic, Scott Pilgrim is one of my all-time favourites, and maybe its imperfections are part of why I love it. It’s mostly fantastical, but also deeply human. I think I’ve just realised that it’s actually a character study about development and maturity. Scott begins with the emotional immaturity that matches his high school girlfriend, Knives Chau, who’s ironically more mature than he is, and he ends the film by earning the “power of self-respect” and the girl of his dreams, Ramona Flowers. She subconsciously teaches him about true love and self-worth. I also love how whimsical the film is, showing me that the impossible, genre-bending, video game aesthetics, sound design, music, can all work beautifully together. And it’s a comic book adaptation, which makes it an even bigger win for me!!!

Freshman Year (Dir. Cooper Raiff, 2019)

This movie taught me so much about myself, not just in romantic relationships but in how I connect with people. I don’t know if it ties into my informal autism diagnosis, but it helped me realise that I don’t need to over-familiarise or over-identify with people to get along with them. Sometimes it’s enough to just trust that they’re with you, and that they like you for you. It also taught me a lot about vulnerability and emotional intelligence, which I’ve always been in touch with, maybe too much, haha. But it was refreshing to see that reflected in a young adult still learning and growing. It’s such a personal film, and it’s become one of my favourites because of that.

Unicorn Store (Dir. Brie Larson, 2020)

This film was such a surprise. Brie Larson’s directorial debut turned out to be a beautiful reminder that art and passion, whether lost or found, are forever. It speaks volumes about self-belief and confidence, the more you have, the more creative you become, or maybe it’s the other way around, haha. Either way, it’s such a sweet film. It feels like watching someone experience life for the first time, their first corporate job, their first love, their first real sense of self. It’s playful, emotional, and quietly inspiring.

“Tell us about a film event you would like to programme at the Barbican and what makes it relevant now”…

I would curate a retrospective of comfort films as sources of nostalgia, safety, and emotional grounding. The programme would explore how certain films become emotional anchors at different stages of life, and what they reveal about our personal and collective histories.

The event would invite members of the public to submit a list of five to ten films that bring them comfort, along with the memories or emotions tied to them. The most resonant and recurring titles would form the heart of the programme, accompanied by discussions and audience storytelling sessions.

This feels especially relevant now, as people continue to seek connection and stability in an uncertain world. Comfort films often resurface during times of change, becoming cultural touchstones that transcend generations, backgrounds, and personal circumstances.

By making the event participatory and community-led, it would blur the line between audience and curator. It would reflect the festival’s ethos of shared ownership and show that programming can also be an act of collective memory-making.

1. Law of Desire (La ley del deseo) By Pedro Almodóvar - 1987

Apart from being pretty obsessed with Almodóvar films in general I just love the way it is shot, the actors and characters and personalities portrayed. It feels real to me but in a very hyper saturated colourful backdrop. His films always have a queer underlying theme, and I feel like he not only expresses queer angst and anxiety but in an extremely aesthetic and attractive way. Every shot of the film is screenshot able.

2. irreversible by Gaspar Noé - 2002

*CW: r@pe being discussed*

this film I only ever needed to see once. Irreversible showed me that cinema really can leave a mark whether good or bad. the film is shot backwards so starts from the end and plays in reverse (hence the title) and is famously know for its 10 minute long rape scene. The film is very fucked up, I was left speechless and nauseated. If this is possible, what else can a film be capable of?

3. Capernaum by Nadine Labaki - 2018

   
   

I have rewatched this film numerous times. Most recently with my mum where we both balled our eyes out. Love the perspective shown from the child’s actors. Brilliant commentary on systematic neglect.

Film program:

I would love to programme a film event focused on young actors. Early

on in their careers. This could either be the first films of prominent actors and actresses or completely up and coming new actors.

I think it is so important to broadcast these films as young talent feels raw and uncensored and especially with current world events I think young people and their struggles should be seen on the forefront.

Kids are fighting more than ever all over the world when they should be being

kids and I think this is brilliant way to showcase films to showcase this

to the wider world.

As one of Studio Ghibli’s most brilliant films, Princess Mononoke hardly needs an introduction. Yet it deeply impacted me with its complex and timeless themes. The film’s exploration of humanity’s relationship with nature and the moral ambiguity of its characters made me reflect on life’s bigger picture—and on what it truly means to be human. The storytelling, animation, voice acting, and world-building all come together beautifully, making it a beloved classic in my home and a film that continues to inspire deep thought every time I watch it.

2. Cinderella Man

I’ve always loved underdog stories, but Cinderella Man stands out because of its historical depth and the fact that it’s based on a true story. It captures the grit, struggle, and unbreakable spirit of people who refuse to give up. This movie gives me a visceral sense of hope—hope that feels real and earned. No matter how many times I watch it, it never fails to lift my spirits and remind me of the strength found in perseverance.

3. Blinded By The Light

This movie really resonated with me on a deeply personal level. Set in a South Asian family in the UK during a time of racial tension and questions of identity, it’s one of the few films where I felt truly seen. The story’s mix of cultural conflict, self-discovery, and music beautifully captures what it means to find your voice in a world that doesn’t always understand you. It validated my connection to both my heritage and my British identity, leaving a lasting emotional impact.

Film event from the application:

I'd programme a film event titled "More British Than Not:

Questioning the World of Identity, Race, and Diaspora" at the

Barbican would be a curated series exploring what it means to be British for people of colour in today's society. Through films like Blinded By The Light, The Kitchen, A United Kingdom, and Rye Lane, the event would examine shifting ideas of identity, belonging, and heritage. It would also feature short films by emerging creators whose work

engages with themes of race, diaspora, and cultural history.

A panel discussion with both established and up-and-coming filmmakers and producers of colour would further highlight the voices actively working to challenge and expand narratives of Britishness today. This event is especially relevant now as conversations around race, identity, and belonging in Britain are becoming more urgent and complex. With increasing visibility of diasporic voices and a growing push to redefine what it means to be 'British', especially for people of colour and underrepresented voices, film offers a medium to reflect on these changing narratives. In a time of political polarization, cultural tension, and generational shifts, this programme creates space for dialogue, self-reflection, and celebration of stories that are often overlooked and highlight the richness of Britain's multicultural identity today.

Rye Lane - I am not ashamed to admit I love a romcom Rye Lane has enough familiar hallmarks while introducing what feels like a more contemporary dynamic paired with a dash of absurdism. 

Coda - Disability is a both a big and boringly everyday part of my own family dynamic. Coda finds the humour and the everyday annoyances that are universal to family in a way that I found very moving, funny and relatable. 

Drive away dolls- A completely ridiculous road movie, with each twist of faith more unlikely than the last. It feels nostalgic, but with contemporary references. All round quite silly and good fun. 

This is my program activity from my application-

We are living in a loneliness epidemic, where human interaction is

becoming more and more digital. There is so much division and even

in a city like London with millions of people, meaningful, involved

conversations can feel finite.

The reason I love film is because it can spark so much discussion,

whether you are gushing together over a shared guilty pleasure, raging

about an ending that infuriates, or passing the tissues round after a

gut wrenching scene.

There is something so personal and so intimate about your experience

with film that I think tells you a lot about a person. I would love to

programme a series of workshops where people re-design film

posters to show how that film got its claws into them, their story of

why that particular film stays with them. Whether it was moving,

hilarious or something else entirely. I would want to have collage and

painting materials, to make it a really tactile experience.

You could have different themes and prompts and organise opportunities for

people to share and talk about what they create. The aim to use film to

create connections.

The results could even become an exhibition, installation, book or

magazine.

This is the list of random theme ideas I've been keeping/ thoughts on things we've talked about/ topics that interest me-

• Reclaimed language

• ‘Fascism is for losers’- a hopeful outlook at the protest and movements fighting in what can feel like hopeless times 

• Feminine rage

• Yearning and nostalgia for a time before you were born

• Villains as misunderstood, or unlikely villains

• Absurdist apocalypse

• Technology and surveillance

• Subversion of coming of age and intergenerational relationships 

• Modern loneliness

My Film Programme Answer:

A film event that I would curate with high relevance now is a screening of the 2013 film Her by Spike Jonze.

The film, whilst released over 10 years ago, is set in 2025 and is about a man named Theodore who falls in love with an Artificial Intelligence system he bought to help him write.

I think it would be perfect to screen not only as it is set in this exact year, but seems to be aptly relevant with the wide debate on the ethics of AI and it’s disturbing rise into everyday life — and everyday people’s lives.

This film acts as a sort of prophetic telling of our modern life — and may seem more worryingly relatable in this time as it may have seemed more ‘sci-fi’ and outlandish when it was initially released.

I think it would be an interesting rewatch — or first time watch — for people provided with the current context of our society — especially with news reports mimicking the plot of the story.

Short films featuring music and dance + post-screening DJ set and dance party

Some examples of films can be:

1. Private View: Joshua Serafin, filmed by Kitty Yeung - https://www.nowness.asia/series/private-view/joshua-serafin-void-performance

2. Jizo's Memories (Butoh dance film) - https://www.nowness.asia/series/just-dance/jizos-memories

3. Just Dance: UpDownLeftRight (A day and night in the life of the man dubbed the god of Dance Dance Revolution) - https://www.nowness.com/series/just-dance/updownleftright-oscar-hudson

Self-portraiture/Self-documentary -

Representing the self, the director is present in the film + relatively low budget filmmaking. When people, spaces, cultures, disappear, how do we reconstruct a memory of them through film?

1. Your father was born 100 years old and so was the Nakba by Razan AlSalah - https://vimeo.com/214789743

2. (requested but not viewed) In Search of a Mixed Identity -https://pro.festivalscope.com/film/in-search-of-a-mixed-identity

Loop of films about nature, ecology, indigenous knowledge - to be screened in the Barbican conservatory throughout the day

1. In Nature's Spite

   Da Insolência do Natural by João Pedro Amorim https://pro.festivalscope.com/player/ed3f0fc0931605e6eb2dec27ab9ea8f5e7bb088e

2. Earth (Unseen) https://www.nowness.asia/seasons/survival-season/earth-the-unseen-william-farr-jon-emmony

3. The Lorax

Just noticed there is a theme potentially emerging about cities and community (or the lack thereof) in urban spaces? Might be worth considering as speaks arguably to the following* (*to my knowledge, haven't seen all of the below):

Features:

Go Fish

Pulse

With Hasan in Gaza

Power Station

Ký Túc Xá (Dorm)

Shorts:

Last May in Theatres

Biang Biang Express

Elephant Families

Sweetheart

Blackout

The Girls Room

Precious Hair & Beauty

Sure there's more! May be worth investigating? (Ed)

I've been to 16mm and Steadicam workshops, and helped facilitate DIY phone filmmaking challenges with 24h turnarounds.

But I have NEVER been or seen a VHS filmmaking workshop.

VHS filmmaking?

Yes! I can take a wild guess that most of our childhoods have been in one way or another recorded on VHS. If you are lucky (like Fragments of Ice babe) you've got your entire childhood documented! As for me, I only have a damaged VHS cassette from when I was 2 the contents of which will forever remain a mystery.

So in order to rewrite (re-tape?) our history, revisit, rethink, reimagine..... participants are invited to make their own VHS movie.

Final films will be exhibited on an old TV (in a cinema foyer?) during our festival and will be short in length (3 minutes?).

The theme - will respond to our festival theme.

LOGISTICS:

Facilitation:

Ourselves to facilitate, but would be great to have an invited guest to give a little lecture, teach a specific technique.

Barbican Box Office to ticket, free tickets.

Location:

Barbican Conservatory + Barbican public spaces and highwalks.

Conservatory: already approved for our workshops, spacious for a lecture, cinematic.

Frobisher Rooms as alternative (Frobisher Big Auditoriums can sit 100+ people)

Barbican public filming policy: small-scale filming (a camera and tripod, up to 5 people) is allowed in open public spaces as long as it is not disruptive.

Larger or commercial shoots require prior permission (we can get it) through an application, which includes details on crew size, equipment, insurance, and public safety considerations.

Key restrictions include not filming staff or the public without consent, avoiding filming children, and respecting noise limits.

Participants:

Numbers: Still thinking. Groups of 5-10 people? How many groups depends on venue capacity. I think 50 people is manageable.

Teams: From experience it works best if participants are split into groups randomly and within the group they choose their roles and organise themselves.

Roles: VHS filmmaking is not demanding and doesn't require standard film roles, but we can suggest the following: Director, Camera Operator, Scriptwriter, Actors, Editor. (optional - light, sound).

Criteria: same as for us 16-29 y.o.

How do they sign up?

Still thinking. I personally think it could be good to stay open and just cap it at a certain number.

Upon booking we can send out sign up form where participants can give more info about their experience - to get an idea if we are getting more directors, camera ops etc or how much experience people are coming with.

Timings:

Mock schedule to give an idea- absolutely up for discussion:

10:00-10:30 Arrival

10:30-11:00 Introduction, Agenda.

11:00-12:00 Split into groups and time for in-group discussions.

12:00-12:45 Break

12:45-14:30 Lecture, VHS cameras introduction

14:30-15:00 Time to ask questions / Lecturer to give final guidance, discussion of themes, technical discussion.

15:00-15:30 Break

15:30-18:30 FILM MAKING

18:30-19:00 Wrap and final discussions, next steps for films.

Cost:

The daily hire price for a VHS camera in the UK generally ranges from £15 to £65 per day

VHS cassette player around £15 per day, £35 per week. (Barbican might have their own)

TV screen, headphones, stands - Barbican might have, or £10-20 per day.

Cost of tape: £2 to £20+ per tape. 

Lecturer: (their own fee, let's say it's around £300)

Wait but how do they edit the films?

VHS films can benefit from something called in camera editing.

In-camera editing is a technique where video or photos are shot and arranged in order, so the final sequence is completed during the shooting process, rather than through post-production.

Basically the oldest trick in the book: stopping and recording.

This requires better planning but overall simplifies the process.

Digitalising the tapes is very swift and inexpensive too!

Final results:

Exhibiting films in cinema foyer during the festival run.

Imagine an old TV playing films on the loop!

Great in the context of the festival, valuable for participants (they can say their film was exhibited at Barbs!), familiar locations (people love Barbican backdrop...), not too much pressure (films don't have be good), great exposure (anyone can stop and watch).

P.S. Still many questions - especially about logistics and timings and organisation. But I hope this shows that it's very manageable and can give a young person access to filmmaking kit, collaborators, Barbican recourses, knowledge, play, experimentation! This will also get young people into our festival - more exposure.

With hasan in Gaza

• VHS

Elizabeth Price / FELTIP

• history of ties

• Symbol of power

• Phallic symbol

Shutter island

Sanitarium

On falling

Go fish

-friendship

-Community

-Coming of age

4 slots of features and 1 for short film.

2 hours sessions

Discuss some editorial options;

1. Badge making

2. Substack

3. Zine

4. Program notes

5. Postcards

6. Prints

7. Poster! (Could be signed after a Q&A)

Which spaces would we use outside of the event in the Barbican:

1. Conservatory

1. Library

2. Car park

Vilna and Darren (community engagement staff at the Barbican - Lauren can contact for us)

Which themes are emerging for the festival?

Authenticity and representation

• home

• Memory

• Moments of pause

• reflecting on things

• Meditation

• Identity

• Moments of impact