16mm Production Still 2021


Solitude, 2022, 72 minutes, black and white and colour


“…then on the shore of the wide world I stand alone, and think
Till love and fame to nothingness do sink.”
1818 John Keats


Readings from the poets Byron, Keats, Brontë, Tennyson, Coleridge and songs from the dark repertoire of the singer Nico with portraits from the films of Philippe Garrel circa 1975 and Andy Warhol’s The Chelsea Girls and swirling electronic music from Ash Ra Tempel and new electric guitar sound track by James Creed and tracks to the songs by Graham Dowdall aka Gagarin and ex of The Faction, with new images of the River Thames put together in an elegy on iconicity, vocality, finitude and solitude.



With support from The Arts Council of England.


Film Still: Le Berceau de Cristal (1976) Philippe Garrel



Digital, 5 minutes, 2020


The vocals were recorded one night in April during Easter and lockdown 2020.

Spanish captions:

“Oh, you who pass this way,

look and see, is there any sorrow like the sorrow that afflicts me.

Stop all you and see my sorrow.

If there is any sorrow like mine.”

Lamentation 1.12.

From of the setting of Responsory V (Nocturn II Holy Saturday) Officium Hebdomadae Sanctae 1585 by Tomás Luis de Vitoria.








Film Still : Jennifer, 2015


Jennifer, 2015


Jennifer del Corazón de Jesús is a Discalced Carmelite nun in the enclosed monastery in Ronda, Spain. In the film Jennifer talks about what brings her to the Carmelite way of life. Seven years in the making, the filming inside the monastery took six months and was carried out by Jennifer Gomilla and Alejandro Román as he was the only one permitted to enter the monastery.  The filming was directed by Nina Danino through plans and photographs of the interior. The permission to film was given on condition that the other nuns in the community would not be  filmed. Jennifer and Alejandro were able to record sound which includes the presence of the community in their various activities whilst  Jennifer is filmed in her every day duties and activities.


The film is structured through the cycle of a day in the life of the monastery measured by the observance and recital of the Divine Office which is the clock which regulates monastic life. The voices of the nuns are heard in prayer and in the sounds of their daily activities off screen.  The static camera films the rooms and passages in long takes as the monastery itself becomes a present structure.   The sound and light connect the inside with the world outside. The film gives a rare access into enclosed religious life through the everyday life of the monastery and of Jennifer.







4K, Colour, 72 mins

Cast: Jennifer del Corazón de Jesús and the community of Discalced Carmelites, Ronda, Spain
Supervising Cinematographer: Tim Sidell
Monastery interiors: Alejandro Román
Grading: Thomas Urbye
Editor:  Elisa Cepedal
Sound Design: Joakim Sundström
Produced and Directed by Nina Danino
2015 © Temporal Films

2015 World Premiere 41 Edición Festival del Cine Iberoamericano de Huelva (Sección Puerta Europa), Spain


Contact Details :


T +44 (0)20 3141 2961 / E / W
LUX Waterlow Park Centre, Dartmouth Park Hill, London N19 5JF, UK

LUX logo


With Financial Assistance from The Government of Gibraltar

I Die Of Sadness Crying For You

I Die of Sadness Crying For You,  2019
World Premiere BFI London Film Festival, 5th and 11th October 2019

Festival Logos



What a terrific work about this form of song. Powerful emotions, powerful women and voices that speak from the margins of respectability.” – Catherine Elwes


I love the way it follows your interest in the female voice, the embodiment of emotion and the way you communicated through a text, weaving memory, observation, theory and the lyrics in addition to giving space to those wonderful performers.” – Althea Greenan


The film takes us to the lyrical places where the women of copla can be found;  the cinema, the port, cabarets, praying to the crucifixes in their bedrooms. A journey to the south, in search of locations for a film The Far South  –   looking for personal memory and the women of copla –  the singers and the women characters within the songs, who defy, challenge, cry, perform happiness and who themselves perform sorrow.


UK, June 2019

Duration: 70 minutes

Format: Digital (16:9)

Sound: Stereo LT RT 25fps

Language: English narration. Spanish songs translated

Colour and Black and White



Alice Mascarhenas ‘Inside a Filmmakers’ Mind’, Gibraltar Chronicle, 5 October 2019

Elizabetta Fabrizi, ‘BFI London Film Festival: Experimenta’ Art Monthly no 431 November 2019

I Die Of Sadness Poster

I Die of Sadness Clip 1


Photo: Sergio Mediavilla



Written and Narrated by Nina Danino
Featuring performances by Marifé de Triana
and live performances by Yolanda Figueroa, Elena Danino
World Premiere: 2019
Production: Temporal Films
Online : Ellie Stiles  Colourist: Alex Seery
Editing: Juan Soto, John Veal
Sound Mix: Michael Koderisch
Graphic Design: Adrian Curry
Produced and Directed by Nina Danino
2019 © Temporal Films


Contact Details :


T +44 (0)20 3141 2961 / E / W
LUX Waterlow Park Centre, Dartmouth Park Hill, London N19 5JF, UK

LUX logo


With the support of The Arts Council of England

Sorelle Povere di Santa Chiara

Sorelle Povere di Santa Chiara, 2016

12 minutes, 16mm black and white, silent


A 16mm portrait in response to the Franciscan ideal of simplicity and poverty which is the guiding principle of the Poor Clares and their ‘hidden’ life.


Filmed in the enclosed Monastero di Santa Chiara, San Marino. The nuns were filmed in the morning during the hours of work, in the ‘laboratorio’ sewing, mending, ironing, in the kitchen preparing the midday meal and in the kitchen garden.


Film Credits
Direction, Photography and Editing: Nina Danino
Production Assistant: Daniela Barulli
Second Editor: Alvaro Gago
Produced by: Temporal Films 2016


2016 Premiere: Ann Arbor Film Festival, USA.

[Photo: Pier Paolo Coro]

The Silence is Baroque

The Silence is Baroque, 1997

Super 8, DV, 16mm, colour, sound 12 mins

The rough voices of men (from Pier Paolo Pasolini’s Accatone ) open the film soundtrack, they banter in Italian about taking flowers to the cemetery. Filmed in Granada and Seville during Holy Week. The soundtrack mixes the cacophony of the music of the marching bands recorded live on location, the ambience of the crowds and the sung laments.  The centre piece is The Silence, a totemic hyper realist effigy from the 17th century which processes at midnight in total silence along the streets where the lighting has been turned off.  After it passes, we cross over into the light and noise of a new day – where people throng the streets, sit in cafes and enjoy life. Popular devotion is expressed in death intertwined with the applause for life in the energy of the Baroque.


Film Credits
Directed by Nina Danino
Singer: Anonymous
Location sound recording: Paco Tejero
Avid Editors: Jaime Estrada, Graham McGuiness
Sound Engineer : David Hunt
Dubbing Mixer: Billy Mahoney

Episode in the portmanteau feature film Rainbow Stories 75 mins. 1997, The Netherlands
Producer: Karel Doing, Studio één, The Netherlands

1997 Premiere:  Rotterdam International Film Festival, The Netherlands


Published in Rupture/Rapture/Jouissance – The Religious Trilogy 1990-1997 LUX (DVD) 2018



Temenos, 1998

Great Britain, France, 35mm/16mm/Beta SP, colour and black and white, sound, 75 mins


“I thought of history, of all that had happened in those places…The amazing voices – the transcended sexuality in them and in the landscapes – I thought of all the women in wars, losing their sons and men – and I thought of the abuse and oppression of women….and of women simply living on the land and the calls in the spaces, – somehow we fill the earth with our presences and how fleeting that is, nothing but an echo remains”.  Barbara Meter


“Temenos is a searingly beautiful invocation of the persistence of place that has the power to inscribe contemporary political and social circumstances with the memory of the past. Like Tarkovsky’s Stalker, Rosellini’s Stromboli and Lars von Trier’s Breaking the Waves. Temenos is a haunted territory of unmapped histories and emotions. A fierce place that can be as gentle and devastating as a whisper” Helen de Witt , “The Persistence of Spirit”,  Luxonline Artists’ Film and Video Collection


Temenos means ‘ritual precinct’, a sacred place, a place apart.   Original Film Soundtrack by Sainkho Namtchylak, Shelley Hirsch and Catherine Bott



Film Credits
Photography: David Scott, Nick Gordon Smith
Produced by Nina Danino and James Mackay Basilisk Films
Financed by The British Film Institute, CICV—Centre Pierre Schaeffer, Montbéliard, Belfort, France The London Production Fund, National Lottery, The Arts Council of England

1998  World Premiere: The 52nd Edinburgh International Film Festival
Festival Book of Lists: Voted 1st of 12 Films with Fab Soundtracks
42nd London International Film Festival


1997 Tracks released in States,  Shelley Hirsch, Tellus  TE-C003/1997
2000 Theatrical Release, London and UK Regional Cinemas
2000 CD  Temenos, film soundtrack, Leo Records CDLR320
2004 DVD History of the Avant-Garde series, London: British Film Institute


Nina Danino “Temenos and Other Places” Filmwaves, Issue 5 Summer, pp20-23, 1998

Gianmarco del Re, “Cinema and the Sublime”, Contemporary Visual Arts, no. 1998

Helen de Witt, “The Persistence of Spirit –The films of Nina Danino ”, Featured essay
Nina Danino, ‘Landscape, Film and the Visionary’, Pp120-128, Visionary Landscapes, Black Dog Publishing,
ISBN 1 904772 07 2 2002

Temenos invitation card, 1998

Sainkho Namtchylak, 1991
Photo Dagmar Gebers


EIFF Programme, 1998

EIFF, Book of Lists, 1998

LFF Catalogue cover, 1998

LUX Sacred Places flyer, 2000

Temenos Press Release, 1997

Stabat Mater

Stabat Mater, 1990

16mm, colour, sound, 8 mins

Stabat Mater  opens and closes with two sung laments, then launches into a breathless torrent of words and phrases, a re-reading of the eternal feminine of Joyce’s Ulysses, which echoes the exultant/feverish swoop of the camera through a Mediterranean landscape”  Jo Comino, A Directory of British Film and Video Artists ed. David Curtis, 1996

Film Credits
Filmed, edited and spoken: Nina Danino
Singer: Elena Danino
Dubbing Mixer: Andrew Sears
16mm Optical Printing: Nick Collins
Post Production: London Filmmakers’ Co-op
Produced by Nina Danino
Financial assistance from the Arts Council of Great Britain

1990 Premiere: 34th London Film Festival.


Published in Rupture/Rapture/Jouissance – The Religious Trilogy 1990-1997 LUX (DVD) 2018


Selected Screenings
“…and the figtrees in the Alameda gardens”,  The Garrison Library, Gibraltar, 2013 [installation]
Films de Nina Danino, Centro de Arte Contemporaneo (CAC), Malaga, Spain 2 December 2012
Maya Deren in Context -British Women’s Filmmaking , Maya Deren 50 Years, Southbank NFT, London 2011.
Retrospective: The Subjective Camera, Greenwich Picturehouse, London, 2007
All that is Solid Melts into Air: 30 Years of the LFMC and the British Avant Garde, Pandaemonium, ICA, London, 1996
Eat Carpet, SBS-TV, Australia 1995
Imaging the Female, Experimental Women, Birkbeck College, University of London 1993
Driving the Loop: New British Filmmakers, Tate Britain, London 19 September l992
International Avant-Garde, National Film Theatre, London 16 April 1991
New British Work, Pleasure Dome, Toronto, Canada. 1991

‘Stabat Mater – Film,the Feminine and the Sacred Pp150-157, The Sacred and the Feminine: Image, Music, Text, Space, Griselda Pollock and Victoria Sauron, eds., London I.B. Taurus, 2008 ISBN (HB) 978 1 84511 520 3, ISBN (PB) 978 1 84511 521 0
Jean Matthee, “On Wounds, Artificial Flowers, Orifices and the Infinite: A Response to the Films of Nina Danino”, Undercut, no. 20 1990. Reprinted in The Undercut Reader, Columbia University Press 2002


Retrospective: The Subjective Camera, Greenwich Picturehouse, London, 2007

All that is Solid Melts into Air: 30 Years of the LFMC and the British Avant Garde, Pandaemonium, ICA, London, l996

International Avant-Garde, National Film Theatre, London, 1991

Personalities, Sexualities, Identities, 34th London International Film Festival, London Filmmakers’ Co-op Cinema, 1990


First Memory

First Memory, 1981

16mm, colour, magnetic sound, 20 mins

The interior of a house. Outside, the sun parches the landscape. A woman’s voice tells a story.
Filmed from 35mm slide projection on 16mm reversal Fuji film with in camera fades and pans.


“It was wonderful to see First Memory. I was very struck by the way that the images conjured up by the text seem to superimpose themselves over the images on the screen – so vivid and very moving” Laura Mulvey


“Finally got a chance to watch your beautiful and disturbing film. How quietly it works its way into one’s consciousness.  Unsettling but so slowly. I was quite unprepared for the revelations offered and resisted. The earlier part was so evocative (or so I thought) of these kinds of spaces relationships between generations and so on but then it was so particular and the beauty of the images made what you said that much more acute, quite awful at the end…. It must have been quite intense making such a film and the sense of it will stay with me”  Annabel Nicolson


“First Memory (1981), originally a two-screen, tape-slide piece, is characterised by its lack of images, its blank spaces. It reveals confined and confining space, glimpses of décor picked out of the darkness as it by torchlight, while at similar intervals, the slightly hesitant narrator releases discrete memories”.   Jo Comino, ‘A Directory of British Artists’ Film and Video, 1995


Film Credits

Voice Nina Danino
Camera: Ian Duncan
Audio-visual Technician: Alan Vallis
Produced by Nina Danino at the Royal College of Art,London.

1981 Premiere: New Contemporaries, ICA, London


Selected Screenings and Exhibition
Collapsing the Frame, Reel to Real, Tate Modern,2016
“…and the figtrees in the Alameda gardens”, The Garrison Library, Gibraltar, 2013
Retrospective: The Subjective Camera, Greenwich Picturehouse, London, 2007
Experiments in Moving Image, Old ‘Lumiere’ Cinema, University of Westminster, London, 2004
Women in Film, Brewery Arts Centre, Cumbria, UK, 1984
Word and Image, London Filmmakers’ Co-op Cinema, UK, 1983
New British Avant-garde Film, Freunde der Deutche Kinematek,
Arsenal Cinema, Berlin, Germany 1982

Filmmakers on Tour, pamphlet, Arts Council of Great Britain, 1987

Projection of First Memory, 16mm film, Royal College of Art, 1981. Photo Patrick Keiller

Screening Invitation, First Memory, RCA, 1981

Women in Film, Brewery Arts Centre, Programme 1984


Communion, 2010

35mm, black and white, silent, transferred to High Definition, 10 minutes.


“The last 50s black and white film” Adrian Rifkin


“It manages to be both beautiful and uncomfortable: the young girl in her stiff white dress, clutching her rosary and prayer book, her expression solemn: how much does all this mean to her? Is she simply doing as she’s told? With her wide, almond-shaped eyes, she could be a subject from a Greuze portrait. Cinematically, she might have walked off the set of The Song of Bernadette.

The camera lingers, capturing the way the light falls through a fleur-de-lys lattice, creating shapes of angels. The Pugin chapel echoes neo-gothic architecture around us. We are compelled to watch, and as we do, the young subject grows tired, starts shifting in her frock. Whatever period she belongs to, she is a real child.” Susan Mansfield, Sanctuary/Comraich, The Scotsman 2010.


A portrait of a young girl filmed by Oscar winning cinematographer Billy Williams BSC.


Photo Jane Atkins

Film Credits
Director Nina Danino
Cast Thalia Somerville-Large
Cinematographer Billy Williams BSC
Editor David Dickson
Grading Paul Dean
HD Post Production Toby Glover
Online Editor Steve Murgatroyd
Focus Puller Oliver Ledwith
Stills Photographer Jane Atkins
Production Tracy Bass

Produced by  Nina Danino
Financed by Goldsmiths, The Arts Council of England.

Left to Right: Oliver Ledwith, Nina Danino, Billy Williams, Tracy Bass, Len Thornton, 2009

Photo Tim Sidell

Selected Screenings and Exhibitions
2010 Premiere: From Floor to Sky – British Sculpture and the Studio Experience, Ambika P3, London, 2010


Photo Michael Maziere

Little Constellation, Fabbrica del  Vapore, Milan, 2010

Comraich/Sanctuary, Mount Stuart Contemporary Visual Arts Programme, 2012

Photo Copyright of Mount Stuart Trust & Keith Hunter

Geography of Proximity,  Malta Contemporary Art Foundation, Valletta, Malta, 2010
Cambridge Film Festival, 2012

Heath Street Baptist Church, London and Queen’s Cinema, Gibraltar, 2013


“Abstract Image in Future Film and Video Art”, Pp79-87, Moving Image Review and Art Journal. MIRAJ, Launch issue,  2012.  ISSN 2045-6289
Nina Danino Pp58-62, From Floor to Sky: The Experience of Art School Studio and the teaching of Peter Kardia, 2010, Colour Hardback, A& C Black
Susan Mansfield, Santuary/Comraich, The Scotsman
“Capturing an aura – the human presence on film”, interview with Mo White, Cassone, July 2012.
Photo Feature, Pp83-92, Stimulus Respond, Ritual

From Floor to Sky, exhibition brochure, 2010