In a stuffy, dimly lit room in the back of Exeter Pheonix, the audience was sat in an anticipatory silence for an evening introduced as ‘films too weird to be seen in the daylight’. The collection of ‘Something Feels Off’ shorts lived up to their preface from the very beginning.

Nick Blake’s The Viewing is a mind bending, plot twisting indulgence. The two lone characters passive aggressively psychoanalyse one another in each room across the ‘viewing’ of a house that is decidedly uncanny. The combined use of uncomfortably angled shots, as well as the aesthetic quality of the set, with vibrant floral wallpapers and a windowless circular room, is reminiscent of a fifties housewife’s mental breakdown, if not of the prowess of those that worked on this film. Its eery disruption of home comforts was intricately constructed, running a cold chill over the audience as the psychological horror unravelled into an unknowing personal navigation of the prospective buyer.

The showing moved quickly into the next film, Skull, directed by Marion Guerrero. The anxieties of the French protagonist, and of many women on a more general level, are captured perfectly through comic metaphors, even with a little dig at Brexit. The awkward first scene of the protagonist showering with a fully dressed pregnant woman squashed into her tiny shower cubicle provoked sporadic giggles from members of the audience. By the time she was ‘caught out’ wearing a new, rather attention grabbing, purple shirt, reflected in the next clip with her face covered in clown makeup, we were all in fits of laughter. With comedic excellence, the film skilfully pokes fun at each complexly human fear and allows for a kind of comfort to the unsure self.

Next came Ryan Mackfall’s The Birdwatcher. This pseudo crime short was characterised by its confident use of visual effects and its nonsensical plot line. Every time I thought I understood the direction it was heading, the film did a complete 180-degree turn, sometimes quite literally as the birdwatcher himself is flipped into an alternate reality. The uncertainty of the site of the malicious intent, likely the mystical figurine that manipulates the albatross, makes the attack particularly ominous. As the only film to fully utilise the surround sound system of Pheonix’s Studio 74, the bird calls emitted from every corner of the room placed the audience as prey in their own seats.


First 4 Paragraphs

Two Short Nights Film Festival Close up

Bulb, directed by Guy Taylor, shone for its dialogue. The uncomfortable scenes of lacklustre discussion across the family dinner table, moving into tense, uncalculated paranoia over the family’s singular lightbulb, emphasises its dichotomies of mental and literal light and dark in the film. Its carefully formed discussion of family power imbalances critiques the complexities of living with abuse. It is a superbly multilayered film.

Lasting only four minutes, and the shortest film in this showing, Gabrielle Hoad’s The Porous Body relied heavily on static clips and images. It appeared as a conjuring poem and images of the supposed spirit medium, as indicated by a black and white, aged photograph before the credits. Its interpretive portrayal was a stark contrast to the plot driven narratives either side of it and was met with a hesitant applause. 

Poc’han was directed by Thom Limb, who guided the evening towards environmental considerations. The short focusses on the tracking of the declining puffin population, with moody, desolate images of the Cornish hills and moors. The sticky oil that plagues unexpected spots of the natural environment is a foreboding omen of the destruction to come while the local farmer’s unintelligible speech is disconcerting. The use of flickering images and panicked chases excellently permeated the stagnant warmth of the studio and embedded us in a shroud of tension. 

The final film of the evening was Her Babies, directed Letícia Bianco. The Brazilian and Italian collaboration is driven by an uneasy marriage dynamic and an unwitting, slow infection by ‘dirty’ water. It is perhaps a criticism of poor access to clean water, further complicated by a mythologically terrifying water-being that engulfs the victims. The film’s title is only revealed before the credits. As ‘Seus Bebês’ flashes onto the screen, the infected bodies’ reliance on, or control of, the mother is disturbingly clear. The audience is left in darkness, slowly watching the credits roll, beautifully abandoned to the terrors of the unknown. 

As the lights came on, the room was strangely still before we all began to grab our belongings. Something was certainly off.


Second Half

Film Festival

Review by Alex Wildee

Two Short Nights Review

Two Short Nights Film Festival 2026 reviewed by XXXXXX. An evening introduced as short films too weird to be seen in the daylight...

Picture this: it’s the late 2000s, and Exeter Northcott Theatre has been turned into a retirement home for elderly actors. The audience is suspended in time as Mr Combe shuffles across the stage under cosy lighting and the watchful eye of the nurse, and everyone seems to hold their breath. It’s a moment, early on, when you forget the promise of a slapstick jukebox musical and really sets the tone for one of the important takeaways from the play: how we approach ageing. Once Mr Combe reaches his piano, he stays there for the rest of the show, only occasionally needing some extra oxygen. He effortlessly accompanies a wide range of hits, from the haunting ‘Forever Young’ sung by Jodie Micciché, to ‘I Love Rock ’n’ Roll’, which had the entire audience clapping along to the beat.

The balance of Forever Young is what makes it such a success— slapstick humour that had me spluttering with laughter would turn into tears during some of the more poignant moments. Ms Grace, forgetful and dazed, previously a theatrical star, sings a rendition of ‘Barbie Girl’ after her wig is accidentally ripped off, and she’s trembling and confronting the reality of ageing. By the end of the show, she’s wielding a shotgun and appearing to shoot the imposing and slightly sinister nurse, played by Eliza Shea, dead. 


First Two Paragraphs

Forever Young Still

Having seen a range of shows which portray elderly people, I wasn’t sure what to expect. I was pleasantly surprised: the endearingly funny way each character is portrayed had everyone in the audience thinking of their own relatives throughout with knowing laughs and tears in their eyes. Mr Armfield’s early rendition of ‘Where Do You Go To (My Lovely)’, sang to Ms Grace, his on-stage wife, reminded me so strongly of my own grandparents that it brings a lump to my throat to write about it even a week later.

The set was all too familiar, with lampshades that I could have sworn were lifted straight from my grandparents’ own house hanging alongside the spotlights, rugs and sofas akin to what you would find in a retirement home, and posters from Northcott Theatre’s heyday. Not only that, but the costuming was also excellent, with convincing stage makeup, Mrs Micciché’s ‘Less Talk, More Action’ climate tank top, and Ms Cheesely’s fluffy pink slippers. 

Forever Young is all about ageing disgracefully, but also not fearing ageing. It’s inevitable that Mr Watts, an ageing rocker, falls asleep more often, but he can still break into a Memory Medley mid-show. Ms Cheesely and Ms Micciché’s friendship was heartwarming, and the heart of the show shines through their collective efforts to continue living their life to the fullest. Why not recite Shakespeare with your old acting friends? As we are reminded by Mr Watts, no one can evade death, so you may as well make the best of it.


Last 3 Paragrapghs

The Cast of Forever Young

Review by Kitty Carter

Forever Young Cover

The balance of Forever Young is what makes it such a success— slapstick humour that had me spluttering with laughter would turn into tears during some of the more poignant moments. 

Forever Young Review

Comedy

Students

A slideshow of images of Bobak Champion and his family and friends set to Persian music is playing on the screen as we enter the theatre. Right from the start, we are immersed in the Iranian culture, one that Champion is eager to share with his audience. He leads us in chants, teaches us how to pronounce his name (Bob-ak) and say Persian words. From the slideshow at the beginning to the Persian tea and traditional date biscuits shared with the audience at the end, Champion is intent on showing us the country behind the headlines. 

The topics covered have never felt quite so pressing, with this performance coming only three days after Israel and the US launched attacks on Iran. Bobak told us at the end that he has been unable to keep up with the news of what is happening in his motherland lately as he has a one-month-old-baby at home. It’s hard to imagine the show being performed at a more relevant time, and Champion is ‘on a mission to make a difference’ in the representations of Islam and the Middle East in the West. This part-autobiographical story, part-cabaret has a strong mission statement, one Champion successfully conveys to his audience. 

The play covers Bobak’s life growing up in Bristol, his experiences of Islamophobia and racism, visits to family in Iran, his love of breakdancing, and his experience running Tehran’s first (and last) ever marathon. It is a medley of song, dance, breakdancing, and audience interaction. Champion shifts characters often, albeit sometimes clumsily, to show us a plethora of his life experiences. He is eager to include his audience in the narrative, creating long running jokes with those sat in the front-row and at one point pulling audience members on stage to compete in a catwalk. He is joyous and light-hearted, however that is not the case for the whole play. There are moments where the humour cuts out and we are confronted with the vitriolic Islamophobia Champion has faced throughout his life. He creates chilling images through a mix of physicality and lighting design, where, for example, a cheerful hand punching the air morphs into a Nazi salute.

One of the main themes of the show, however, is Bobak’s one true love: breakdancing. He brings attention to the underrepresented dance style of breakdancing. While predominantly a one-man endeavour, Champion introduces two Devon based breakers near the end of the show – Bboy Sheku and Master Splinter – to bring to life an experience he had connecting with other breakdancers when visiting Iran as a teen. At every tour stop, Champion invites local breakdancers to be a part of the show and show off their skills to their community. It was a joyous celebration of the art form, with the whole audience cheering and whooping at the dance battle, though the person most enjoying it was Champion, clearly fulfilling a childhood dream in front of us. 


First 4 Paragraphs 

Bobak Breakdancing

Another thread woven throughout the show was the tale of the first Tehran marathon, where he and the runners around him hid a female runner from armed guards who had managed to sneak into the race after women were banned from competing, and instead offered a measly 10k ‘ladies run’ instead. It was refreshing to see a man passionately championing the issue of women’s rights, something that is clearly important to him as he leads a round of applause for his wife at the end after leading the audience in chants of "Zan, Zendegi, Azadi" (Woman, Life, Freedom). 

The sheer amount of stimulus, both visually and auditorily had the potential to be overwhelming but Champion narrowly escapes this. There were moments where the dramatic intent was missing and certain aspects – like a live saxophone performance complete with live looping and sound layering – felt shoehorned into the show. I couldn’t help but feel that it was more Champion showing off his party tricks than creating a specific narrative meaning. 

Ultimately, this Herculean effort of a show is refreshing and successful as a piece of theatre. The audience are engaged, amused and educated, which is exactly what Champion set out to do.


Last 3 Paragraphs 

Review by Lucy Cornwell.

I'm Muslamik Don't Panic

Writing and performing an hour-long one-man show is nothing short of courageous. Adding a saxophone solo, breakdancing, karaoke and audience participation makes it a near Herculean feat, but Bobak Champion doesn’t break a sweat as he rises to the task in Salaam Salaam theatre’s ‘I’m Muslamik Don’t Panik’.

I’m Muslamic Don’t Panik Review 

Student Blog 

FXCT is an incredibly fun and exciting project. It allows Falmouth University and University of Exeter students to collaborate and exchange passions, ideas and skills to produce incredible creative work. This internship is ideal for those looking to explore other disciplines and anyone who wants an excuse to create! 

What is FXCT?

I am hugely inspired by the natural world and when taking photographs, I primarily focus on texture and shape. Creativity is a huge part of my life; I love experimenting in my work, and I find documenting the world in my style hugely rewarding. This is an image of a Rainbow sea slug - a relatively new addition to UK waters. First appearing in 2022, this small nudibranch has become a common sighting along the rockpools of Falmouth. This individual was photographed at the Rockpool Project after being found by another volunteer. My Instagram is linked below if you want to check out any more of my work!

Rainbow sea slug

As for my university work, I am currently investigating the mechanisms of camouflage in the chameleon prawn. Chameleon prawns are small, intertidal prawns, existing in red and green colour morphs, renowned for their behavioural adaptations that maximise camouflage. Previous research found prawns select seaweeds that match their colouration; my work investigates the effects of light on chameleon prawn choice, assessing whether prawns use vision to make camouflage decisions. 

University work

A red chameleon prawn sat amongst pink harpoon weed.

Chameleon Prawn

Last year, I collaborated with Erin Leahy and we created ‘Suboptimal’. This was a lighthearted exploration of our local rockpools, centering our attention on the process rather than the outcome. This gave us the name Suboptimal; not everything went to plan and the result wasn’t ‘perfect’, but we took mistakes in our stride and produced a concertina that was full of charm, reflected our experience and something we were both very proud of. During the internship, I was able to share my love of photography and marine life with Erin and was taught lots about printmaking techniques, assembling a book, and how to really enhance my creative process.

Suboptimal

We tried lots of things new to both of us like printing cyanotypes and developing film with seaweed – both of which were incredibly fun. This is my favourite photo from the roll of seaweed developed film - taken on World Ocean's Day.

Seaweed film

The theme ‘Archives and Special Collections’ was super interesting. Erin and I spent time exploring our own ideas, before coming to the archives to link everything together. We chose to make a book because they are so prevalent in the archives and so it felt like an appropriate and encompassing way of presenting our experience. In the archives, we were particularly excited by the notebooks of playwright Nick Darke, whose informal style and sense of humour reminded us of our own approach. The theme for this year remains the same, and I can’t wait to see what curiosities inspire the 2026 interns! 

Suboptimal pages

The freedom provided by the internship meant that all pairs investigated highly varied material in the archives and produced entirely different results. Millie and Rose looked at invasive species and made shadow drawings and a film and Louis and Mora explored mapmaking, creating stone illustrations and photographs. Together we curated a shared exhibition called In the Company of Land and Sea which toured around campus across July – September 2025. Meeting up every week allowed us to hear how differently everyone was approaching the theme. Exchanging ideas during these meetings gave us outside perspectives, helped develop our projects, and allowed us to inspire each other. The FXCT greatly helped me develop my skills as an artist, and I had an incredible time working with Erin. I am super excited to be involved again this year, but very jealous that I won’t be taking part!

Exhibition and final thoughts

Collab pictures 

A photo of me shot on film by my friend Ella Kay!

Joe Barton

Hey! I’m Joe, a photographer and 3rd year BSc Marine Biology student here at the University of Exeter. I took part in 2025’s FX Creative Together (FXCT) project, and I can’t wait to work with the Arts and Culture team again coordinating it this year.

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FX Creative Together Coordinator

In East Devon, we are surrounded by bodies of water – in the rivers, the lakes, the wetlands, the sea, and the potholes. But have you ever thought about what is happening under the water? How is that world related to ours? Artists Anne-Marie Culhane and Emma Welton have been asking exactly these questions on the Exe Estuary.

Tidelines, founded by Culhane and Jo Salter, is a community-led CIC which aims to find interdisciplinary ways to care for the Exe as a direct response to climate change and biodiversity loss. Focusing on some of our less celebrated and more vulnerable species, the ‘Rocks to Reef’ project explores how the estuary is tied to the culture and future of East Devon. This project spans artist practice, archival research, scientific investigation, and collaboration with Lympstone shellfish farmers, revealing how our relationship with the estuary requires adaptation to shifting economic and environmental conditions.

Map of lower part of Exe Estuary (1743). Printed with permission from Clinton Devon Estates.

Image 2

# What might the future of fishing communities look like?

The Exe contains two distinct types of oysters: the native oyster (Ostrea edulis, literally meaning ‘edible oyster’), and the Pacific or Rock oyster (Magallana gigas). But Rock oysters did not find their way into the estuary alone. They were introduced by the Ministry of Agriculture, Fisheries and Food in the 1960s in an attempt to bolster the collapsing shellfish industry. This decline resulted from the previously unsustainable fishing of native oysters, pollution, habitat destruction, and the proliferation of Bonamia ostreae, a lethal microscopic parasite. Nowadays, maintaining balance in the estuary requires constant management efforts by those who live and work there to keep its ecosystem healthy.

Fisherfolk Jason and Toby Ingham and aquaculturist Martin Syvret have been working together to understand the lives of our aquatic acquaintances as the environment continues to change. One way that they seek balance is by utilising the Rock oyster to help restore the endangered native oyster. This is done by placing dead shell back into a subtidal area in the Exe to form what is called a cultch, which is where an oyster reef is formed - hence the project title ‘Rocks to Reef’.

The Ingham family has worked on the River Exe for generations, shaping a livelihood in rhythm with the estuary. Today, as one of the few remaining fishing families in Lympstone, it is evident that the knowledge preserved by a continuous, embodied practice has become invaluable. Currently focusing on sustainable farming and managing the Exe’s three shellfish species - mussels, native oysters, and Rock oysters - in symbiosis, Jason is keenly aware of the role they play in the ecosystem. From water filtration and carbon sequestration to protecting our coastlines, they are all crucial engineers in our local habitats. On top of this, they provide us with a source of food which yields many health benefits.

# How can we connect with the Exe?

Anne-Marie, who has been living with live oysters in an oxygenated tank in her living room, has been closely observing them through a lens of respect. Alongside Olive Fitzgerald, the artists have been investigating ways to create pigments by sustainably gathering shells for crushing, burning, and dissolving. Culhane is also mapping a multiplicity of other uses for the shells. Meanwhile, activist-musician Emma Welton has been exploring the sensorial world of shellfish by recording bioacoustics, creating instruments from shells, and spending time out on the mud. The artists’ research has even extended into the Lympstone historical archives: Investigating the history of community ownership, rights to shellfish harvesting, as well as mussel and oyster occurrences throughout history and literature. They hope that by fostering both human and more-than-human perspectives, we can find ways to care for the unsung heroes of our underwater world.

On March 21, to mark the spring equinox, Tidelines are inviting members of the public to Lympstone from 11am – 4.00pm to take part in a multidisciplinary event ‘Balance in Constant Adjustment’ for creative workshops, displays of local artists’ work, musical performances, a community discussion, and a taste of Jason and Toby’s oysters. Tidelines wants everybody to be able to experience and understand the importance of shellfish on the Exe. This event is not only a demonstration of the work done during the ‘Rocks to Reef’ project: it is a way for us to reconnect with, to learn about, and to show our support for the Exe estuary and all of its inhabitants.

Experimenting with oyster shell pigment, photo Jo Salter.

image 3

For more details on this event contact [info@tidelines.uk](mailto:info@tidelines.uk) or [www.tidelines.uk](https://tidelines.uk/).   

Emma's blog detailing her research can be read [here](https://tidelines.uk/blog/a-toe-in-the-mud-exe-oysters-and-mussels/).   

Tidelines’ other work with mussels can be read [here](https://tidelines.uk/blog/alive-alive-0/).   

Article written by Indie Hansford, volunteer on the ‘Rocks to Reef’ project and MA Curation student at the University of Exeter.

Pacific Oyster, photo Anne-Marie Culhane.

In this blog post, University of Exeter MA Curation student Indie Hansford shares insights into Rocks to Reef, a creative project exploring the ecology and history of sustainable shellfishing on the River Exe, where she is currently volunteering.

Find out more about the Salmon Run on the Tidelines website: [www.tidelines.uk/blog/salmon-run/](https://tidelines.uk/blog/salmon-run/)

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Balance in Constant Adjustment: Presenting Tidelines CIC’s ‘Rocks to Reef’

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