HermiH

HermiH draws out a world not too far from our own: a world in which the maternal, as a power in its own right, has been damned. As a result, everything else has fallen out of balance - including humanity's relationship to the erotic. Desire has been manipulated as a means of control, while intimacy becomes a terrain of possession, defiance and transformation.

Against the dominating forces stands a visceral resistance; bodily, instinctive and at times absurd. The film was made using sections from a forthcoming novel of the same name as a score for the performers. The text is not used to illustrate a narrative; instead it acts as provocation, invocation and invitation, entering the bodies of the performers and generating movement.

Disembodied hands emerge and reach into a body alone in the dark. The city's water falls. Bodies move into and across each other's currents, questioning and dominating, merging and holding. . Comedy lances tragedy as touch shifts between tenderness and threat.

Milk becomes a question; nourishment, maternal power, desire, depletion. Is there any milk left to give?

And ultimately, who is who?

Humans bloom and fade as love burns up into shadow.

HermiH moves through a landscape where identities are unstable and bodies are continually changing their relationship to one another. The film asks what happens when the structures that govern gender, desire, care and power begin to fracture - and whether something other than subservience might emerge from that opening seam .

Risk is the axis on which action revolves.

Liberty is urgent, the journey is mired.

The  film was made by Lewis, with herself and Cattrall performing, joined by Archie Redford.