THE BATHS (2016)

❋ Produced, directed & edited by - Anouska Samms & Sofia Pancucci-McQueen

❋ Sound Recordists - William Alexander, Phillip Barnes, Tom Beale, Kathryn MacCorgarry Gray, Andy Richmond

❋ Colourist - Jessica Vile

More information and a complete list of screenings and awards can be found at

Exhibited at Fat Relic Gallery, 2016. Photography by Kui Pun

Tucked away in the corner of an industrial estate in East London is a steam baths where people meet to wash, eat and chat. Visited daily by men from the East-End’s Black British, Eastern European, Jewish and white British communities, it’s where different bathing rituals provide points of exchange, as distinct practices inform one another. The baths is a space where collective memories are forged.

Made by two women filmmakers, The Baths (12mins, 2016) explores masculinity in a unique setting. Inspired by Laura Marks' ideas of haptic visuality, the film's haptic imagery creates a visceral experience for viewers, making them feel as though they are sat in the baths and experiencing the space's intense conditions. Whether disorientated through the use of Go-Pro in claustrophobic steam rooms, or the effects of the environment revealed on naked skin, viewers are sensorily engaged by the filmic image, conveying different knowledges through and by the site of the body.

❋ WINNER - Best Documentary Short at The Artists Forum - Festival of the Moving Image, New York, 2017

Exhibited at Mana Contemporary Chicago, 2017. Photography by Michael Sullivan.



❋ Directed & edited by - Anouska Samms 

❋ Producer - Anna Fywell

❋ Cinematography - Joshua Loftin, Kathryn MacCorgarry Gray, Anouska Samms

❋ Art Director - Greg Bradlaugh

❋ Art Assistants - Claire Esnault, Javie Huxley 
❋ Sound Recordist - Kathryn MacCorgarry Gray
❋ Sound Mix - Calum Sample
❋ Composer - Fredrick Waxman

❋ Colourist and Animator - Radu Rojas Oprean

Capturing the tender and messy moments, It’s Not Perverse, It’s Mothers (14 mins, 2022), is a chaotic portrait of mothers and daughters. The film comically, yet tenderly seeks clarity on a curious hair-dying ritual passed down through five generations of women in the director’s family. The ritual, seemingly unquestioned before the making of the film, shows the difficulties in attempting to recapture a familial story that can be too revealing or difficult to accept. 

The film explores the same maternal ritual that informs my sculptural work.

The vessel, Angel, (10cm x 12cm, human hair, air dry clay, 2020), was created to accompany the film when exhibited.