🎙️ NEW Podcast Episode: Identity and Ambiguity in British Film
Recorded during Raindance Film Festival in Soho, this episode examines a strand of contemporary British and international cinema preoccupied with instability—of form, of history, and of identity itself.
From films that fracture and re-edit historical memory to documentaries that refuse the demand for clean categorisation, the conversation moves through questions of authorship, visibility, and interpretation. What does it mean when cinema stops explaining the world and starts exposing how it was assembled in the first place?
Across works including WHITENESS, Laundreams, and Let Us Be, the discussion traces a shared refusal: to stabilise meaning, to simplify identity, or to resolve ambiguity into comfort. Instead, these films linger in friction—between archive and fiction, belonging and misrecognition, visibility and understanding.
At its centre is a larger question: not just what cinema shows us, but what it quietly asks us to accept about how reality is constructed at all.
writing
🎙️ NEW PODCAST: In this episode, we step into the shifting terrain of Intersex Visibility and Ambiguity — where identity is not a headline, but a lived reality shaped by medicine, culture, and silence. Through voices from Let Us Be, we explore what it means to exist beyond rigid categories, and why visibility alone is no longer enough. This is a conversation about bodies, belonging, and the uncomfortable power of not fitting neatly into definition.
IElegant, provocative and intellectually dressed to kill, Role Play reminds us that fashion reaches its highest form not when it sells clothes, but when it quietly dismantles certainty. The garments may change. The performance never ends.
Arthur Sopin & Andreas Rod’s No, It Is Not; Not Always (DT500mag, London) is a sharp post-conceptual rupture disguised as an exhibition — where portraiture, performance, and moving image collapse into controlled instability. Born from a 150+ artist open call, it reframes eccentricity as structure, not exception, and turns identity into a flickering system rather than a fixed subject. Positioned between Venice Biennale discourse and post-internet fatigue, it doesn’t explain the contemporary condition — it destabilises it, elegantly and without apology.
A modest Norwegian upbringing, a Bowie-sized ambition, and a refusal to separate music from fashion, image from sound, or idea from execution. Under the name Suprastate, Thomas builds a self-contained creative system where noise, tailoring, and pop instinct collide into one continuous aesthetic engine. At a moment when culture is drowning in unfinished ideas, he insists on the opposite: everything must be made, fully, or not at all.
#dt500mag 