LAMB

Lamb is a two-part film series that unfolds across seasons, one shot in the height of summer, the other in the stillness of winter. At the end of Lamb: Summer, the lamb’s head was ceremonially buried beneath the sand by the sea, left to decay for six months before being exhumed to film Lamb: Winter. This act of burial and unearthing becomes a natural collaboration: time, rot, and the earth itself contribute to the film’s evolution.

The series is grounded in a philosophy of non-anthropocentrism, a reversal of human-centered value systems. It refuses to place humanity above the natural world, instead acknowledging an ecocentric reality where all entities, flesh, sand, salt, and decay possess intrinsic worth. Through this lens, Lamb dismantles hierarchy: the human is no longer the protagonist, but an equal participant in the cycle of transformation.

The anti-humanist approach treats humankind not as the orchestrator of meaning, but as material alongside animal, soil, and sky. The human and humanoid antagonists in the films are necessary presences, yet they serve primarily as conduits through which the animal imagery exerts power. The lamb, recurring and dismembered, embodies both victim and relic, its form oscillating between ritual object and abject spectacle.

A traditional comfort food like shepherd’s pie mutates into a lamb’s head on a platter, familiar yet revolting. Through this inversion, the films explore how easily the ordinary collapses into the grotesque. What was once domestic becomes uncanny; what was once appetising becomes mournful.