Horses run through this selection as workers, myths, projections and refusals — across Europe, Canada, Uruguay, Egypt and the Philippines. They pull carts, carry histories, slip into dreams and erupt into hand-drawn fantasy. They unsettle the frame.
In Horse of Mud, Atteyat al-Abnoudi films women in a Cairo mud-brick factory treated like “horses,” yet restores their dignity and political agency by turning repetitive labour into choreography. In Workhorse, Cliff Caines observes draft horses in contemporary Canada to question mechanisation, endurance and care.
Across documentary and experiment, these films refuse domestication. They ask what it means to work like a horse, to dream like a horse, to see like a horse.
Saddle up. We wish you a good gallop.
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