During Act 1, viewers are first confronted with the cold corridors and unexplained violence of Elephant. However, the drone-like noise of Amanda Beech’s Sanity Assassin elicits a strangely magnetic pull. Tucked behind a huge wall of black, it pulsates with abstract sound, somehow dragging the viewer away from shocking assassination scenes in Troubles-era Belfast.

Recalling moments from American horror movies, Beech’s film blends shots of bleak suburban houses with high-speed images of empty motorway. Charged with an unfulfilled sense of suspense, it is a journey with no destination—a dizzying kaleidoscope of image, text and noise.