‘Finding Your Compass is a remarkable and sensitive response to women who experience depression. Working directly with six such women the film has all the hallmarks of Geilinger’s distinctive language of music, film, and contemporary dance. Most notable (and essential), are the subtle interactions of monoprint with figures who each physically express their emotions (the printmaking element was generated especially for the project through a workshop run by Gallit Shaltiel). This type of film is not an easy thing to pull off, but here it is achieved with real mastery and lightness of touch, giving us a wordless narrative of symbolic depth and poignancy, we project our own emotions into. We live at a time when digital technology is enabling the moving image and the still image to grow closer to one another, and here Geilinger has intelligently employed this phenomenon in constructing highly effective visual metaphor for therapeutic effect.’
‘Finding your Compass reflects a skilful integration between the moving body, animation and editing. The performers themselves are embedded into screen space and crafted with integrity into strong design and visuals, most importantly allowing their individuality and personal expression to be revealed. Conceptually the work highlights an intelligent research and attention to detail. This is truly inclusive work’.
‘This is an excellent piece of work where the developmental monoprinting and dance workshops provided the participants with a very soundly structured, creative and supportive environment enabling them to explore personal and collective experiences. The resulting individual work and stories are then skilfully integrated into a cohesive and effective film. The quality of the final film reflects the quality of the developmental work and clearly communicates its message to its audience, making this piece of work not only valuable to its participants but also to its viewers. Its quality as piece of film I feel is especially important as it enables its makers to not only value their role in the process but to also feel a strong sense of achievement in the professionalism of the final product.
The conversations and shared experiences that spawned this work are reflected in those of the audience, suggesting a potential cycle of future engagement and production’.
‘As the Principle GP at BHWC I am convinced that the art projects we run represent a cost effective, sustainable and clinically effective way of treating patients. We currently contribute into them through the practice and its allied charity the Robin Hood Health Foundation*. True evaluation of the clinical affectivity of projects such as these is difficult and fraught with complications. As the participant feedback shows there is. As Clinicians at the practice we have noticed a clear drop off in the number of GP attendances in patients who have been through these programmes. Further formal evaluation is underway in conjunction with the CHASE foundation.’