"The Red Phone" begins as a snapshot album, documenting a red phone & it's engagement in daily activities with the artist. As time goes on we have a stronger feeling of foreboding and dread, the artist loses her companion, and appears to lose herself in an abandoned building.
When they are reunited, she expresses love and thankfulness on their return. We begin to connect with the phone as the artist does, humanizing the object. As long as the phone is accompanying the artist it is of importance, however when the phone begins to express it's own needs and desires to return to it's own life, the artist destroys it, in surroundings reminiscent of an elephant graveyard. We discover the phone indeed is not just a simple companion, but has complex needs of it's own as a daughter, wife and mother. Despite the artist returning the phone to it's family and loved ones, the viewer is aware the artist holds all the power in the relationship, and the phone has no other destiny.

This film was inspired by a piece in a conservative western newspaper which told the story of women trafficked to the UK to work in popular acrylic nail bars. The piece told of their capture, financial bondage, and horrific living conditions, beatings & starvation. The comments from the female public on the article focused on the quality, value for money and price of nails in such nail bars compared to those staffed by non slaves.
At no point were they concerned with the welfare of the nail bar slaves, just how their nails would benefit or not should they use one.

I set out to show how easy it is for one to be taught to covet a piece of plastic, more than a human being unknown to them. To humanize objects is to objectify humans.

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