Miranda Pennell originally trained in contemporary dance before making films, and later studied visual anthropology. Her film and video work exploring different forms of collective performance whether dancers, soldiers or fight directors, has been widely broadcast internationally and presented in festival and gallery contexts. Her recent moving-image work uses archival materials as the starting point for a reflection on the colonial imaginary. Her film Why Colonel Bunny Was Killed (2010) examines British image-making in the Afghan borderlands at the turn of the 20th century. It was awarded best international film at the 2011 Images Festival, Toronto, and Courtisane Festival, Ghent. Pennell’s feature-length film The Host (2015), which reworks material drawn from the archive of the Anglo-Iranian Oil Company (now BP), won the Punto de Vista Award for Best Film (Pamplona) in 2017.
Recent screenings include ‘Miranda Pennell: choreographies and archives‘ at Filmmuseum Munich (2017), ‘Co-op Dialogues 1976-2016: Lis Rhodes & Miranda Pennell’ and ‘Assembly: survey of recent artists’ film and video in Britain 2008–2013‘at Tate Britain (2016 and 2015 respectively), ‘Autobiography and the Archive‘ at the Zhika auditorium at Whitechapel Gallery (2015), ‘Colonial Spectres‘ Museum of Modern Art Vienna (2012), and group exhibitions ‘All Systems Go: Liam Gillick & Anton Vidokle, Miranda Pennell, Dominic Watson’, Cooper Gallery, Dundee, ‘The World Turned Upside Down‘ at Mead Gallery (2013) and ‘Europe – The Future of History‘ at Kunsthaus Zurich (2015). One-person programs of her work include those at Close-Up Cinema, London (2016), Glasgow Short Film Festival (2011), Oberhausen Short Film Festival (2006), Vienna International Shorts (2011), Tampere Short Film Festival (2009).