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“Video Nasty” was the term imposed by the UK’s audiovisual bureaucracy in the early 1980s. If a film received that denomination, it meant two things—that it contained explicit scenes and that, as a consequence, had to go through a revision with the risk of being censored or even banned. Those who had to subject themselves to that kind of films in order to come up with such a decision were workers such as Enid, the punctilious protagonist of Censor, who evokes traumas from the past when reviewing one of these provocative videos. After inspecting the film, the young woman is convinced that it is based on her sister’s disappearance and goes in search of the film’s director, expecting to find answers. If, according to the legislation of the time, these films could cause fervent desires to commit violent crimes, then who is in charge of protecting the censors?
Prano Bailey-Bond (Wales, 1982) is a filmmaker whose work fuses a dark vocabulary with some disturbing charm, in order to reveal the way beauty lies in strange places. She is developing an adaptation of Argentinian author Mariana Enríquez’s Things We Lost in the Fire.