Father land: Wilhelm Reich, Jacques Morali, et al. examines the intertwined histories of masculinity, sexuality, and authoritarian power through an intricate montage of found footage, archival material, and layered narration. Taking Donald Trump's repeated use of the disco anthem YMCA as a point of departure, the film investigates the contradictory afterlife of a song deeply rooted in gay culture that has been repurposed within contemporary political spectacle.

Drawing together excerpts from Escape from Alcatraz (Don Siegel, 1979), Cruising (William Friedkin, 1980), Making Love (Arthur Hiller, 1982) and Can't Stop the Music (Nancy Walker, 1980), the work juxtaposes popular cinematic representations of masculinity with documentary accounts of Austrian psychoanalyst Wilhelm Reich and Village People founder Jacques Morali. These intersecting narratives chart the formation of hypermasculine identities within both gay subcultures of the 1970s and broader systems of patriarchal authority, revealing unexpected continuities between desire, performance, repression, and power. Throughout the film, the artist's own voice appears alongside appropriated documentary narration, at times altered with AI, creating an unstable relationship between authorship, historical testimony, and mediated identity. This shifting structure allows multiple voices and temporalities to coexist, weaving together personal reflection, cultural history, and political critique.

Rather than presenting a linear historical account, Father land exposes the ideological mechanisms through which masculinity is constructed and mobilised across different social and political contexts. By tracing the circulation of images, music, and popular media, the work reveals how cultural symbols are continually reinterpreted to sustain competing narratives of identity and authority. In doing so, it offers a critical reflection on the enduring relationship between gender, spectacle, and the visual cultures that underpin contemporary forms of power.