We are a production company committed to telling important stories in innovative ways. Established by artist-filmmakers Katharine Round and Leah Borromeo, Disobedient is run by creatives for creatives. We operate at the crossroads of film, art and journalism on projects that can be seen in cinemas, on television, in galleries, online and on the street.

We make and support great films & projects, forge fresh partnerships & business models, find new ways of developing artistic practice and reaching audiences. Our experience spans all stages of a project: from the caffeine-fuelled hours devising & developing concepts to plotting finance strategies to the coalface of the production and distribution of the work itself. Whatever the platform and whatever it crosses, we provoke, defy, disrupt and engage the senses.

We also offer consultancy and training on new models of financing, production skills and one-on-one mentoring.


Creative Director

Katharine Round is a filmmaker and artist with over nineteen years experience in creative documentary for broadcast & cinema. At Disobedient, she has worked with the V&A, the world’s leading museum of art and design; award-winning broadcasters Netflix, Al Jazeera & the Guardian; and Forma Arts, one of Europe’s leading creative producers in cross art form productions. Her work spans broad themes of economics, society and science, often told through the prism of psychology and character driven narratives.

In 2016, she directed the critically-acclaimed “The Divide”, a feature length film on the psychological impact of income inequality, inspired by the book ‘The Spirit Level’. Called “fierce and unsettling” (Peter Bradshaw, The Guardian), “jaw-dropping” (The Express), “timely, emotionally-shattering, formidable” (Picturehouse Cinemas), and “brilliantly-shot, insightful” (British Blacklist) the film had a successful theatric release across the UK including Picturehouse and Curzon sites, followed by a US/UK release on Netflix. She has also made films for the BBC, Channel 4 & Discovery as well as new platforms. She has had work exhibited at leading international film festivals (including Sheffield Doc/Fest, IDFA & Cork Film Festival), in galleries (the Serpentine, the Barbican Centre) and at the European Parliament in Brussels.

Katharine is also an accomplished producer, devising new models of finance and managing complex international shoots. She is the line producer for all of Disobedient’s productions and regularly gives masterclasses on film production to organisations such as Sheffield Doc/Fest, BAFTA, Four Corners Film and the Roundhouse. She is the co-founder of leading professional documentary filmmakers organisation Doc Heads, supporting documentary through curated events, masterclasses and commissioning opportunities.

Destructive Director

Leah Borromeo is a journalist, filmmaker and arts interventionist. Described as “redolent with mischief” by the New Internationalist, much of her work involves public and private space, social architectures, the environment and banging on about how journalism is an art and “can we all please stop being so representational all the time (please)”.

Currently directing ‘The Cotton Film: Dirty White Gold’, a film on Indian farmer suicides and fashion which dissects the clothing supply chain and casts a satirical eye on ‘white-saviour’ documentaries, she is working on ‘Climate Symphony’ - a data sonification project that pulls narratives from climate change data and tells the story of our warming planet through sound. It aims to see if sound can be used as journalism.

In addition to coming up with creative, disruptive interventions that document, address and occupy real and virtual spaces, she’s also made a series of short films on arts activism for Channel 4’s “Random Acts” and hosted Resonance FM’s “The Left Bank Show”.

A former foreign editor for Sky News, she’s worked with the likes of Channel 4 News, the Guardian, the Index on Censorship, APTN, The British Journal of Photography, Amnesty International, Greenpeace, Juxtapoz, Open Democracy, The Atlantic, New Statesman, Tank Magazine and a couple of nosy rags that get slammed with superinjunctions. She’s sold her soul to punditry and shadowy producer work for outlets from the BBC to CBC, is available for birthdays and bar mitzfahs and will likely turn up to the opening of an envelope.

Usually in the wrong place at the right time, she sometimes gets into trouble. It’s often documented, and only once has it been on a tank.