30 July 2014

EFS in Fronteira – International Documentary and Experimental Film Festival


A programme of Experimental Film Society will be screening at Fronteira - International Documentary and Experimental Film Festival. The first edition of FRONTEIRA - International Documentary and Experimental Film Festival , runs from the 30th of August to September 7th in Goiânia, Goiás - Brazil. FRONTEIRA is dedicated to films that resist to predominant ways of cinematographic language, questioners of prefabricated views of the world that offers new ways of seeing, thinking and experimenting the reality. The idea is reunite unseen films in Goiás and most of times unseen in Brazil, from a various places, in a significant panorama of the contemporary worldwide and brazilian film.

  • Special thanks to Toni D’Angela & Rafael Castanheira Parrode
  • More info HERE and HERE
  • Complete programme and line-up HERE

"Return of Suspicion" (2014) is now complete


"Return of Suspicion" By Dean Kavanagh


Cast: John Curran, Leon Kavanagh
93mins | Colour | 16:9 | Stereo

21 July 2014

brand new first “teaser” for TEN YEARS IN THE SUN


Brand new first “teaser” for Rouzbeh Rashidi’s upcoming feature film TEN YEARS IN THE SUN. Coming in 2015!

  • Tagline: “A Film That Will Help You Remember To Forget.”
  • A film for Luis Buñuel and João César Monteiro.
  • For updates, casting and etc please visit HERE
  • Watch the trailer HERE

18 July 2014

Absences and (Im)possibilities in LUX Moving Image

LUX Moving Image will distribute “Absences and (Im)possibilities” as a touring programme of Irish experimental film to their exhibitors. Absences and (Im)possibilities, is a programme of experimental Irish film curated by the “Experimental Film Club“, commissioned by Irish Film Institute (IFI) International, supported by Culture Ireland. The programme features a selection of films from 1897 to 2013, chosen for their relation to the possibility of an Irish experimental cinema. From Experimental Film Society, the programme includes films by Maximilian Le Cain, Dean Kavanagh, Michael Higgins, Esperanza Collado and Rouzbeh Rashidi. For complete information, list of films and hiring please visit HERE & HERE

08 July 2014

Please Support CLOUD OF SKIN


Dear Reader,

I would like to draw your attention to a very special film project by Maximilian Le Cain entitled “Cloud Of Skin” which requires your help in order for it to succeed and go into production.

Le Cain, in my view, is the most important experimental filmmaker and film theoretician in Ireland and definitely one of the most promising figures in today’s contemporary underground cinema. “Cloud Of Skin”, his first feature project, has been brewing for quite a while and will be both a summation of what he has done before and a new departure. Please help spread the word and donate if you can.

Support via IndieGoGo HERE

Regards,
Rouzbeh Rashidi

05 July 2014

Rearrangement Trilogy Can Be Watched Online


Watch here:


(HD viewing recommended where possible)

29 June 2014

TEN YEARS IN THE SUN coming 2015


The production of Rouzbeh Rashidi's latest feature film TEN YEARS IN THE SUN has begun. This is relatively a new experiment and very different project than his previous films. The film deals with concepts such as voyeurism and ritualistic perversion in cinema with formalistic austerity favouring the realist contexts. The film revolves around the three main character (Maximilian Le Cain, Dean Kavanagh & Rouzbeh Rashidi) and their odd behaviours. Rashidi is looking for actors and especially actresses to collaborate with, so if you are interested, please send an email. The film will be shot in Dublin & Cork and completed in 2015.

24 June 2014

Poetics (2014) Completed


With Maximilian Le Cain, Esperanza Collado, Alicja Ayres, Norette Leahy, Kasia Lech, Eva Docolomanska, Cillian Roche, George Hanover, John McCarthy,Anna Wolf & Polish Theatre Ireland.

Irish Experimental Cinema In St. Petersburg, Russia


Solus Film Collective, in collaboration with Loft Project Etagi, present the second stage of the American/Russian/Irish touring program of 2014.

Solus & Guests

Exhibition №8

Curators – Masha Godovannaya and Alan Lambert

The show will run from July 4th until October 1st at Loft Project Etagi in St. Petersburg, Russia.

This video-show «Solus & Guests» presents a selection of new and recent film-works by Irish filmmakers and international collaborators with previous contributors to collective programs. It reflects a current circle that has emerged in recent years in Irish experimental filmmaking and art, particularly in the presence of the Experimental Film Society, many of whose members are represented here. The programme includes artists such as Maximilian Le Cain, Vicky Langan, Dean Kavanagh, Anthony Kelly & David Stalling, Michael Higgins, Esperanza Collado, Aoife Desmond, Rouzbeh Rashidi, Moira Tierney and Alan Lambert.

For full titles and programme info please check the Solus website HERE

For venue info and opening times please check the Etagi website HERE

Solus is an independent film collective and platform for filmmakers working in Super-8mm / 16mm and DV. It has the dual aim of showing Irish short and avant-garde films abroad and international short and avant-garde films in Ireland.

Opening Reception Screening:

‘Absences and (Im)possibilities: Traces of an experimental cinema in Ireland’

This screening of Abscences and (Im)possibilitites is a condensed version of the full four-part programme.

This programme traces a tradition of experimental film-making in Ireland. It is curated by the Experimental Film Club and commissioned by the Irish Film Institute International. It features the work of artists such as the Lumiere Brothers, Norris Davidson, Vivienne Dick, Paddy Jolley, Barry Ronan, Dónal Ó’Ceilleachair and Jesse Jones.

More info HERE

This Solus event is supported by Culture Ireland, the Irish Film Institute and Dublin City Council.

IFI International is supported by Culture Ireland. The Irish Film Institute is supported by the Arts Council.

22 June 2014

Making Films

I have made 28 feature length films between 2000 and present (2014); twenty-six of them were made entirely with a zero-budget and two of them were fully funded by the Arts Council of Ireland. In short, I have worked non-stop both with and without money.

In my experience there is a big difference between no-budget and funded projects- a whole new aesthetics and set of possibilities would emerge when working money (and in my case very little of it). However, regardless of your situation if you do not make ‘narrative cinema’ you are entirely ignored to the highest degree. 99% of film festivals will reject you unless you have a very strong connection to someone on the inside and that person takes an interest and pushes you through.

It does not matter if the film is good or bad, it does not matter if you submit to as many film festivals as possible (paying the entry fee- which I am totally against unless it is very low and reasonable). It does not matter how hard you try and it does not matter if you submit your films or not, because there is a clear set design whereby the majority of experimental film festivals are only accepting short films (usually 10 minutes or under). Furthermore, this must be 10 minutes of celluloid and/or with a relatively narrative approach touching on socio-political subjects. So the realities of the film trade (with minimalist/experimental/lyrical/poetic narratives) may be fine for the occasional self-organised screening but now thankfully because of the internet you can release the work ‘online’ and a small opportunity exists for people to see your films – but other than that there is nothing. Forget it.

No wonder the early films of Philippe Garrel, Werner Schroeter and the experimental films of Raúl Ruiz, Stephen Dwoskin, Derek Jarman and similar artists were completely ignored and only when they were dead and gone were they suddenly prodded and poked for many retrospectives across the planet.

Considering all of this I still hold a strong belief in this formula: the lack of acceptance by the film industry replete with a misfit status can help you. Furthermore, being an outsider has value but you have to do whatever you are good at non-stop without paying any attention to unnecessary distraction.
  • Rouzbeh Rashidi – June 2014

19 June 2014

EFS Feature Films Online


Feature Films produced and directed by the members of Experimental Film Society that are available for viewing online for free. (this list updates regularly)


Rouzbeh Rashidi:

Michael Higgins:

Dean Kavanagh:

Maximilian Le Cain:

14 June 2014

RASHIDI-DEVEREAUX CINEMA (2010-2014)


Rashidi-Devereaux Cinema” was a collaborative project by filmmaker Rouzbeh Rashidi, and actor James Devereaux that ran between 2010 and 2014. They have together produced seven feature length films and eight short instalments as part of Rashidi’s ongoing Homo Sapiens Project. More info HERE

10 June 2014

Rattleboned Dog At Mealtime (a personal report on Gorging Limpet)

Photo by Dean Kavanagh

The projector has the ability to press a bullet into some old wound and only days later does the casing suppurate and the contents bleed into my system. This is how I feel about Gorging Limpet and this bears as much on the experiences I bring as a spectator as it does on the specific performance itself. I thought that now would be a suitable time for me to send on this very small document on my experiences as a member of the audience: an onlooker/silent participant.

“Gorging Limpet” is defined as a collaborative performance/installation project by Karen Power and Maximilian Le Cain.

Karen Power is an Irish composer, educator, improviser and academic who writes primarily for acoustic and electroacoustic forces. The two primary sources in her creative output; acoustic instruments and everyday sound-objects and soundscapes. I first came across Powers’ work when I saw “Involuntary Participation”, a beautiful collaborative film between herself and Maximilian Le Cain for Seesound in 2010.

Maximilian Le Cain is a filmmaker, cinephile and critic. He has made more than 80 short, medium and feature length experimental films and videos over the past decade. I was first introduced to the universe of Le Cain in 2010 by filmmaker, cinephile (and another universe unto himself) Rouzbeh Rashidi at a screening of “(An)Other Irish Cinema” in Dublin which featured films by Rashidi, Le Cain, and Irish/New York based filmmaker and critic Donal Foreman.


“Gorging Limpet” is described as follows:

Using sound, film and video, Gorging Limpet events draw on post-industrial space to create an uncanny vision of a world that remains almost, but not quite, recognizable. A mysterious zone of elusive sounds and mysterious images that powerfully interact to immerse viewers in a ghostly realm of submerged memory. The substance of this vision is the textures of the places evoked and the materials used, the decaying fabric of old buildings and old 16mm, 8mm and VHS images, of forgotten corners and uncannily familiar, if unsettlingly hard-to-place, sounds.
- Maximilianlecain.com

GL is entirely site-specific and I had the good fortune for having attended most of the performances so far. Each space was taken into account so as when GL moved to the next space, remnants of the previous were preserved and contained in the present. This process of accumulation and digestion is very interesting and even results in an unusual and mysterious nostalgia.

I recall the strange trip to a Cork industrial estate and the disused space of H7, where the birth would take place. It was June 2013 and extremely bright outside, there were destroyed cars, dormant coaches, an old American style diner on my left and the sound of machinery filling the spaces in between and sinking down into the cavernous dark of the open factories all around. On the right was a large dark brick electric power station; it was abandoned and the large banks of transformers and pole cables stretched around the corner towards a vibrating church that fed into the back of more industrial units. It was hard to believe that this was even part of the Cork Midsummer Festival- considering the chosen space on the outskirts. With that and the performance itself, GL could have easily toured from place to place like a wasteland circus, in tow filmmaker Michael Higgins (here as performer and chief of 16mm degradation).

The interior of H7 was almost chambered and empty at first, then a few metres in were 4 or 5 aisles of chairs preceding a large desk with chair, a small table with two S8mm projectors, a standard projection screen, a medium plinth on top of which sat a 16mm projector. On a small custom level rested a macbook set by Karen Power. With the overheads killed the space looked like a destroyed print of a 50s science fiction film: lightless apart from a rather large industrial fan turning in the draft by the entrance. This was soon blacked.

The industrial estate was silent. Once the safety instructions were read aloud the audience was led into H7 and seated. The sound was already low. It was a very foreboding atmosphere perhaps the combination of the location, the safety/warning, and the single-file procession into the black unknown attributed to this. It reminded me of the first time I was brought to a carnival and was lead to the ghost train or house of mirrors. Once the first moments of sound and seeping light began to harmonise the dread dissipated leaving only the mystery and wonder. This very matter-of-fact and general procedure seemed to unearth certain memories for me, and these seemed to fluctuate and integrate with parts of the performance. Some of these memories remained quite buoyant for the majority of the experience.

Some months later, artist/researcher Esperanza Collado curated an evening of EFS films on behalf of Experimental Film Club in the Irish Film Institute, Dublin. This was concluded with a performance of “Gorging Limpet Materials” described as a pocket-sized version of the previous outing in H7. GL-M took place in a medium sized room overlooking the cobbled streets.

In this environment the quad sound set-up was closer, sacrificing volume for detail. Lacking the large set-up of H7, the visual arrangement was pared down. The screen (this time included digital video projection alongside S8mm) was layered outward creating a three-dimensional effect. While the previous event coiled itself around steel and cement roots within the bowels of an industrial estate, GL-M found itself drifting through the monotone pavements of an urban space. The addition of a monochrome video projection of a wet pavement passing, halting and fading into light provided quite a different backdrop for the intermingling of sound and space. The same super8 reels presented again (with the scars of the previous performance) firing against sheets of pavement, buildings and fences through a red lit universe all crawling back to the towering cement-works on the banks of the docklands: the Limpet’s birthplace. The clicking and churning soundscape evolving with new details giving rise to a red flickering light that scanned a seated and standing audience. With the eventual invasion of outside sound Power never retaliated by punching the volume or distorting any of the sounds. She held her position firmly, maintaining the natural growth of the piece, which ended strongly once again with the sound of the Limpet in its new feeding grounds.

The third sighting of the Limpet was at the National Concert Hall as part of the New Music Dublin Festival. The room this time far larger with a wooden floor. The sonic spread was further and the visuals once again evolved.

The first event at the Midsummer Festival (2013) was deliberately seated. GL-M at Temple bar gallery was seated initially though once capacity was reached people stood and sat on the floor. GL-M at NCH was entirely standing, and initiative was given to the audience to walk around, investigate in an attempt to change perspective and edit the experience spatially, this was a fantastic experience.

While in H7 the viewers were confronted with physical movement, large adjacent 16mm projection, 2x super8, the experience was translated with the turn of your head- much like a fixed position camera set-up, the experience could only be altered with a pan or a tilt. With the introduction of the protruding screens at Temple Bar Gallery the audience could experience a totally different event based on the seat they chose and its view of the screen.

In NCH, while still remaining dark, a dull light invaded the room with slow diffusion due to position of window, the season and time of day. The audience now had the permission, the space, and visual confidence from the faint light to become mobile participants. You could move in and out of perspectives, even move closer to the speakers or to the projectors. You could experience the entire performance in motion if you so wished. Shadows from one screen fell further onto the next the further you shifted; the space between the screens was dark, nothingness but there was an energy there, it became ghostly. What was this void between the images; what exists between the frames of a moving image? There was an energy. Perhaps it was this energy that was the sustenance of Gorging Limpet.

Karen would interact to the small sounds around her and seeing people move between the sonic zones she would introduce new elements to one, diffuse them with another, isolate certain particles to front and to the rear. The sounds were moving inward and outward with a very fluid and invisible hand as ideas were forming and treating themselves to moments of air within the quadrophonic space. The projector fired off and the interaction was clearly building towards crescendo, all the while feeding into the sound pool that we were circling like debris going down the drain. The projector span out noisily. Max threw a black sheet over the projection screen and then a white one over that. The building atmosphere had leveled to the point of cinematic séance. He investigated the folds and shapes of the sheet with a lighter. There was something purely magical and ritualistic here. The atmosphere was extremely tense. In the darkness the sheet was illuminated selectively for investigation. For a moment it appeared like the face of a large iceberg, crackling and fortified with shadow. The flame was out. The projector shuddered to a halt. The waters calmed and the small flickering picture from the tiny monitor was all that remained still rolling its dead transmission. The sound isolated itself to one side and the gorging limpet could be heard through the stillness of the room.

The performance returned to Cork at Triskel Art Centre in late May. This was the culmination of a weeklong residency at Corcadorca’s Theatre Development Centre. The event was to be a reworking of the previous performance at NCH and contained the same elements: the red flickering torch, the monochrome video, 1x super8 projection, quad sound, miniature monitor, candle, sheets, lighter.

The space in the theater was far removed from the spread of the room at NCH, the semicircular presentation at Temple Bar Gallery, the semi-cathedral of H7. This was a long and narrow space with a high ceiling and set against a large projection screen half cloaked in bundled blackout drapes and a ladder. With the house lights on, the textured presence of raised grey brick columns, a rectangular screen on the back wall, a separate square projection screen and drapes all presented in this tall long, narrow space collectively resembled a cluster of aspect ratios gone insane.

Once the overheads were killed the throw of the video reached out over the square screen and onto the rectangular screen and across the back wall. The S8mm (now beautifully destroyed with the destructive history of the previous performances) warmly fleshed over the central screen. This was an extension of the previous two GL-M events, the introduction of the layered screens in Temple Bar and NCH now pushed to accommodate the part of the room as a screen once again similar to the S16mm in H7. As video image dimly moved towards illumination and cast itself onto the back wall, the blackout curtains disassembled it into various shapes. The flickering red light found its way onto the S8mm footage once again and spilled over illuminating the items that rested against the back wall. Though the performance space had significantly shrunk since H7, it had become more refined as the images and light rose against the back wall, towering above the audience who arranged themselves within the sonic space. The attempted lighting of the candle was very powerful here (the darkest space yet); the orange light momentarily took Max’s face and hands as he approached the tiny monitor.

The S8mm projection was shut off and the tiny monitor was left to bleed its transmission. The sound once again grew quite placid- in fact more placid than in any performance before. The sound of seagulls was audible from behind and soon drew off into the distance. The sound of the limpet feeding became clear once again. There was a strange sense of nostalgia to this performance: the footage of waterways, and cement buildings that had domineered H7 and Temple Bar have slid away leaving the urban movements of the footpath to merge with the dockland sounds of the industrial estate, its primogenial home.

Photo By Dean Kavanagh

The history of GL and its connections to other films through spaces and reverberation through time are very interesting to me. The docklands have been a fixture of Le Cain’s films for a long time, if not physically at least in thought: decay, wasteland, steel, concrete, liquid, shade/light, movement of machinery, a tactile movement in a place that appears deceased. To my knowledge his most recent foray into the wasteland was for “Arkady Feed” with Paul Hegarty (Seesound 2013).

Returning to the H7 unit was made in Le Cain and Rashidi’s collaborative film “H7HSP170 Regression”, here we can see John McCarthy drifting phantom-like through the space, beside the large fan and into the small kitchen. McCarthy also appeared projected in 16mm as part of the initial GL in H7. Michael Higgins also filmed much footage in and around the units during his time in the space.

Through Esperanza Collado’s programme “Spectres of Memory”, I felt a very strong link between Rouzbeh Rashidi’s “HSP 150”, Michael Higgins’ “Some Must Watch While Some Must Sleep” and the performance of “Gorging Limpet Materials”. There is a clear interaction with a personal film history and with the very devices and apparatus of filmmaking in “HSP 150”. In Higgins’ “Some Must Watch While Some Must Sleep” we can see rot and decay as proof of life; the lives and shapes that breed under the flurry of shifting decay and damage which is both form and content. Higgins assisting in the hand processing of 16mm for GL H7 and participating as a performer at these first 3 events is further proof that Power and Le Cain are keen to explore this specific area of blight and decomposition even further within itself to find the history and phantoms trapped in everything. For me, they all merged into one another for a night process that was the culmination of Collado’s programme.

It is this idea of accumulation and absorption that exists so strongly in Gorging Limpet. I was very fortunate to catch visual artist Atoosa Pour Hosseini’s mesmerizing exhibition “Luminosity” at the Cork Film Centre Gallery in 2013. In the main projection room she had set up two video projections, one of a mysterious object and the other opposing video was extremely minimal with use of a rectangular graphic. The varying light intensity of these two pieces in such close quarters was beautiful; the diffused light from both projections mixing and polluting the images morphing the entire room into a large texture itself. What is most striking with her works is that with each new video there is a ghost of the previous one. In time her works will act as some infinity mirror into themselves, each shift and change fading into the next.

Furthermore, in Rouzbeh Rashidi’s “Homo Sapiens Project” we see an internal feeding frenzy of cinema. Rashidi has recycled many of his early films into new entities and has continued to do so beyond HSP with feature length works like “Theory”, “Hypothesis” and now his upcoming film “Conditions”. Gorging Limpet takes the idea of infinity to it’s own metabolic level, though not as cannibalistic, the Limpet accumulates haunting memories of its previous hunting grounds in its own process of assimilation.

Gorging Limpet has carried within itself a very sensitive ability at creating a power. The more it moves from site to site the more its history becomes available, and it is a surprisingly tactile and not so alien history. Along the way it has become more complex and developed a subtle nostalgia for certain spaces and atmospheres. It learned this through what it consumed. And it is the ritual of feeding that I find so fascinating: Le Cain attempts to light the candle, approach the white sheet with the fire, the glowing miniature monitor and the presence of sound that is inextricably linked to everything in the dark. Now I look forward to where the future feeding grounds lie, perhaps a deep cave, a castle or even a nocturnal exterior performance would provide suitable vegetation.

Maximilian Le Cain and Karen Power are not just creators but summoners of the Gorging Limpet and partners in crime culpable for the large scale damage caused by the creature breaking free from its concrete home and into your mind. It is this rather exaggerated image that is so wonderful- the magnification of all things impossible to see with the naked eye. Whether it is the frequencies deployed in the soundscape or the sound of the limpet itself, the attention to detail and the desire to bring these artifacts to the forefront is at the core of the project. A memory is shared and created with these everyday items and spectral impressions and it is one that is simultaneously strong and elusive. There is a feeling roused by the knowledge that something is always there; though it is impossible to hear and we are incapable of seeing, its presence on the planet is as old as we are. However, with study and scientific methods we have made the invisible visible and the inaudible audible, and with Gorging Limpet, as with cinema, we are one step closer to our memories, fantasies and nightmares.

  • Dean Kavanagh - June 2014

08 June 2014

Thesis on Remodernist Cinema / Mémoire sur le cinéma remoderniste

The thesis on remodernism and remodernist cinema “Le cinéma remoderniste: Histoire et théorie d’une esthétique contemporaine” by Florian Maricourt is now complete. According to the currents set of rules from l’Université Paris 3 – Sorbonne Nouvelle, you can cite the thesis on the condition of mentioning the source and the author. Final dissertation directed by Nicole Brenez.

Read (in French) HERE

07 June 2014

EFS Statement Published on HAMBRE


EFS Statement is published on HAMBRE (Forum/ Nosso novo convidado em Forum/ Nuestro nuevo invitado en Forum) More info HERE


01 June 2014

Investigating the Murder Case of Ms. XY. Premieres at Brotfabrik, Berlin


Investigating the Murder Case of Ms. XY. is a challenging and provocative new experimental feature film. It is the first in a series of proposed collaborations between renowned experimental filmmaker Rouzbeh Rashidi and Berlin-based actor Mario Mentrup. Combining searingly intense ciné-portraits of Mentrup and actress Olympia Spanou with hallucinatory passages of found footage, it cuts its single hint of narrative adrift in a cosmic void that equally questions human relationships and the cinematic image itself.

Rouzbeh Rashidi is an Iranian independent filmmaker based in Ireland. He works completely apart from any mainstream conceptions of filmmaking, striving to escape the stereotypes of conventional storytelling and instead rooting his cinematic style in a poetic interaction of image and sound. He generally eschews scriptwriting, seeing the process of making moving images as exploration rather than illustration. His work is also deeply engaged with film history. Over the past decade, he has completed 27 features and over 200 short works.

Mario Mentrup lives and works as an actor, writer, musician and filmmaker in Berlin. He is co-editor of the Maas Media book series.

Investigating the Murder Case of Ms. XY will premiere at Brotfabrik, Berlin, on June 16th and also play on the 17th and 18th.

For full credits and to view trailer: HERE

For details of Brotfabrik Berlin: HERE

27 May 2014

A Double Bill of New Underground Film at the London Horse Hospital



A Double Bill of New Underground Film at the London Horse Hospital


Experimental Film Society (Dublin) in association with Drifting Clouds Cinema Group (London) presents a double bill of new underground film by actor-auteur James Devereaux and experimental filmmaker Rouzbeh Rashidi at The Horse Hospital, London on 31st May 2014. The filmmakers will be at present to introduce the films and do a Q&A afterwards.


6.30 PM, 73mins, 2014, UK
Trailer HERE

Shot in black and white, Noirish Project is a bleak, absurd, melancholy slice of neo-realism masquerading as film noir. The film follows Jimmy and Billy, a couple of lowlifes, as they try to reclaim some lost pearls. Noirish Project is an elliptical, poetic film, made in response to a boredom with prevailing film aesthetics, it seeks to open a new chapter in British cinema."


HSP: There Is No Escape From The Terrors Of The Mind
8.00 PM, 120mins, 2013, Ireland/UK/Iran/Oman
Trailer HERE

HSP: There Is No Escape From The Terrors Of The Mind is a new feature film by one of Ireland’s most radical and acclaimed experimental filmmakers, Rouzbeh Rashidi. It follows the visions and travails of a tormented loner who appears hounded by a mysterious pursuer. Creating an intensely hypnotic audio-visual dream realm that is as uncannily beautiful as it is unsettling, Rashidi summons and sustains the atmosphere of dread of a horror film, but without the expected narrative trappings. HSP: There Is No Escape From The Terrors Of The Mind was supported by The Arts Council of Ireland. 



James Devereaux is a stage and screen actor. He is also the founder of Drifting Clouds Cinema Group and the author of The Great Acting Blog, a daily blog focussing the technical and ethical aspects of being an actor. 

Rouzbeh Rashidi is an Iranian independent filmmaker. He has been making films since 2000, working completely apart from any mainstream conceptions of filmmaking. He strives to escape the stereotypes of conventional storytelling and instead roots his cinematic style in a poetic interaction of image and sound. He generally eschews scriptwriting, seeing the process of making moving images as exploration rather than illustration. His work is also deeply engaged with film history.

Rashidi & Devereaux have been collaborating since 2010 as 'Rashidi-Devereaux Cinema', making six feature films together as well as a number of shorts as part of Rashidi's ongoing 'Homo Sapiens Project' film series. 

More info and Tickets HERE & HERE

11 May 2014

“Hypothesis” Complete


Hypothesis (2014) is now complete. Featuring Jann Clavadetscher. Trailer HERE

03 May 2014

Small Statement

I love all kinds of cinema and have been watching films all my life. If you are a filmmaker and want to be reasonably recognised and successful, your film must either tell stories, have a reflection on society and politics, address issues, engage in known topics or in the avant-garde scene make films with celluloid and insist on film as a holy format. Basically you must make sense and tell something concrete and "safe" in order to be let into establishments and communities. In my case as an experimental filmmaker (this term 'experimental' has so many problems as well) who came from Iran (Middle East) and lives in west, everyone expects you to talk about human-rights issues, political oppressions, stories from your original country as well as entering into celluloid clubs. If you don't talk about these things in your work people think you are not serious about your practice. Whether all of this is right or not- I don't know, and I will never know as I am in a constant state of scepticism. However, I do strongly agree with and believe in this piece of feedback I once got from Max Le Cain, and this basically sums up my position in cinema as a filmmaker: "It struck me more and more that you and Dean use cinema as a tool to investigate the strangeness of existence rather tell stories."

Rouzbeh Rashidi