24 January 2015

Experimental Film Society Statement (Part 2)

I recently took part in a Q&A session following screenings of films that I curated from the EFS (Experimental Film Society) archive. The programmes consisted of short films by a number of EFS filmmakers and a feature film of my own and both played to packed houses.  While the overall feedback was very positive, there were two harsh and challenging comments that really got under my skin. I responded to them briefly and politely, not lingering on them unduly so as to keep the Q&A flowing. But in the weeks since, I have given them a great deal of thought and discussed them at length with my colleagues Dean Kavanagh and Maximilian Le Cain. What follows is the considered response that I have formulated.

The comments were:

“The films in this series were so personal, formal and experimental that no-one can communicate with them. There is no way to enter into the world of these works and thus no way to enjoy them at all.”

“Many of these works shouldn’t even be here! I repeat- these works should never have been screened here.”

Essentially, my understanding of these statements is that due to the fact that the films were ‘personal’ in form, spirit and content they cannot be understood and therefore they should not even exist. As an underground filmmaker committed to creating intensely personal, formally radical cinema, it is certainly not the first time that I’ve heard responses like these. And not just aimed at my work but also at the work of colleagues and other experimental or even sometimes relatively mainstream films. Perhaps this reaction of violent rejection is a natural defence mechanism that kicks in when someone is confronted with the shock of an idea so alien as to seem fundamentally inappropriate. Of course, the history of alternative cinema is also a history of such confrontations. When a filmmaker gets this type of response, unless he or she is interested in provoking the audience for the sheer sake of provocation, it is because the viewer’s received understanding of how to ‘communicate’ with a film has been thrown into crisis. As an experimental filmmaker, one hopes that if the film works, this confrontation will result in the viewer’s perception rising to the challenge and that ideally he or she will leave with an opened mind or even an expanded consciousness. And not just with a broadened understanding of cinema but with a somehow enriched (or, indeed, disturbed) sense of perception itself.

However, the specific nature of the ‘personal’ aspect of my filmmaking gives this ambition a whole other dimension. Working as I do - with no budget, doing more or less everything myself and essentially inventing a way of making films all of my own - results in films that naturally emerge as something close to a pure manifestation of my thoughts and emotions. Therefore, admittedly, there may be certain elements of them that remain impenetrable when not experienced through my individual biology. Yet the remnants and spectres of internal moments that remain on the surface of the work are sufficiently present, when light strikes them, to communicate enough to an audience for them to form a relationship of their own with what they see and hear. And the emphasis should be on ‘a relationship of their own’.

Making these films is a process of freely exploring one’s own often strange and disconcerting perceptual reactions to existing in a world that appears more and more mysterious and unstable the more one looks at it. A world that we largely perceive through sight, sound and the medium of an individual sensibility. The techniques of cinema, therefore, are ideally and uniquely suited to investigating personal perception in a way that can reveal the nature of one’s inner relationship with the world to a heightened degree. Likewise, plunging cinema into such murky and volatile territory results in a profound research into the capacities, mysteries and limitations of cinema itself. The filmmaker uses cinema and cinema uses the filmmaker’s unique sensibility each to probe the nature of the other. Each goads the other on, each pushing the perceptual boundaries of the other, each revealing hidden aspects of the other’s nature. Far from using film as merely a device for illustrating preconceived ideas or conveying information in a conventionally manipulative fashion, this approach can result in confronting the audience with a vision that is truly unique. A vision that is as frail and delicate as any person, and sometimes as aggressive and enigmatic as well.

What results from this open, exploratory way of working is not ultimately solipsistic but profoundly interpersonal. The filmmaker is not presenting the audience with a pre-digested idea expressed from the position of authority that most films automatically assume. There is no attempt to take the viewers ‘out of themselves’ through entertainment or to ‘make them think’ in the manner of films with a ‘message’. Instead, they are invited to join the filmmaker in an experiential exploration of the atmospheres, emotions and processes that the film embodies almost in a spirit of co-creation. Each viewer remains conscious of his or her own feelings and reactions throughout the screening. And these reactions are as important a part of the film as what is being projected before them. The experience of watching the film becomes a personal interrogation of the viewer’s perceptions by and for that viewer. Therefore, the film can become as much about the viewer as the filmmaker.    

A strong audience can not only enrich but actually alter the film. These are films that can only be concluded in the viewer’s mind, not on the screen. I like to think of the film as a mysterious object drifting in the void of deep space. Both the filmmaker and the audience are satellites floating around this strange entity, both trying to decipher it in their own way. This results in a state of constant exchange: we are not alone because we have cinema through which we can communicate, viewer and filmmaker both on an equal level (albeit admittedly within terms set by the filmmaker). And what we are trying to communicate is something ineffable that we can perhaps sense but which only the techniques of cinema can make visible.

The difference between this way of creating and the traditional, emotionally manipulative narrative techniques of the mainstream are so obvious as to be almost not worth mentioning. To pitch EFS against Hollywood is redundantly quixotic. Today, with everyone making films and moving image equipment of one sort or another almost universally accessible, there is nothing exceptional about a film existing outside commercial structures. Through my own experience as an underground filmmaker, however, I have become aware of other, more insidious orthodoxies that have sometimes emerged from what was once radical, and which perhaps should be called out.

Cinema is assumed to have an obligation to operate within defined and accepted rules. But those rules are not just the rules of the mainstream. ‘Alternative’ traditions can be every bit as ‘safe’ and pander to the complacent requirements of consumers of these traditions as lazily as the most banal soap opera. Examples where this is prevalent include ‘mumblecore’ films, where ‘rawness’ is all too often an excuse for shoddy filmmaking; materialist films where the very fact of something being shot on a small gauge format makes it somehow worthy of admiration; and, most tricky of all, films dealing with political oppression or revolt which simply by virtue of doing so are accorded cinematic merit even if they are no more than reportage. Of course, all three traditions have glorious antecedents in cinema history, often from pioneering moments when such films were still rare events. And, still today, all three traditions do sometimes produce magnificent work (as does the mainstream). But the problem is that they are what is automatically recognised in many quarters as radical cinema, which gives critics and festivals an excuse not to look any further. They are frequently hailed by category rather than quality and the viewer knows exactly where to stand in relation to them while still being able to feel ‘radical’ or ‘alternative’. This is what occupies the margins, pushing anything else even further into oblivion. And this sells cinema short.

Truth be told, the audio-visual landscape of the 21st century is so volatile and measureless that anyone conscientiously working as an artist in it needs to keep on their toes as never before. Not in the sense of ‘keeping up’ with the new but rather in constantly questioning the value of what they are doing as against the vast quantity of moving images flooding the world and the unprecedented ease of creating them. Broadly speaking, we are no longer operating within a linear history of aesthetic development but adrift in a flood of stylistic choices (or simulacra of same) which technology allows pretty much anyone to assume with facile, cavalier ease. We aren’t links in a chain of historical development now. We are denizens of a later era rummaging in the boxes of bric-a-brac left over from that heroic time. This is not in itself necessarily a bad thing but, if one still cares at all about cinema, it is obvious that the responsibility in this situation is enormous.

Today, it is up to each filmmaker worth his or her salt to reinvent cinema in his or her own image. Nothing short of that is sufficient. This reinvention does not take place in a void. The lessons of film history should be studied and assimilated because to exist in the world today is to be influenced by moving images whether we like it or not. Studying the work of the masters allows us to navigate moving images critically and perceive them outside the context of what is generally fed to us in society. As a filmmaker, it is necessary to formulate your own sense of composition, colour, sound and rhythm – a voice and a heartbeat that is entirely your own. You must also discover and explore a universe that is unique and personal to you, discarding the alibis of ‘content’ in favour of presenting the viewer with something that he or she can’t see anywhere else. It is necessary to cut into or even straight through reality to reveal the deeper insights into existence that only the tools and techniques of cinema can touch. To forge a cinematic language entirely of your own is enough to accomplish this. Films should be born of a particular vision, a personal way of using sound and image. This should be the starting point of a film, which should then organically seek out its appropriate subject matter. It should not be used simply to cosmetically amplify or garnish an indifferent scenario.  

It is paradoxical indeed that in a world where moving images are our constant companions, interest in their intrinsic powers and properties seems at an all-time low, at least beyond strictly utilitarian terms – normally ‘how can I use this to sell something?’ Rather than the miraculous constructs of sound and vision that they can be, they have become simply the least demanding methods of transmitting information that could be conveyed otherwise. Moving image makers and audiences have settled for a codified and superficial relationship dictated by an accepted approach to ‘subject’. In consequence, like the human brain, cinema, TV, gallery installations, internet videos and all other forms of moving image work tend to chug along at less than 10% of their potential capacity. It seems films are not generally allowed to directly confront the mystery and immensity of things that we have no way of easily understanding, such as nature, animals, the cosmos or our very existence without trivialising them. Everything must be neatly reduced to bite-size portions of easily digestible information, a weak reflection of the world where ideas can be safely toyed with. Cinema’s vast experiential capacities are capable of so much more than this, but it seems the majority of people don’t know how to look or listen with any greater sensitivity than students at a lecture absorbing facts. As a Spanish film scholar recently said in conversation: “The truth is most people actually hate cinema”.

A Facebook friend of mine (Daniel Fawcett) put his finger on the problem with this reaction to the art world, one that holds equally true for any area of tepid moving image creation and consumption:

“The despicable state of the art world summarised here in a comment:

“He’s a really compelling filmmaker. I’ve noticed that when his films are shown in galleries people will sit through 45 minutes and no one will leave.”

Is that really the best that can be said about a winning piece of artwork, that people sit through it? Artists, galleries, art schools and critics are participating in crushing the creative spirit. Do artists no longer aspire to create great work, to truly experiment and make works with their whole being rather than all this pseudo-intellectual passionless dross? Nobody seems to take risks anymore, art should aspire to expand our consciousness and to reach beyond our current limitations not just get us a pat on the back and dinner invitations from art world chums. As Campbell said in his acceptance speech “the opinions of the people on the jury matter a great deal” so that’s what it's all about folks!”

So what should cinema be? I have always liked Nicole Brenez’s ideal definition of art as ‘a catastrophe’. Cinema should be a catastrophe in the way that life is, in the way that opening your eyes on the world every morning is. Personally, I like to define the cinematic experience as something similar to what some scientists predict death by falling into a black hole could be like. When you fall in, you are not only pulled apart but also crushed from below. When you look out of the black hole, you see every single thing that has even fallen into it since its birth, rushing at you in a fraction of a second, crushing you into nothingness. Cinema itself is not a black hole. It is a human creation. But it can contain all galaxies and forms of life, even ones we can’t fully comprehend but can only sense.

As Robert Bresson said: “I believe in cinema”.

  • Written by Maximilian Le Cain, Dean Kavanagh & Rouzbeh Rashidi

22 January 2015

17 January 2015

HSP (191-199) Completed


Made with Maximilian Le Cain & Dean Kavanagh. More info HERE

07 January 2015

A Double Bill Of Underground Noir


From James Devereaux:

Delighted to announce details of the second screening in our European Screening Series, which will take place in Dublin.

This time we’re going to be doing something slightly different by playing Noirish Project as part of a double bill with the arthouse hitman picture, Mutual Admiration Society, creating an original and provocative programme of “Underground Noir”….

Screening info:
  • Filmbase, Curve Street, Temple Bar, Dublin 2.
  • Thursday, 29th January, at 7.30pm.
  • Free Entry.
  • The filmmakers will be present for a Q & A session.
  • www.filmbase.ie

Noirish Project (73 mins, UK, 2014)

“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. Written & directed by James Devereaux.”

Mutual Admiration Society (62 mins, UK & Ireland, 2014)

“Surreal and mysterious, in equal parts absurd and intense, Mutual Admiration Society is part of the noted multi-film collaboration between actor James Devereaux and experimental filmmaker Rouzbeh Rashidi. Based entirely around a silent, tour-de-force one-man performance by Devereaux as a man who appears to be haunting and threatening himself, Mutual Admiration Society uses startling visual techniques and editing rhythms to create a claustrophobic hall of mirrors with Devereaux’s tormented protagonist at its centre.”

To find out about the unusual production methods used to create Mutual Admiration Society, check-out this blogpost.

05 January 2015

Maximilian Le Cain - A Visual Atlas











  • Collage By Rouzbeh Rashidi

03 January 2015

MAXIMILIAN LE CAIN ON TEN YEARS IN THE SUN

Just three days into 2015 and I’ve already seen what I’m certain will prove the most unusual, impressive, disconcerting and utterly demented film of the year. I’m referring to Rouzbeh Rashidi’s just-completed Ten Years In The Sun, in which I play a small role.

If HSP: There Is No Escape From The Terrors Of The Mind represented the pinnacle of Rouzbeh’s art, Ten Years seems to plunge viewers into its ripe, magnificent decadence. Strange to say, but it seems more than anything to be like a Rashidi version of a science fiction blockbuster epic, most specifically like the first installment of a big Hollywood franchise. A two-and-a-half hour running time, spectacle galore, numerous sinister characters and plots portentously introduced but left unresolved… Of course being a Rashidi film, the incoherence and oddness of this sense of non-completion is not plastered over but cranked up to the highest degree of fragmentation. It has been building up through a number of his recent films- Terrors Of The Mind, Forbidden Symmetries,Investigating The Murder Case Of Ms. XY- and now it has erupted with full force: a sense of vast cosmic chaos, randomness and terror. The result is a sensory onslaught that destroys any sense of narrative development, that allows for a dizzyingly reckless catalogue of dead ends and invasions by footage and techniques that can seem utterly alien to one another. (The scene towards the end when Jann Clavadetscher, naked and made up as a primitive man, is cast into a broiling series of psychedelic landscapes and skies really gives Kubrick’s famous ‘stargate’ sequence from 2001 a run for its money- and on zero budget!) But, as the film develops, it becomes apparent that these are not digressions because there is no line to digress from in this work comprised of audio-visual satellites circling the void at its heart. And yet a very human sense of wistfulness also emerges that prevents this experience from becoming cold or detached.

Ten Years In The Sun is dedicated to Buñuel and Monteiro. Frankly, it’s hard to imagine either of these formally ascetic masters approving of such a trippy approach to cinema. However, Rashidi is not misleading us in indicating this lineage. And the connection is not fundamentally the sex fetish vignettes that sprinkle the film. Rather, it is the chasm between the absurdity of small gestures, rituals and tokens of elegance set against the savagery of existence. The immediate difference is that Buñuel and Monteiro’s films existed within and were contained by the world. Rashidi’s seems to be taking place in a universe that has already exploded and now contains only traumatised fragments of behaviour, narrative and technology, all isolated, unstable and lacking the tools to interact. The crust of an external objective reality is no more. There is only tormented interiority and distant annihilating vastness. And the carriers of these symptoms are precisely presented modes of (mainly moving) imagery and its attendant technology. A very 21st century hell…

Originally published here

EFS @ Temple Bar Gallery + Studios (III): Le Cain Solo Screening


Tuesday 17th February 2015 | 6pm


Studio 6 | Free admission, all welcome.


The third of six bi-monthly Experimental Film Society (EFS) screenings, taking place at Temple Bar Gallery + Studios under the Studio 6 Open programme, foregrounds the work of Irish-based EFS member Maximilian Le Cain.

The first half of the programme is a special presentation of Le Cain’s Super-8 film work, here assembled under the title Image Turned Down and projected on celluloid. Intensely materialist and experiential, his approach to working with Super-8 radicalises the relationship between sound, image and the spectator’s body, often suppressing and withholding imagery to place the viewer in an immersive, sonically charged void. The sound for this screening is by Cinema Cyanide, the noise project formed by Le Cain and fellow EFS members Rouzbeh Rashidi and Dean Kavanagh. And the star of these films is sound/performance artist Vicky Langan, who collaborates regularly with Le Cain.

This is followed by the public premiere of the video Now Then: Notebook of a Decade (1997-2008). This lyrical and intense collage of the first ten years of Le Cain’s work with moving image uses portraits, video notes and chunks of broken narrative to conjure a turbulent inner universe. Le Cain has described this video as a spectacular ‘ruin’, alive with ghosts.

For more information on Maximilian Le Cain, please visit: maximilianlecain.com


Image Turned Down (2010-2014) Super-8 / Ireland & Greece / 20 minutes
Now Then: Notebook of a Decade (1997-2008) / Ireland / 49 minutes


EFS is a not-for-profit entity that promotes, archives and sometimes produces work by a dozen filmmakers operating in several different countries. Although each member has a distinctive vision, they are united by an uncompromising devotion to personal, experimental cinema. They have in common an exploratory approach to filmmaking where films emerge from the interplay of sound, image and atmosphere rather than traditional storytelling techniques. EFS was founded by Dublin-based filmmaker Rouzbeh Rashidi, who continues to curate and run the organization. 

More info: 


01 January 2015

"TEN YEARS IN THE SUN" COMPLETED

“I am happy to announce that my feature film “Ten Years in the Sun” (2015) has been completed. The project was one year in production and has drastically mutated and deviated in various ways from the idea initially conceived. In this film I have tried to radically minimalize genre elements such as science fiction, horror and perhaps erotic drama. My hope was to attain what could be called a ‘ground zero of drama’ through the systematic removal of narrative structures.

On this project I have intentionally worked with a wide range of collaborators and actors, and without their tremendous support this film would have been impossible to make. At this point I do not have any emotional feeling towards the film and I can only see it as a pure technical, audio-visual work that I engineered. I would very much like to share the film with an audience in any cinematic situation possible and hopefully they would approve of the finished piece.

I want to sincerely thank Jann Clavadetscher, John Curran, Dean Kavanagh, Maximilian Le Cain, Alice Kavanagh, Jennifer Sharpe, Ora Kolmanovsky, Atoosa Pour Hosseini, Patricia Klich, Fardideh Aram, Reza Rashidi, Eadaoin O’Donaghue, Mohsen Pour Hosseini, Ehsan Safarpour & Claudia Siefen.” More info HERE

Rouzbeh Rashidi

28 December 2014

The Bray Head Inn


The location of “The Bray Head Inn” where EFS shot portion of two upcoming feature films:

1_Cloud Of Skin (2015) By Maximilian Le Cain
2_Ten Years In The Sun (2015) By Rouzbeh Rashidi

26 December 2014

EFS In 2015

2015 is set to be a very important year for Experimental Film Society with a number of new feature films being completed and others going into production. The calendar will also be punctuated with many screenings, performances, and collaborations with other international film collectives around the world. 2015 will also see the launch of an "EFS Film Journal" and we will release almost all of the EFS feature films as ‘Video On Demand’ on Vimeo. Watch this space for more info!

16 December 2014

Experimental Film Society in Limited Access Festival



Experimental Film Society (EFS) is an independent, not-for-profit entity specializing in avant-garde, independent and no/low budget filmmaking. It was founded in 2000 in Tehran by Rouzbeh Rashidi and has been based in Dublin, Ireland since 2004.

Thanks to a collaboration with Parking Gallery & Limited Access Festival, EFS is pleased to announce its first public screenings in Iran since 2004. Rouzbeh Rashidi, head of EFS, will be represented by his 2012 feature Structures, Machines, Apparatus and Manufacturing Processes. There will also be a programme of short works by EFS members from all over the world, encapsulating the range and radical vision of this unique group of filmmakers. Their films are distinguished by an uncompromising devotion to personal, experimental cinema and have in common an exploratory approach to filmmaking where films emerge from the interplay of sound, image and atmosphere rather than traditional storytelling techniques.


Programme One: EFS Short Films:


1 - Incubus (2013) By Atoosa Pour Hosseini / Ireland & Switzerland / 1:30mins

"Incubus is a highly saturated nightmarish unsettling video work that explores unconsciousness nature of memory and its relationship with moving image.”

2 - Les Yeux Disparus (2012) By Bahar Samadi / France / 10mins

Found film and archival sound clips recount part of a life, pieces of the past of a grandmother suffering from Alzheimer’s. As with the illness, the film’s language, borne of its archival source, lacks continuity. The filmmaker reveals the fear of death when we are no longer able to recognize those around us.”

3 - Pitpony (2014) By Jason Marsh / UK / 4mins

Sombre, wandering and intrusive thoughts.”

4 - The Illuminating Gas (2012) By Esperanza Collado / Spain / 7:30mins

Specially conceived for its presentation in performance contexts, The Illuminating Gas is an ephemeral, collage film in which cinema is derailed and subject of stitching. The piece exploits the unique instability of film, which makes it performative in nature, as if the film itself and its indispenSÁBle support, the projector, were performers playing a limited role within the wider presentation.”

5 - Homo Sapiens Project (186) (2013) By Rouzbeh Rashidi / Ireland / 1min

The 186th film in Rashidi’s ongoing Homo Sapiens Project, HSP (186) evokes, like much of his prolific output, the atmospheric unease and suspense of horror cinema removed from its contextual and narrative confines.”

6 - Murder (2014) By Michael Higgins / Ireland / 5mins

An Unlawful Killing of a Human by Another Human with Malice Aforethought or Murder.”

7 - Late Hours of the Night (Part 5) (2013) By Dean Kavanagh / Ireland / 24mins

Late hours of the Night (2013) is a 5 part mini-series that follows a character as he recreates and re-enacts old memories while crawling through a small town at night. The fifth and final instalment is a confrontational exploration of personal history, and a hypnotic drift through nocturnal semi-hallucination.”

8 - Night Regulation (2014) By Maximilian Le Cain / Ireland & USA / 25mins

The last ghost in New York, all on permanent vacation. Saw it myself. Starring Vicky Langan.”

9 - Turtle (2011) By Hamid Shams Javi / Iran / 9mins

A mysterious and disturbing image of contemporary alienation in which the everyday is rendered bizarre and intolerable.”

Total Running Time 87mins


Programme Two: An EFS Feature Film:


Structures, Machines, Apparatus and Manufacturing Processes (2012) By Rouzbeh Rashidi / Iran & Ireland / 93mins


As in a number of his recent films, Rashidi uses images accumulated over years to explore memory and cinematic form. In this case, he creates an elaborate and haunting montage that mainly interrogates still images.”

Total Running Time 93mins


Screenings will take place on 19th December 2014 4PM at VISTA ART GALLERY (No.11,Twelfth street, Mir Emad Ave. Tehran, Iran).



More info HERE

experimentalfilmsociety.com
facebook.com/experimentalfilmsociety

10 December 2014

Beauty and the Beast


Beauty and the Beast: A Personal Tribute to the Cinema of Walerian Borowczyk By Dean Kavanagh. Read the article HERE

03 December 2014

"TEN YEARS IN THE SUN" IN POST-PRODUCTION


The editing on “Ten Years In The Sun” by Rouzbeh Rashidi has begun. The few remaining scenes will be shot and added to the film while the project is in the post-production stage. More info HERE

01 December 2014

End of 2014 EFS Update


The past few weeks have been quite a hectic time for Experimental Film Society. We presented film programmes in IndieCork Film Festival, Cork Film Festival, Temple Bar Gallery + Studios, and organized a number of international screenings. One of the final EFS activities this year was held last night at The Guest House, Cork. Bahar Samadi and Navid Salajegheh closed their residency with “Non-Pacific Coexistence of Numbers and Dates”, a truly unique and spectral performance that was the culmination of much hard work and research. We’d like to thank Maximilian Le Cain, Dean Kavanagh, Atoosa Pour Hosseini, Mick O'Shea, Irene Murphy, Jann Clavadetscher, Vicky Langan, and many others for their tremendous support and involvement in facilitating these events. EFS activities in 2014 will conclude with a screening in Tehran in December. We will return in 2015 with screenings in Ireland, Spain, Italy, Germany and many other places. Also keep an eye out for two new feature films heading your way, as both “Cloud of Skin” and “Ten Years in the Sun” will be completed over the coming months!

24 November 2014

Non-pacific coexistence of numbers and dates


A Performance by Bahar Samadi and Navid Salajegheh Sunday 30th November 5PM The Guesthouse, 10 Chapel Street, Shandon , Cork IRL.

Artists Bahar Samadi and Navid Salajegheh will construct a performance around a series of found slides. These slides hold a decade of personal history for some unknown family. The original context for these photographs has been lost forever and only a great mystery remains. Using this as a point of departure, the artists are hoping to reconstruct the skeletal evidence and rewrite a new story, which would generate a dialogue between the performers, the materials and the audience. These images will be projected and transformed through a complex apparatus as a kind of ceremonial act. In an attempt of giving ‘new life’ to the old images, the artists paradoxically accentuate the fact that there is no access to the subjects of these photographs. Then perhaps by creating ghosts for these lost and unknown subjects, a story about the origin and death of images may exist in the ritual itself. The project would deal with notions of loss and death.

More info HERE

19 November 2014

EFS In Spain


Four feature films between Michael Higgins, Dean Kavanagh & Rouzbeh Rashidi from Experimental Film Society have been selected to participate in the 4th edition of the Pantalla Fantasma Film Festival. It will take place from 19 to 24 January 2015 in Puerta (Bilbao, Basque Country, Spain). Watch this space for the screening info!