Thank You AEMI

We at Experimental Film Society are extremely excited to present our films as part of the COLLECTIVISM programme curated by AEMI. I was fortunate enough to have had this opportunity to assist Daniel Fitzpatrick &Alice Butler in their methods of curation and I have learned a great deal. On Wednesday 4th May at 6:30pm at the Irish Film Institute (IFI) AEMI will present the third and final part of their Collectivism programme. To accompany the screening Daniel and Alice have written a very thought provoking text on these films and the ideas behind EFS. This text is perhaps one of the most concise articles that has been written about EFS thus far. I’d like to take this opportunity to express my deepest gratitude to Daniel and Alice for their time, creative input and curation. Encounters like this make everything worthwhile. I hope to see some of you this Wednesday at IFI. The article can be read HERE

-Rouzbeh Rashidi

“A Brief Factual History of EFS”



Experimental Film Society (EFS) is an independent, not-for-profit entity specializing in avant-garde, independent and no/low budget filmmaking. I founded it 2000 in Tehran and it has been based in Dublin, Ireland since 2004. It unites works by a number of filmmakers and associated artists scattered across the globe whose films are distinguished by an uncompromising devotion to personal, experimental cinema. It began as an organization for producing and archiving films, which it still does. But since 2011 one of its main activities has been organizing and promoting screenings of EFS work in venues all over the world. In May 2016 the 60th EFS screening will take place in Ireland. As well as screenings, EFS has organized live cinema events, installations and exhibitions. It has an online archive of shorts and a VOD site for features. Its side-projects include the online journal EFS Publications and the noise project Cinema Cyanide. Its current membership stands at nine filmmakers.

There are no strictly defined rules governing EFS films, but most works share some general principles or characteristics. One is the avoidance of a script or any form of written plan. Films that grow from images rather than words have their own particular qualities. By extension, EFS filmmakers share an exploratory, improvisational approach to filmmaking. They often don’t know exactly what the film they’re making is until the last day of editing. They control the film less than it controls them. EFS films are made in complete creative freedom and the vast majority of them are self-funded, although recently some of us have benefited from grant funding. The equipment used tends to be basic and inexpensive: DSLR cameras, 8 and 16mm film, web-cameras, mobile phone cameras, DV and even VHS. A considered relationship with the material specificity of each format and its characteristics is very important to us. Our films are often crafted from the places and people we encounter in our everyday lives and travels, although these are viewed through a poetic prism rather than with a documentary approach. Plots are usually very abstract with little or no dialogue. EFS films are all massively personal and, in a sense, not complete. They don’t present the viewer with a neatly defined narrative universe or dictate exactly what he or she should feel at each moment. Their relationship with the audience is perhaps similar to a song that provides only the bass and drum line, leaving the listener to add his or her melodies. They remain open enough for the public to remain themselves while watching, instead of being ‘taken out of themselves’. These films are about images and the progression of images. When there’s sound or music, they’re about the interaction of sound and image. Cinema itself is always the subject, experimenting with its forms. Not necessarily pushing its limits, because I believe the limits of cinema have already been reached by Structuralist filmmakers like Sharits, or by Garrel’s early films, for instance. You can’t go beyond that. But if a filmmaker’s experiments are true to his or her perception and personality, the medium’s possibilities are constantly renewed.

When I started to make films back in January 2000 in Tehran, I felt that there were three main categories of filmmaking to choose from and be in. One was the mainstream cinema, with a strong emphasis on storytelling, either fiction or documentary. The second category was the underground/guerilla type cinema, which was bolder in its subject matter and embraced micro-budget techniques, but was essentially not that different from films in the first category except for its lack of money. I liked their DIY techniques, but that was about all. The third category was video art, which often had an explicit ideological agenda, be it social, political or religious. Some works were more personal and poetic, which I preferred. But this work came out of a visual arts context, whereas I was attracted to cinema itself. I felt that I didn’t belong to any of these groups. I wanted to do something very experimental within cinema, influenced as I was by history of film. I needed to establish a system of making and screening such films. 

That was the basic motivation behind EFS. So in 2000 I founded Experimental Film Society. I made films in Iran until 2004 and then I moved to Ireland. During my filmmaking adventures in Iran I would organise private screenings of new work (my own and films by others) for friends and similar people. During that time I realised that you simply cannot expect any kind of support from film festivals or government agencies. If you want to survive then you must create the culture that you want to be part of, and build it yourself from scratch. Naturally it is not a one-man job, therefore you most definitely need an experimental film collective in order to achieve this goal. When I came to Dublin, I continued making films. As time passed, I came into contact with like-minded filmmakers in Ireland and EFS started to grow again. Although an international entity, it must be admitted that Iran and Ireland form the two definite geographical poles of EFS. The former members from its early days are, of course, all Iranian. Amongst current Iranian members are Émmsen Jafari and Dublin-based Atoosa Pour Hosseini. Arriving in Ireland, I found myself in some ways in a similar situation to that which I had experienced in Iran: Irish film history can boast of a few notable figures in experimental film but there was never a real tradition of alternative film. There was nothing happening I could relate to or fit into as a filmmaker. In the years since, the work done by EFS members Dean Kavanagh, Michael Higgins, Maximilian Le Cain and me has been described as bringing a new experimental energy into Irish filmmaking. Although still at the margins, our efforts are becoming increasingly noticed in Ireland. The Irish connections continue: I met Swiss member Jann Clavadetscher when he was living in Dublin in 2005. In 2014, he has again moved from Zurich to Dublin. Spanish artist, filmmaker, curator and authority on paracinema Esperanza Collado had moved back to Spain when I first met her. But she spent several years in Dublin in the late 2000s, during which time her work as a writer and curator was immensely important in fostering an experimental film culture in Ireland. In fact, only Jason Marsh, who lives in Wales, has no connections with either Iran or Ireland.

Ultimately, though, I don’t believe in national cinema. I only believe in the ‘continent of cinema’ that all of our films belong to. They belong to everyone from any nationality. I never felt like I belonged to any specific place or culture. I think EFS films are universal and can be understood by any creature including extra-terrestrial life. As far as I am concerned, EFS could just as well be on Mars and we would still make the exact same type of films.

  • Rouzbeh Rashidi (Revised in MAY 2016)
  • Special thanks to Maximilian Le Cain and Dean Kavanagh

AEMI presents works by the EFS @ IFI


“arguably the most active, prolific and intrepid group of experimental filmmakers working in Ireland today.” AEMI presents Collectivism – Films by Experimental Film Society at Irish Film Institute (IFI) on Wednesday May 4th at 6.30 pm. Book TICKETS HERE

Cloud of Skin @ IFI


Irish Film Institute:

Join us for our focus on new Irish film and filmmakers.

Maximilian Le Cain will participate in a post-screening conversation with Dean Kavanagh (IFI). 

Haunted by the memory of a blind woman with visionary powers, a man revisits the sites of their love affair. Rather than unfolding as a traditional narrative, Le Cain’s first feature is an immersive and dreamlike exploration of memory and vision. Shot in a series of time-warped Irish locations the otherworldly atmosphere is intensified by composer Karen Power’s compelling soundscapes.

Though formally unconventional, this work is as accessible as it is beguiling. It is the work of a filmmaker who for years has tirelessly pushed an Irish underground cinema to the surface and is here at the peak of his powers.

(Notes by Sunniva O’Flynn.)

Maximilian Le Cain’s work also features as part of this month’s AEMI programme.

Book Tickets HERE

AEMI Projections: Collectivism Part 3 @ IFI


Irish Film Institute:

FILM INFO:
  • Homo Sapiens Project (161-170), Rouzbeh Rashidi, Ireland, 8 min, 2013, DCP
  • Funnel Web Family, Michael Higgins, Ireland, 14 min, 2013, DCP
  • Controle No 6, Jann Clavadetscher, Ireland, 13min, 2015, DCP
  • Friends with Johnny Kline, Dean Kavanagh, Ireland, 17 min, 2015, DCP
  • Brine Twice Daily, Max Le Cain and Vicky Langan, Ireland, 20 min, 2015, DCP
  • Clandestine, Atoosa Pour Hosseini, Estonia-Ireland, 15 min, 2015, DCP

We are pleased to welcome filmmakers Rouzbeh Rashidi, Michael Higgins, Jann Clavadetscher, Dean Kavanagh, Max Le Cain, Vicky Langan and Atoosa Pour Hosseini to take part in a discussion after the screening.

For the final edition of our three-part programme on Collectivism as it relates to contemporary film practices, aemi is proud to present a selection of works by members of the Experimental Film Society. The programme develops out of a series of conversations with core members of EFS addressing the role of the collective in constructing a productive understanding of what cinema can be made and what it can say and do. Drawing upon the speculative logic of science fiction, a regular presence in many of the works screening here, cinema is re-articulated as a heterogeneous space which “can contain all galaxies and forms of life, even ones we can sense but can’t fully comprehend.”

Curated by Alice Butler and Daniel Fitzpatrick. Please see this month’s Irish Focus strand where EFS filmmaker Max Le Cain’s work also features. 

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 since 2004. Please see http://www.experimentalfilmsociety.com/ for further details. 

TICKETS HERE

The way “WE” accept your films


Every so often I am approached by film programmers, festival curators and other individuals (all from the western political world) via Experimental Film Society mail. They wish to curate a show of alternative Iranian cinema or experimental film shorts by filmmakers in Iran or the Iranian diaspora. This has happened so much that I have decided to blog about it and perhaps raise some awareness, and I’m sure it won’t have much of an impact because the issues I have found in these proposals are often very deeply rooted into some systematic agenda. In response to a request such as this I usually compile a list of films from EFS or by friends of EFS and send it on. These works are heavily audio-visual and formally challenging, and in 95% of cases I either get no response or a very polite message stating that the films cannot be accommodated into the programme and best of luck!

When this happens regularly it really makes you rethink and re-evaluate the system. If the films had taken the form of the following scenarios I’m 99% sure they would have been accepted and subsequently screened:

1_A crowd of protestors running down streets shouting against the government and getting hammered by the police. Usually this takes the form of an essay film, compiled with footage shot by various mobile phones and other consumer-end cameras.

2_Exploitation of the suffering felt by a certain political/human rights activist group, visiting their homes in a guerrilla filmmaking style. The structure is more like a vox-pop of talking heads, cutting back and forth from daily life in Iran with some reasonably avant-garde music in place so that they can declare it as an alternative film.

3_Showing the daily life of a group of villagers, nomadic people and or other such people living in a remote part of the country. The participants are deeply frightened and yet thrilled by the presence of the camera and crew who are targeting them.

4_Revealing some factual evidence about some disadvantaged people in tough situations with a cinema-verite style, ripping off and abusing the heritage of Chantal Akerman, Chris Marker, Jean Rouch, Albert and David Maysles etc.

5_Imagining Iran as a country in which people are travelling with horses and camels; depicting a people in the most primitive situations possible like animals in a zoo.

6_Typical images that defined the political (not existential) existence of the Middle East. Utilising a back catalogue of references to images that are already available in mainstream media. Possible dramas will revolve around shrines, mosques, religious iconography, women wearing the hijab, prisons and popular mass movements.

I find it hilarious that most of these films (and of course there can be exceptions) are completely designed for western viewers and contain no benefit, cultural or otherwise, for any kind of exchange with Iran. It is simply a crude and kitsch product that these institutions feed off like vampires and in a way perhaps through viewing people like animals they feel better about themselves. This is a sort of fascism that crawls and manifests itself in a completely legal fashion, and it is one that is validated by audiences, festival juries and curators.

Still nobody says anything and another day passes and this cancer grows. If you try to create something that is beyond this form of image you will appear as an ALIEN, and a potentially dangerous one! Here are two quotes by Walter Benjamin, and though they are perhaps unrelated, I feel they shine some light on this situation:

“Fascism attempts to organize the newly created proletarian masses without affecting the property structure which the masses strive to eliminate. Fascism sees its salvation in giving these masses not their right, but instead a chance to express themselves.”

“In big parades and monster rallies, in sports events, and in war, all of which nowadays are captured by camera and sound recording, the masses are brought face to face with themselves. This process, whose significance need not be stressed; is intimately connected with the development of the techniques of reproduction and photography. Mass movements are usually discerned more clearly by a camera than by the naked eye.”

-Rouzbeh Rashidi

Thanks to Dean Kavanagh

EFS @ Filmbase April 24th 2016


EFS @ FilmBase presents
Indecent Materials

Over the past decade Experimental Film Society have been creating a landscape of deeply personal and radically experimental cinema in Ireland. The presence of eroticism is apparent across a spectrum of EFS output and the fetishism of Cinema as an apparatus is a common proclivity.

An invitation was issued to members and associated artists of EFS to create new work responding to the heading “Indecent Materials”. The resulting programme is a configuration of that material. Taking the form of six shorts and one medium length film, this material gives full attention to each filmmaker’s approach in detailing, what could be called, erotic or perverse themes. “Indecent Materials” is a combination of new and previously unscreened work that will rot the eyes, ears, teeth and loins in a display that is perhaps otherwise un-programmable. 

“Everyone knows what damage is done to the soul by bad motion pictures. They are occasions of sin; they seduce young people along the ways of evil by glorifying the passions; they show life under a false light; they cloud ideals; they destroy pure love, respect for marriage, affection for the family … [the] destruction and ruin of souls”

- His Holiness Pope Pius XI, “Use and Misuse of Films”, published by the Catholic Truth Society, July 1936.

A hole in your soul.


Indecent Materials

1_Overture (6min)
2_Melone [meˈloːnə] (Anja Mahler, 4 min, 2016)
3_FEED ME (Maximilian Le Cain, 3 min, 2016)
4_Heaven’s Hole (Michael Higgins, 6 min, 2016)
5_HSP 187 (Rouzbeh Rashidi, Dean Kavanagh, 5 min, 2014)
6_Blue Orgasm (Jann Clavadetscher, 4 min, 2016)
7_HSP 185 (Rouzbeh Rashidi, Dean Kavanagh, 14 min, 2014)
8_Given That Nasty is an Egg (Jason Marsh, 42 min, 2016)

Programme duration: 84 min
Curated by Dean Kavanagh

April 24th, 3PM, Tickets: 7 Euro
Age restricted screening
FilmBase, 2 Curved Street, Temple Bar, Dublin 2


http://www.experimentalfilmsociety.com
https://www.facebook.com/experimentalfilmsociety

Ten Years in The Sun @ Bogotá Experimental Film Festival / CineAutopsia


Ten Years In The Sun (2015) has been selected to be included in Bogotá Experimental Film Festival / CineAutopsia (April 20th to 24th, 2016) in Bogotá, Colombia. More info HERE & HERE

Luminous Void at Triskel Project Space


Luminous Void
Experimental Film Society Exhibition at Triskel Project Space
April 7th – May 21st


Luminous Void is a six-week Experimental Film Society exhibition at Triskel Project Space, Cork, that will include an installation by Cinema Cyanide (Rouzbeh Rashidi, Maximilian Le Cain, Dean Kavanagh); a series of short film programmes by EFS members and friends on loop that will change every week; and three live screening/performance events that will emphasise the open, cross-disciplinary definition of ‘cinema’ that EFS explores. 

Luminous Void’s programme of short films that sound/performance artist Vicky Langan made in collaboration with Maximilian Le Cain (screening May 5th – 11th) is running concurrently with Triskel’s Deep Focus: Women in Film Festival and will be preceded by a live performance by Langan on May 5th.

This exhibition is made possible with the support of Cork Film Centre.


All events will take place in Triskel Project Space.
Triskel Arts Centre, Tobin St, Cork City
Opening hours 10-5, Tuesday-Saturday.


Venerable Brethren
an installation by Cinema Cyanide


A hallucinatory ‘call and response’ between moving image works by frequent collaborators Rouzbeh Rashidi, Dean Kavanagh and Maximilian Le Cain that reconfigure fragments of reality as an outsider’s dream... or nightmare.

Opening Reception and Event:
Films by Atoosa Pour Hosseini (6pm Thursday April 7th)


To celebrate the opening of Luminous Void, Atoosa Pour Hosseini will present three of her recent, perceptually intense moving image works. Pour Hosseini is a Dublin-based artist whose work is influenced by the historic avant-garde cinema, alternative art and extends across drawing, painting, sculpture and film. Her films Mirage (2015), Oasis (2015) and Clandestine (2015) use a combination of Super-8 elements and digital processes to explore questions around illusion, reality and perception.

Live performance by Vicky Langan /
Screening of Stone Boat Exhausted by Open Night Cinema (8pm Thursday May 5th)

Cork-based artist Vicky Langan will kick off a week of her film work screening on loop with a live performance. Her emotionally charged performances envelop audiences in an often troublingly intense aura of dark intimacy. In opening herself emotionally, she creates rituals that at once embrace the viewers and remain resolutely private. Her practice operates across several fields, chiefly performance, sound, and film. 

Stone Boat Exhausted arises from the Open Night Cinema project by filmmaker Michael Higgins and performer Cillian Roche. A totemic walkabout through a single cycle of John Moriarty’s Dreamtime, it is a waking nightmare spawned from the id of Dublin City’s decaying industrial zones. 

Closing event:
Damp Access by Maximilian Le Cain with live sound by Trace (Mick O’Shea & Paul Hegarty) + Short film: Nineveh by Emmsen Jafari (8pm Thursday May 19th)


Cork-based EFS member Maximilian Le Cain’s feature Damp Access will get its Irish premiere with a special live accompaniment by sound art duo Trace. Mick O’Shea is a multimedia artist and a director of the Cork Artists Collective. Paul Hegarty is an author, musician, and lecturer in philosophy and visual culture at UCC.

Short Films On Loop:

Rouzbeh Rashidi (April 7th – 13th)

The founder of EFS, Rashidi is widely acclaimed as the most ferocious and radical talent in current Irish underground cinema. HSP 157 (2013) is an installment of his ongoing Homo Sapiens Project film series.

Dean Kavanagh (April 14th – 20th)

Kavanagh's work is intensely visual, creating detailed atmospheres that respond to the interaction between space, time and the human body. Late Hours of the Night (2014) is a typically atmospheric five part film series.

Jann Clavadetscher (April 21st – 27th)


Clavadetscher's practice includes installation, performance, short and feature film projects all conceived within the context of an idea of cinema. His films Sumpf (2015), [Lift] (2015) , Controle No 6 (2015) and Corridor (2016) will be screened.

The Last of Deductive Frames (April 28th – May 4th)

Sections of an ongoing collaborative project by members of EFS in which short films that reflect many of the Society’s formal concerns are put together in an ‘exquisite corpse’ type structure.

Vicky Langan / Maximilian Le Cain (May 5th – 11th)

Since 2010, sound/performance artist Langan and experimental filmmaker Le Cain have worked in a partnership built on the match between Langan’s magnetic, often troublingly intense performance presence and Le Cain’s jarring, disruptive visual rhythms. Their films Light/Sound (2010), Hereunder (2011), Dirt (2012) and Tangled And Far (2013) will be screened.

Anja Mahler (May 12th – 21st)

Mahler's work is situated in the field of time-based art. The essential element of her work is the passage and manipulation of time through the expressive use of moving image technology and the human body. Her new film, This Harmony is an Accident (2016), will be screened.

Collectivism: a three part screening programme

Collectivism: a three part screening programme

COLLECTIVISM

Curated by Alice Butler and Daniel Fitzpatrick, this three part screening programme explores ideas around the collective and collectivism as they relate to contemporary moving-image practices.

After a period in the 1960s and 1970s when the possibility of collectivity first began to emerge as an alternative mode of film production, the notion of the collective has played a very particular role. Typically it has been situated as a binary – the individual versus the collective – and a contrast to the more hierarchical system of commercial film production. The work we associate with film collectives, like the Dziga Vertov Group in Paris or the Winterfilm collective in the US, was also often explicitly rhetorical in its strategies, helping describe a cinema which aspired to real and lasting transformation.


The first film in this programme, artist Marylène Negro’s X+, returns to the activist cinema of the 1960s and ‘70s. In this feature-length collage film, scenes of political struggle overlap and intertwine, generating an image of history that collapses any notion that these works can somehow be contained or exist solely in the past. Instead they are reconfigured so that they continue to speak to us across time and space, informing an understanding of our role in relation to collective history. For Nicole Brenez, programmer at the Cinémathèque Française, the film raises key questions about the role of the collective in cinema. Most particularly ‘What is a people? What is historical agency? And at what point does history start shaking?’

COLLECTIVISM (PART 1) – X+, Marylène Negro screens at IFI on March 23 at 6.30pm

68 minutes, France, 2010, DCP




The second chapter in this three-part programme explores ideas around collectivism as they relate to contemporary practices through a wide-ranging selection of works which re-situate the current limits and potential of cinema as a political apparatus. From the collage-works of Kelly Gallagher and Ana Vaz to the ‘crowd-sourced collectivism’ at play in Alex Tyson’s Mountain Fire Personnel, the collective is revealed as a​ complex and multifarious construction. For the artists and filmmakers featured, the role of the collective ​now ​rests somewhere between the personal and the political, between the abstract and the figural.


COLLECTIVISM (PART 2) screens at IFI on April 13th at 6.30pm and features the following works:

Mountain Fire Personnel, Alex Tyson, 29 mins, 2015; Pen Up The Pigs, Kelly Gallagher, 12 mins, 2014; Africa, Shinkan Tamaki, 11 mins, 2010; Inaudible Footsteps, Rei Hayama, 5 mins, 2015; Sacris Pulso, Ana Vaz, 15 mins, 2013




For the final part of this programme, aemi is proud to present a selection of works by artists and filmmakers from the Experimental Film Society. The programme develops out of a series of conversations with core members of EFS addressing the role of the collective in constructing a productive understanding of what cinema can say and do. There is no single unifying factor connecting the work of individuals associated with the collective but Rouzbeh Rashidi does direct us toward the active possibility of catastrophe and the unknowable. Drawing upon the speculative logic of science fiction, a regular presence in many of the works screening here, cinema is re-articulated as a more heterogeneous space which “can contain all galaxies and forms of life, even ones we can sense but can’t fully comprehend.”

COLLECTIVISM (PART 3) screens at IFI in the evening of May 4th and features a selection of works by members of the Experimental Film Society.

Homo Sapiens Project (161-170), Rouzbeh Rashidi, 17 min; Funnel Web Family, Michael Higgins 14 min, 2013; Controle No 6, Jann Clavadetscher, 13min;Friends with Johnny Kline, Dean Kavanagh, 17 min, 2015; Brine Twice Daily, Max Le Cain and Vicky Langan, 20 min, 2015; Clandestine, Atoosa Pour Hosseini, 15 min, 2015


Event info:

Collectivism (Part 1)
Collectivism (Part 2)
Collectivism (Part 3)

Facebook Event
AEMI Website

EFS @ Gardunha Fest, Portugal



A programme of Experimental Film Society will play at HISTÉRICO – ASSOCIAÇÃO DE ARTES as part of Gardunha Fest on Saturday 28th May 2016. This programme gives an overview of EFS concerns and aesthetics. 

1_ Nineveh (2015)By Émmsen Jafari/ Iran / 10mins
2_Sumpf (2015) By Jann Clavadetscher / Ireland / 6mins
3_Pitpony (2014) By Jason Marsh / UK / 4mins
4_Funnel Web Family (2013) By Michael Higgins / Ireland / 14mins
5_ Cut To The Chase (2015) By Dean Kavanagh / Ireland /10mins
6_Homo Sapiens Project (161-170) (2013) By Rouzbeh Rashidi / Ireland /
7_HSP: Fragment (2015) By Rouzbeh Rashidi / Ireland / 8mins
8_Brine Twice Daily (2015) By Vicky Langan & Maximilian Le Cain / Ireland / 20mins

Total Running Time: 82mins

Address: A Moagem - Cidade do Engenho e das Artes Largo da Estação, 6230-000 Fundão - Portugal
More info HERE & HERE

EFS @ Cinemateca Museu de Arte Moderna do Rio de Janeiro


A programme of Experimental Film Society will play at the Auditório da Cinemateca Museu de Arte Moderna do Rio de Janeiro as part of Sessão RISCO Cinema on 5th March 2016 at 16:00. This programme was kindly organised by Risco Cinema and Hambre – Espacio Cine Experimental and curated by Rouzbeh Rashidi and Maximilian Le Cain. Special thanks to Sebastian Wiedemann

More info:

The Underground Film Studio: INTERVIEW: ROUZBEH RASHIDI / TEN YEARS IN THE SUN


Recently Daniel Fawcett and Clara Pais from The Underground Film Studio have interviewed me about my feature film Ten Years In The Sun (2015). I am particularly very happy with the questioned that were asked and the general understanding we exchanged with one another as both Daniel and Clara are great filmmakers and film buffs on their own rights. You will hear more about the collaborations between Experimental Film Society and The Underground Film Studio in the near future for sure. Two Screenings of Ten Years In The Sun are coming up this month in Victoria Film Festival (Canada) 8th Feb and Phantoscope at Triskel Arts Centre (Cork) 18th Feb. – Rouzbeh Rashidi

Read the interview HERE

TRAILERS is now complete!

I’m very happy to announce that my latest, biggest and perhaps most ambitious feature film to date, TRAILERS, is now completely finished and ready to screen. By some strange coincidence, it turns out that I filmed the first shot of TRAILERS on January 30th 2015 and have now finished the film one year later to the very day. What a bizarre year-long journey it’s been! 

First and foremost, I’d like to express my deepest gratitude to The Arts Council Of Ireland. Without their generous support, this film would not have been possible.

Special thanks to my amazing cast and crew for their magnificent creative input: Vicky Langan, Maximilian Le Cain, Anja Mahler, Jann Clavadetscher, Dean Kavanagh, Cillian Roche, Julia Gelezova, Jennifer Sharpe, Alicja Ayres, Eadaoin O'Donoghue, George Hanover, Klara McDonnell & Martin Berridge

Thanks also to Atoosa Pour Hosseini, Michael Higgins, Esperanza Collado, Babak Saadatmandi, Jason Marsh, Michel Freerix, Uwe Jonas, Mario Mentrup, Daniel Fawcett, Clara Pais, Fabrizio Federico, Block T, Corcadorca, Open Night Cinema, The Underground Film Studio and Temple Bar Gallery + Studios for their support and help. 

TRAILERS is 180 minutes long and will be available to screening on DCP. I’m very much looking forward to sharing it with you all. Onwards!

-Rouzbeh Rashidi

More info HERE

EFS @ Filmbase presents STONE BOAT EXHAUSTED


Experimental Film Society @ Filmbase presents

Open Night Cinema's
STONE BOAT EXHAUSTED
from John Moriarty's Dreamtime

Sunday February 14th, 4PM
Tickets available at the door: €7
Filmbase, Curved Street, Temple Bar, Dublin 2.


Experimental Film Society, in partnership with Filmbase, Dublin, is proud to present the premiere of Open Night Cinema's STONE BOAT EXHAUSTED, an explosive filmed record of their final project of 2015. This feature film documents an entirely improvised cinematic experience by members and friends of Open Night Cinema (ONC). Trailer HERE

“Essentially, to talk about dimensions of Ireland is to talk about modes and moods of seeing. Seek for Fódhla not on horseback riding northwards, nor in a boat sailing westwards. Seek her in seeing.” - John Moriarty 

A totemic walkabout through a single cycle of John Moriarty’s Dreamtime, STONE BOAT EXHAUSTED is a waking nightmare spawned from the id of Dublin City’s decaying industrial zones. The textures and patterns, light and shadows and the very material of sound and image construct an experience that re-realises our cultural past, present and future in one metamorphic breath.

STONE BOAT EXHAUSTED incorporates the use of analogue film projection, live improvised soundscapes and intense vocal and physical performances. It is the result of six months of ongoing collaborative performances. Devised and produced by Michael Higgins and Cillian Roche in collaboration with members and friends of ONC, Guerilla Aerial and Unbend Legout, and with kind permission from Lilliput Press.

Born in June 2015 Open Night Cinema is a non-profit 'pop-up' film studio that lives, breathes and sleeps throughout the industrial landscapes of Dublin City, Ireland. ONC primarily feeds on cinematic events designed with characteristics of cinema and theatre. These events are intended to rupture and transform the space outside the projected frame breathing life into the cinematic experience.

opennightcinema.com

Experimental Film Society is an independent, not-for-profit entity specializing in avant-garde, independent and no/low budget filmmaking. It was founded in 2000 by Rouzbeh Rashidi. It unites works by a group of filmmakers scattered across the globe, whose films are distinguished by an uncompromising devotion to personal, experimental cinema.

Filmbase was founded in 1986 as a members led organization. It has supported thousands of Irish filmmakers over the years through its range of services including quality training at affordable rates, access to film funding award schemes, equipment hire and the publication of www.FilmIreland.net, Ireland’s first stop online for all the latest Irish film news, reviews, interviews and exclusives.

More info:
http://www.experimentalfilmsociety.com
https://www.facebook.com/experimentalfilmsociety

Two Screenings of Ten Years In The Sun


TEN YEARS IN THE SUN (2015) will play at:

Victoria Film Festival (Canada) 8th Feb TICKETS

Triskel Arts Centre (Cork) 18th Feb TICKETS

PHANTOSCOPE – TEN YEARS IN THE SUN @ TRISKEL ARTS CENTRE


Phantoscope, Triskel Arts Centre’s regular experimental film event curated by Maximilian Le Cain, presents Ten Years In The Sun (2015) by Rouzbeh Rashidi on 18th February 2016 at 6:00pm at Triskel Arts Centre, Tobin St, Cork City.

Tickets can be purchased HERE