Saturday, February 18, 2017

Indiegogo Campaign Launched to Publish Book on the History of Experimental Film Society

Luminous Void: Experimental Film Society Documents
Experimental Film Society (EFS) is launching an Indiegogo crowd funding campaign to cover the design and printing expenses of Luminous Void, a book-length history of the Irish-based experimental film collective’s first two decades of activity.

An independent filmmaking collective that produces, screens, promotes, and archives films by its members, EFS was founded and is run by underground filmmaker Rouzbeh Rashidi. Rashidi has spent two years gathering and compiling material for Luminous Void, a series of essays, documents and in-depth interviews with EFS filmmakers. The content of the book is now almost ready for publication but EFS is seeking €3500 to cover the design of the book and a print run.

This fully-illustrated volume will include an introductory essay by curators Daniel Fitzpatrick and Alice Butler; an article on EFS cinema by renowned film critic Adrian Martin; an account of the history of EFS and a number of their manifestos; in-depth interviews with Rashidi and other EFS members; texts by Esperanza Collado and Maximilian Le Cain; and a statement on contemporary alternative cinema by Daniel Fawcett and Clara Pais of Underground Film Studio, a sister organisation to EFS. The look and layout of the book will be designed by typographer Borna Izadpanah. The cover will be created by Pouya Ahmadi, a noted graphic designer and former EFS member.

The work of EFS filmmakers is distinguished by an uncompromising devotion to personal, experimental cinema. They have in common an exploratory approach to filmmaking, and their films foreground mood, atmosphere, visual rhythms, the interplay of sound and picture, and the nature and subjectivity of the image. These films have been widely screened in cinemas, festivals and art venues around the world.

To find out more about the campaign and the perks being offered, please visit: HERE

Wednesday, February 08, 2017

EFS vs Strange Attractor @ St Peter's, Cork

Recent Transmissions:
Strange Attractor (live sound) / Experimental Film Society (undead images)
6-8pm, Saturday February 25th
St. Peter’s Church, North Main St., Cork

A durational, improvised live performance by Strange Attractor will take place in a space activated and transfigured by multiple projections of Experimental Film Society moving imagery. The filmmakers envision life on earth as if picked up by alien cameras and minds, and transmitted back across the universe – where Strange Attractor are ready and waiting to tune in and respond. The ensuing communion between “the finest experimental improv in the country at present” (Bernard Clarke, RTÉ Lyric FM) and “the most active, prolific and intrepid group of experimental filmmakers working in Ireland today” (aemi: artists and experimental moving image) promises to generate an unworldly intensity.

Strange Attractor is a multi-dimensional, collaborative venture that experiments with sound, movement, technology, combined media, text and found objects. Members Anthony Kelly, Danny McCarthy, Irene Murphy, Mick O’Shea, David Stalling and invited guest performer cellist Eimear Reidy.

Experimental Film Society is an international film collective based in Dublin that is notably at the centre of a new wave of Irish experimental cinema. Members take an exploratory approach to filmmaking, foregrounding mood, atmosphere, visual rhythms, the interplay of sound and picture, and the nature and subjectivity of the image. Participating filmmakers: Rouzbeh Rashidi, Vicky Langan & Maximilian Le Cain, Michael Higgins, Atoosa Pour Hosseini, Dean Kavanagh, Jann Clavadetscher, Émmsen Jafari and Jason Marsh.

In partnership with Cork Film Centre.

Wednesday, February 01, 2017

Cloud of Skin Available on VOD

My 2015 feature Cloud of Skin is now available for rent or purchase on the Experimental Film Society Video on Demand platform.

All money received will be donated to Experimental Film Society to help fund our future endeavours. 

Friday, January 27, 2017

Cloud of Skin Feature in Cork Evening Echo

Cara O'Doherty has run a feature on Cloud of Skin in the Evening Echo in advance of Tuesday's screening. Entitled 'Cain Is Very Able', it draws on an interview with me and covers the nature of experimental film, my work with actors and the process of moving from making short to feature length movies.

Thursday, January 26, 2017

Werner Nekes (1944 - 2017)

Farewell to the great Werner Nekes...

Monday, January 02, 2017

CLOUD OF SKIN @ Triskel Christchurch, Cork

My feature Cloud of Skin will be screened at Triskel Christchurch Cinema, Cork this January 31st.

Full details here!

Sunday, January 01, 2017

Yevgeny Yufit (1961 - 2016)

2016 is already being commemorated as an exceptionally grim year on many levels. The unremitting torrent of cinema-related deaths that coursed through the last twelve months has been much commented upon, with Daniel Kasman's round-up of 2016's departed providing a bleak overview of its erosive progress. 

Yet the passing of one of the greatest talents that film has recently lost is not only unmentioned in Kasman's overview but appears to have gone entirely unremarked, at least in the West. I only hope there has been more comment in his native Russia...

True, Yevgeny Yufit is hardly a household name. But the mad fury of his nihilistic 'necrorealist' shorts in which only life itself remains in all its spasmodic hideousness and vitality, and the poetically unsettling pseudo-science of features, mean a great deal more to me (and some of my close colleagues) than any number of established household names.

To get the basics about Yufit and Necorealism, I recommend this brief 2013 summation posted by the Obskura website in 2013. It begins thus:

"Originated in the 1980s, Necrorealism was the first Soviet cinematic avant-garde since the 1920s. The name of the new Eisenstein was Yevgeny Yufit."

A good number of his films are available on Youtube. I find them energising and liberating beyond words. Their basis in silent cinema is of particular appeal: in returning to its origins to attempt self-destruction, cinema once again proves its spectral indestructibility.