Friday, February 27, 2015

An Invitation to an Interview


A nice piece by Maira De Gois in The City that ties in with my screening last week at Temple Bar Gallery + Studios:

http://thecity.ie/2015/02/20/le-cain-and-rashidis-universe-an-invitation-to-experimental-cinema/

Thursday, February 26, 2015

Ten Years in the Sun @ JDIFF

Some great news: Rouzbeh Rashidi's Ten Years in the Sun, which I wrote about here, has been included in the programme of this year's Jameson Dublin International Film Festival (Friday, March 27th, 8pm). Do not miss seeing this one on a big screen! It's like nothing else you've ever seen...

Thursday, February 19, 2015

Alan Lambert on Irish Experimental Film


Alan Lambert has published an informative overview of the current Irish experimental film scene in Film Ireland. Recommended reading!

(Still from Rouzbeh Rashidi's Homo Sapiens Project 150)

Wednesday, February 18, 2015

Phantoscope: William S. Burroughs – The Films


Wednesday February 25th, Triskel Christchurch Cinema, Cork

82 mins – UK/France/USA – 1963-1982 – Dir: William S. Burroughs / Antony Balch
Starring: William Burroughs, Brion Gysin and Antony Balch

William S. Burroughs is one of the defining figures of contemporary culture. A literary giant, he revolutionised late 20th century perception through both the form and content of his writings. The cut-up method of cutting into and rearranging texts through chance was introduced by artist Brion Gysin but is most widely associated with its use in Burroughs’ novels. He also explored these ideas in cinema through his collaborations with filmmaker Antony Balch. Phantoscope, Triskel’s regular experimental film event, presents a rare opportunity to see these films on the big screen.

The programme includes the two seminal cut-up classics Towers Open Fire (1963) and The Cut-Ups (1966); Ghosts at Number 9 (1982), an elaborate re-edit of these films along with other footage found after Balch’s death; the performance-to-camera Tony and Bill (1972); and the home movie William Buys a Parrot (1963).

The programme will also include a talk by Benjamin J. Heal, a Burroughs scholar and board member of the European Beat Studies Network.

Details and booking: http://bit.ly/1vjfhi7

Monday, February 16, 2015

Tomorrow: Le Cain Solo Screening in Dublin


If you're in Dublin tomorrow evening and feel like treating yourself to a bit of experimental cinema, pop in to Temple Bar Gallery + Studios around 6pm:

http://www.dnote.info/dnotes/le-cain-solo-screening/

Sunday, February 15, 2015

Jorge Núñez on DAMP ACCESS


Jorge Núñez has written a lovely and perceptive review of Damp Access.

To read it in the original Spanish, follow this link. To view the film, go here

And here's an English translation of the review:

Lately, I’ve had a recurring vision: to make a video as someone from another planet. I’ve also been thinking that there’s a lot in this cinema that’s ritual, that offers the conditions for a ritual to take place when it starts to occur. A film that is a ritual and which proposes a ritual, like an expanded cinema which is another expanded cinema. One which expands itself through the images towards the spectators. Which establishes a connection between the screen and their brains, a union I like to visualize as an organic cathode ray tube of millions of colours or greenish, vibrant, terrifying but taking me where it wants me to go. Damp Access offers these possibilities in a way that contains a very important balance between cinema of the fantastic and experimental cinema. I’m particularly interested in this mixture of genre cinema (its tempo, its structure) and experimental cinema. Among them, you find a knot formed of expectations related to film drama. Then the images that follow each other create temporal spaces that escape the rules of the consumer industry and create a whirlpool in which experimental cinema forecfully appears. This intermittancy between the two ‘ways’ of filmmaking is fundamental in bringing the film to life. Le Cain’s film is a tunnel and to look back is not to enjoy a future world of red lights, nice plants, anxieties. Again, the table and its composition return in order to close the journey. The road movie is circular, the flickering fan provokes less of a sensation the more it appears. What is there after the efectisms? What remains is the film as it is. Access from this waiting room invokes a future, the cinema of space travel. Are these films road movies? The stars in deep space hardly move… Then suddenly life is frightening and mysterious, from between black and white surges tarnished light that is suffocatingly red, the mind hatches images, it composes a totemic film radiant with solitude and mystery.

Monday, February 09, 2015

Burroughs in Cork!