Friday, 30 January 2015

"Cloud of Skin" officially wrapped

Maximilian Le Cain's upcoming feature film "Cloud of Skin" (2015) has just finished shooting:

"Shooting is now fully completed on my upcoming feature Cloud of Skin! A big thank you to everyone who helped in any way to bring this project to where it is now.Special thanks to co-producers Dean Kavanagh and Rouzbeh Rashidi: what a team! Post production is about to commence in earnest with me working on editing the picture and the wonderful Karen Power creating a soundscape to envelop it in. All going well, in six to eight months the film will be ready for screening."

Thursday, 29 January 2015

Man Is Not A Bird

The Great Dušan Makavejev

photo by Vican Vicanović

Many, many years ago
On this roof there was a show
The director, a gentleman nicely clad and fine
Was a boy of 9
Only a few years after Mickey Mouse
Makavejev was born in this house
But the future was vague and dim
A trick was played on him
The Great War brought a new venture
The horrible theatrical adventure
The hunger came and people dressed in rugs- not in silk
The whitest water was sold as milk
Listen to me tutti-frutti
This house was a real beauty
It was full of doctors who cured dogs and kittens
On their doors was written:
“We prevent the rabies
We vaccinate the pets and their babies
The patients are kindly requested
To come clean and not let the fleas infested,
And it is forbidden to bark and bite
On this veterinary site.”
 These people were friendly and nice
Even to rats and mice
What a circus, joy and pity
In this house amidst city
Makavejev learning tricks
For the art of shooting flicks
So, at the very tender age
A boy of 9 was marked for stage

-Raša Popov

Saturday, 24 January 2015

Experimental Film Society Statement (Part 2)

Experimental Film Society has issued a statement,
written with input from Dean Kavanagh, Maximilian Le Cain & Rouzbeh Rashidi,
 that stands as a manifesto for their thinking about cinema.

Thursday, 22 January 2015

Cinema Cyanide's "Group Enema" (2015)

Denn die einen sind im Dunkeln
Und die andern sind im Licht
Und man siehet die im Lichte
Die im Dunkeln sieht man nicht

Saturday, 17 January 2015

HSP 191-199 Completed

Rouzbeh Rashidi's "Homo Sapiens Project" instalments 191-199 have been completed.
These short films were a collaboration between Rouzbeh Rashidi, Maximilian Le Cain and Dean Kavanagh.

Saturday, 10 January 2015

Friday, 9 January 2015

"Return of Suspicion" Listed in Senses of Cinema 2014 World Poll

Thai film critic and cinephile Jit Phokaew has listed "Return of Suspicion" 
in his list of favourite films of 2014 for Senses of Cinema's Official World Poll.
Phokaew also reviewed the film for his blog.

Read his list HERE

"Return of Suspicion" was also listed by Fergus Daly in his list for Senses of Cinema HERE,
and included in Maximilian Le Cain's list HERE.

Tuesday, 6 January 2015

EFS listed in The Senses of Cinema online journal World Poll 2014

 "Max Le Cain, Dean Kavanagh and Rouzbeh Rashidi continued to prove how much they’ve raised the bar for filmmaking in Ireland. "

The great film critic and cinephile FERGUS DALY has listed three films from Experimental Film Society 
in his favourite films of the year for Senses of Cinema 2014 World Poll.

He listed "HSP: There Is No Escape From The Terrors Of The Mind" (2013, Rashidi),
"Night Regulation" (2014, Le Cain) and "Return of Suspicion" (2014, Kavanagh).

Monday, 5 January 2015

Cloud of Skin ‘Making Of’ Featurette

A documentary/behind-the-scenes featurette that sheds light on the creative processes behind
Maximilian Le Cain's upcoming feature film "Cloud of Skin".

Friday, 2 January 2015

Rouzbeh Rashidi's "Ten Years in the Sun" is now complete

Statement by the filmmaker:

"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." 

Feedback on "A Harbour Town" (2013)

Feedback on "A Harbour Town" (2013) by Chayanin Tiangpitayagorn (translation by Jit Phokaew):

A HARBOUR TOWN (2013, Dean Kavanagh, Ireland)

There are some moments in this film (actually nearly half of the film) which make the film resembles a mystery-detective movie, because the character whom I assumed the protagonist of the film seems to change his face and hairstyle all the time, as if he is a detective or a spy, or as if the film was made in a twelve-year period like BOYHOOD, because in one scene his face looks clean, but in another scene he wears a moustache; in one scene he wears glasses, in another scene his hair grows longer and its color has changed. I just realized later that this is not the same character, but they look like each other very much, because they are siblings in real life.
Though I misunderstood about this thing, the film still has other elements which resemble a detective movie, especially the middle-eastern character (I guess this character is played by Rouzbeh Rashidi) who seems to come to search for something in an empty builiding. He also looks out from the rooftop filled with bird droppings and records what is happening out there with his camera. Similarly, the protagonist goes to a harbour town, venturing into a forest, meeting other characters, and receiving something. But when the audience sees the protagonist smoking, the audience will never know what he is thinking about, whom he is thinking about, or what he is looking for.
Maybe we don’t have to focus on the story of this film, because the film has no dialogues. (Though we can see that the characters are speaking in some scenes, we cannot hear them, and we don’t even know who these characters are.) The owner of the most prominent sound in this film is the nature—the sound of water, wind, rain, flocks of birds, or the storm which rages through the harbour town. The nature devours all the atmosphere and living things in this film and makes them become a part of the story of sound and light.
The last part of the film seems like a game of haunted ghosts, which puts people inside a haunted house or an enclosed dark space which has very few light sources, in order to search for some truths or to solve a mystery. But in this film we don’t know what the mystery is or who the owner of the mystery is. We don’t even know if we should solve the mystery or not. There is one scene in this film which is extremely scary, though there is a very bright sunshine in this scene. It is as if the film has become a zombie film for 15 seconds before it returns to the previous state.
In conclusion, while we are watching this film, we may feel as if we are thrown into a mysterious harbour town with a small population. We meet a few inhabitants of the town, who live under the control of the story of sound of light. There may be some mysteries, may be not. Even if there are some mysteries, we are not sure if we should solve them or not. We don’t even know how well these townspeople know one another.