Through the works of the Experimental Film Society, of which Rashidi is a key member, cinema remains in a state of productive instability. Here, cinema can function as a sketchbook - a way of exploring some of the possible lives of an idea. This is what we encounter in Rashidi’s visceral and abrasive Homo Sapiens Project (161-170) in which he takes apart and reassembles a 35mm trailer for Brain De Palma’s little-loved The Black Dahlia (2006).
Brine Twice Daily is a film that came from the sea, from the depths, and it never truly escapes its salt-encrusted origins. A bizarre romance that is at once an absurd comedy, a horror/adventure B-movie, a cryptic home video and a fading seaside postcard stuffed into a bottle and cast adrift on the ocean, Brine Twice Daily marks a new departure in the Langan/Le Cain filmmaking partnership.
Arkady Feed explores the forlorn yet strangely resilient and always evocative post-industrial terrain of Cork's docklands using sounds found in the area by Paul Hegarty and images picked up there by Maximilian Le Cain.
Constructed over many weeks, Jann surreptitiously performed for the cinema's security cameras, in empty car parks, box office booths and lifts, only later going back to comb through these tapes in an attempt to retrieve the material in which he appears. With movie star looks and an affection for body comedy, Jann could be situated as the Harold Lloyd of the Experimental Film Society of which he forms part (as unlikely as that sounds).
Layering both space and time, Clandestine superimposes imagery and creates entrancing patterns of repetition and startling interruption. Voyaging from one land to another, from found footage to mysteriously evocative scenes shot by the artist, to the pure abstraction of hand-scratched film, it traces a haunting inner logic of memory and discovery.
Saint Francis Didn’t Run Numbers is "a eulogy to personal interpretations of cinema with a fetishistic fascination with the imperfections of ageing celluloid" (Experimental Film Club). By re-filming footage from a 35mm film print of a well-known classic of American cinema, the imagery is adapted and reframed, magnified and fragmented, to present a very different kind of film by focussing solely on one single supporting character and abstract, empty spaces.
Sister Mary or Mary the Junkie is an experimental 'found footage' short film. By re-filming imagery from a 35mm theatrical print of a narrative feature, the frame is adapted and reframed, to present a very different kind of film by focussing solely on one single supporting character.