EFS Publications

By Dean Kavanagh Access the PDF version of this content by clicking here.

By Dean Kavanagh Rouzbeh Rashidi’s Ten Years in the Sun was not shot on Earth; it was filmed between worlds, from scaffolding that could have only been erected on a cold, craggy and cavernous moon somewhere in the great nebula of Cinema. Here, space and time are entwined, bending backwards on themselves in some detailed…

By EFS PUBLICATIONSREVIEW By Maximilian Le Cain, Rouzbeh Rashidi & Dean Kavanagh What is it about the ‘material films’ of Birgit & Wilhelm Hein that remain so absolute? Why is it that so many similar films seem like tame exercises, but these still feel like both the end of cinema – the very last possible…

By Fergus Daly & Tony McKibbin Owen Brademas used to say that even random things take ideal shapes and come to us in painterly forms. It’s a matter of seeing what is there. He saw patterns there, moments in the flow. Don DeLillo The Names For critics like us, the cinema that we loved at…

By Rouzbeh Rashidi Clara Pais and Daniel Fawcett have been working as collaborating artist filmmakers since 2011, under the banner of The Underground Film Studio. Over the years they have created a small but meaningful filmmaking practice that includes feature, medium-length, and short films as well as live performances. Their shamanic approach to Cinema, combined with a very deep…

By Sam Fitzpatrick Sam Fitzpatrick interviews filmmakers Dean Kavanagh, Rouzbeh Rashidi and Maximilian Le Cain for his thesis “What is the Irish for ‘avant-garde’? An examination of the avant-garde idea in Irish cinema” for the course “MSc in Digital Feature Film Production” run by Filmbase Dublin, in association with Staffordshire University. Sam Fitzpatrick: Ireland obviously…

By Émmsen Jafari Access the PDF version of this content by clicking here.

By Émmsen Jafari Access the PDF version of this content by clicking here.

By Maximilian Le Cain What follows was originally written as programme notes for a screening of Chris O’Neill’s films that took place at Triskel Christchurch Cinema in April 2017. This Saturday, Cork audiences will have the welcome (and, I would say, overdue) opportunity to see a full programme of short films by Chris O’Neill, one…

By Esperanza Collado This text was written to accompany Maximilian Le Cain’s solo exhibition Available Light (Basement Project Space, 2010) True death is not being unable to speakIt’s being unable to be understood.Pier Paolo Pasolini Imagine a cinema possessed by the aesthetics of interruption. A cinema that makes space stutter, light gaseous and time circular,…

By Maximilian Le Cain Access the PDF version of this content by clicking here.

By Lorenzo Paci Compress humanity into an instant and enclose it. What we see, the places we belong to, our own existence, all this has an origin, and it is by following certain logical, sequential stages that we can return to the beginning, to an era when a simple mind can move a mountain and…