An end of year wrap up for EFS and a thank you to all who have supported and been part of what we've achieved. A special thank you to Rouzbeh Rashidi for his ongoing management and work in keeping such activities burning.
Issue #4 of FOUND FOOTAGE Magazine is out now!
Among the fantastic articles, essays and reviews The Poorhouse Revisited makes a small appearance.
In 1996 the half-hour IFB/RTÉ period drama entitled ‘Poorhouse’ was broadcast. Directed by Frank Stapleton and based on a short story by Michael Harding, the film is set during the time of Ireland’s Great Famine. The plot concerns the relationship of an elderly gravedigger and a young woman. Powerfully evoking a cultural memory of hardship and loss from 150 years previously, the film slipped into obscurity in a forward-looking era.
The Poorhouse Revisted
15 years later I discovered the discarded film rushes outdoors on the Ringsend Peninsula, Dublin. The scattered reels of decayed 16mm material - literally unearthed, consisted of some 120mins of slated scenes, re-takes and camera tests. Restored, re-worked and re-edited, the corrupted frames now resemble fragments of memories distorted through exposure to time and it’s natural …
Delighted to announce that my most recent feature film Drifting Cities joins EFS in a programme at Camara Lucida - Encuentros Cinematograficos Film Festival in Cuenca, Ecuador at the end of July. Other films include Rouzbeh Rashidi's latest - Phantom Islands and also a collection of Atoosa Pour Hosseini's Super 8mm films. See the link below for the full programme.
Drifting Cities (2017) shows two actors playing two lovers before meeting death in a car crash. They drift through muddled memories and moments in search of one another. Italian journal CinePensieri calls the film “evanescent in the widest meaning of the term… Is it the cinema that turns into the world or vice versa? In both cases, in Drifting Cities the two elements fuse together to such an extent that it’s difficult to recognise the border between the reality and the medium that represents it”. TRAILER HERE
Largely inspired by Wim Wenders and Andrei Tarkovsky among others A Road Movie Trilogy was my first foray into feature length filmmaking.
The first of the trilogy would be Roadside Picnic featuring myself and friend Fionntan O'Donnell (who incidentally introduced my to Tarkovsky's Stalker in 2001). On deciding to hitchhike Iceland for 10days I decided I would bring a HDV video camera and tripod as oppose my usual 35mm stills camera as I've done on previous trips. I opted to follow a series of basic rules in order to limit myself to an overwhelming amount of shooting and stress. These were as follows: There would be no pre-production planning except for actual travel plans. No insurance, no shooting permits etc. The film would consist of static framing only in which both Fionntan and I would appear in.It would be feature length. Further rules would present themselves later, for instance throughout post-production the decision for the constant use of in-camera sound and al…