Hole in the Head is an experimental feature film in which the protagonist re-stages his family's home movies in order to recall a traumatic event. Melding new with old technologies and a film-within-a-film structure, Hole in the Head proposes a hauntological discourse on autofiction, trauma and private ritual.

In Passing is a collaboration between seven different filmmakers from around the world in response to Jesse Richards' 2008 Remodernist Film Manifesto.

An assortment of obscure private obsessions, conspiracies and perversions flicker on the verge of incoherence against the context of vast cosmic disaster in Rouzbeh Rashidi’s boldest film to date. This sensory onslaught combines a homage to the subversive humour of Luis Buñuel and Joao Cesar Monteiro with the visionary scope of a demented science fiction epic.

There is no escape… From one side of the globe to the other, there is no escaping the faces, the visions, the ever-watchful camera. There is no escaping the mask, there is no escaping the resonating echoes of images and sounds that cross each other over time. There is no escaping the cinema. There is no escaping the terrors of the mind. “A mysterious loner, perhaps a poet, journeys through a series of uncanny surrealistic landscapes with an unclear purpose. His adventure is divided into three sections. The main theme of this experiment is to compare the eerier qualities of different landscapes and interpose the characters within them, elaborating the project’s ongoing preoccupation with extracting sinister moods from ordinary settings. In a way, these can be seen as experimental horror films in which an atmosphere of dread is evoked and sustained without the expected narrative trappings.”

Three witnesses to the invasion. Three accounts. Are they observing the same thing? Were there any warning signs? And, after all they’ve seen and heard, are they even competent to offer a reliable report? The purpose of this film is to demonstrate that an effort to construct functions known not to exist may on occasion produce interesting frauds.

Onlookers at the canal.

A young man recalls a fishing trip from his childhood but he is uncertain if it is his own memory.

The remains of a day. Originally conceived as part of the portmanteau feature film In Passing (2011), which was completed by an international alliance of Remodernist filmmakers.

A man cruises the streets of his old neighbourhood at nightfall.

A relationship unravels during a storm. Poor Edward is considered as part of the official canon of Remodernist Film.

The last day of the week is the first day of the week.

The troubling hallucinations of a deranged mind.

A found-footage film that seeks to sever all narrative ties.

The second film in a two-part study of daily routines.

The first film in a two-part study of daily routines.

A silent film adrift in the lost rooms of an old house. A final letter to an old friend.

‘My first movie’.

A séance of old and new light.

A compendium of home movies sewn into a fragmented nocturnal narrative on travel

Originally conceived as a road movie, Sound from the Valley Floor is at once a film diary and a perverse comedy permeated with a dream logic.

Cut to the chase was a phrase used by Hollywood studio executives, meaning “don't bore us with the dialogue - get to the interesting scenes without unnecessary delay." Cut to the Chase is a film crafted through images captured from a customised telecine apparatus and combines archival found-footage material with newly generated footage.

The latest materialist gesture in cinema's dematerialisation- uncompromising alter-ego Johnny Kline returns in the form of found and partially destroyed early 20th century pornography and found material depicting domestic scenes. Always inappropriate in his re-appropriation of found materials Kline brings the private and public realms together in the creation of a drive-in cinema and a child's discovery of a satan-worshipping cult. A marriage of Messe Noire (1928) and the Irish landscape captured from various formats including 16mm through a custom-designed telecine apparatus and finished in an anaglyph 3D process, The Curse of Johnny Kline stands alone in contemporary Irish underground cinema.

This found footage project takes the form of four experimental films surrounding the mystery of the titular character. Rather than overtly appearing in each film, Johnny Kline is more a summation of the evils within the film as a whole: he is a monstrosity of cinema. By composing fragmented narratives and drawing on an array of found materials the films of Johnny Kline form a visceral and furious passage through the underbelly of found-footage cinema, where Kline is both a master of ceremonies and a spectre behind and betwixt each frame.

A darts player slides into depression after an heart attack spooks him so much he loses his skill.

A journey into the dark visions of a small coastal town. Memories of the inhabitants or memories created by the place itself.

A man investigates a memory of places and people. The evidence drifts deeper and deeper into an unforgivable jungle; he might not be the true owner of his memories, his thoughts may not be of his own, it may not even be his body.

Haunted by the memory of a blind woman with visionary powers, a man revisits the sites of their love affair. Rather than unfolding as a traditional narrative, Le Cain’s first feature is an immersive and dreamlike exploration of memory and vision. Shot in a series of time-warped Irish locations the otherworldly atmosphere is intensified by composer Karen Power’s compelling soundscapes.

Earth. Wind. Fire. Water. Sacrifice. In Animal Kingdom a ritual carves a dimension that melds character, object, landscape and the very tactile makeup of the film itself into one mutating, symphonic mass of spell casting, storytelling, living and dying. An explosive account of cinema as witchcraft.

A young man films his family to better understand them and as a result is destroyed by them.

The discovery of an ancient artefact. The night extends beyond the grip of reality. The inhabitants of a small community perish.

Ireland, 1923. A young man returns home after fighting for the British Army during World War One. He struggles to settle back in, his memories of the trenches still haunting him.

A contract killer reluctantly accepts a last minute assignment in the run-up to Christmas. The routine job takes an unexpected turn, and he finds himself morally and emotionally challenged.