#experimentalfilm — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #experimentalfilm, aggregated by home.social.
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A question to the (experimental) filmmakers among you: what are you using to host previews of your work ?
Due to its intolerable enshittification I am finally ditching Vimeo after +10 years, so I am looking for a replacement.1/2
#experimentalcinema #experimentalfilm
(image from my "Mechanisms Common to Disparate Phenomena; #59" )
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A question to the (experimental) filmmakers among you: what are you using to host previews of your work ?
Due to its intolerable enshittification I am finally ditching Vimeo after +10 years, so I am looking for a replacement.1/2
#experimentalcinema #experimentalfilm
(image from my "Mechanisms Common to Disparate Phenomena; #59" )
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A question to the (experimental) filmmakers among you: what are you using to host previews of your work ?
Due to its intolerable enshittification I am finally ditching Vimeo after +10 years, so I am looking for a replacement.1/2
#experimentalcinema #experimentalfilm
(image from my "Mechanisms Common to Disparate Phenomena; #59" )
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A question to the (experimental) filmmakers among you: what are you using to host previews of your work ?
Due to its intolerable enshittification I am finally ditching Vimeo after +10 years, so I am looking for a replacement.1/2
#experimentalcinema #experimentalfilm
(image from my "Mechanisms Common to Disparate Phenomena; #59" )
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A question to the (experimental) filmmakers among you: what are you using to host previews of your work ?
Due to its intolerable enshittification I am finally ditching Vimeo after +10 years, so I am looking for a replacement.1/2
#experimentalcinema #experimentalfilm
(image from my "Mechanisms Common to Disparate Phenomena; #59" )
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Einen wichtigen Teil von dem, was wir in #StartingWithFragments abendfüllend zu sagen versucht haben, erzählt Uli Sappok dreißig Jahre früher in "Der narrative Film" in nur vier Minuten. Super Film!
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Einen wichtigen Teil von dem, was wir in #StartingWithFragments abendfüllend zu sagen versucht haben, erzählt Uli Sappok dreißig Jahre früher in "Der narrative Film" in nur vier Minuten. Super Film!
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Einen wichtigen Teil von dem, was wir in #StartingWithFragments abendfüllend zu sagen versucht haben, erzählt Uli Sappok dreißig Jahre früher in "Der narrative Film" in nur vier Minuten. Super Film!
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Einen wichtigen Teil von dem, was wir in #StartingWithFragments abendfüllend zu sagen versucht haben, erzählt Uli Sappok dreißig Jahre früher in "Der narrative Film" in nur vier Minuten. Super Film!
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Einen wichtigen Teil von dem, was wir in #StartingWithFragments abendfüllend zu sagen versucht haben, erzählt Uli Sappok dreißig Jahre früher in "Der narrative Film" in nur vier Minuten. Super Film!
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aemi’s 2026 touring programme ‘Desire Lines’
The Model, Sligo, Wednesday, September 2 at 10:00 AM GMT+1
aemi’s new touring programme ‘Desire Lines’ premiered at the Irish Film Institute on Thursday 22nd January 2026. Featuring films by Chloe Brenan, Collectif Faire Part, Eóin Heaney, Olivia Normile and Basma al-Sharif, the programme will tour to Irish and international venues across 2026.
Upcoming screenings:
aemi @ The Model: ‘Desire Lines’ – showing from September 2nd to October 31st
aemi & Louth International Film Festival: ‘Desire Lines’ – 25th September
aemi & Mermaid Arts Centre: ‘Desire Lines’ – 6th October
‘Desire Lines’ is a term from the field of landscape architecture used, as Sara Ahmed writes in Queer Phenomenology (2006) to ‘describe unofficial paths, those marks left on the ground that show everyday comings and goings, where people deviate from the paths they are supposed to follow.’ Taken as a whole, the films featured in ‘Desire Lines’ by Basma al-Sharif, Chloe Brenan, Olivia Normile, Collectif Faire Part and Eóin Heaney, offer up a picture of imposed and chosen deviation, a picture that takes in experiences of isolation and displacement alongside those of collective resistance and revelation, taking care to capture the fleeting moments where these possibilities can briefly intersect.
‘Desire Lines’ is aemi’s 2026 touring programme, an annual selection of artist and experimental film that brings together a range of voices from Irish and international contemporary practice.
https://flypost.ie/event/aemis-2026-touring-programme-desire-lines
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aemi’s 2026 touring programme ‘Desire Lines’
The Model, Sligo, Saturday, October 31 at 10:00 AM GMT
aemi’s new touring programme ‘Desire Lines’ premiered at the Irish Film Institute on Thursday 22nd January 2026. Featuring films by Chloe Brenan, Collectif Faire Part, Eóin Heaney, Olivia Normile and Basma al-Sharif, the programme will tour to Irish and international venues across 2026.
Upcoming screenings:
aemi @ The Model: ‘Desire Lines’ – showing from September 2nd to October 31st
aemi & Louth International Film Festival: ‘Desire Lines’ – 25th September
aemi & Mermaid Arts Centre: ‘Desire Lines’ – 6th October
‘Desire Lines’ is a term from the field of landscape architecture used, as Sara Ahmed writes in Queer Phenomenology (2006) to ‘describe unofficial paths, those marks left on the ground that show everyday comings and goings, where people deviate from the paths they are supposed to follow.’ Taken as a whole, the films featured in ‘Desire Lines’ by Basma al-Sharif, Chloe Brenan, Olivia Normile, Collectif Faire Part and Eóin Heaney, offer up a picture of imposed and chosen deviation, a picture that takes in experiences of isolation and displacement alongside those of collective resistance and revelation, taking care to capture the fleeting moments where these possibilities can briefly intersect.
‘Desire Lines’ is aemi’s 2026 touring programme, an annual selection of artist and experimental film that brings together a range of voices from Irish and international contemporary practice.
https://flypost.ie/event/aemis-2026-touring-programme-desire-lines
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aemi @ GAZE Film Festival 2026: Joy Boy: A Tribute to Julius Eastman & How to Dance
Irish Film Institute (IFI), Sunday, August 2 at 03:00 PM GMT+1
In collaboration with GAZE Film Festival aemi presents ‘Joy Boy: A Tribute To Julius Eastman’ which sees six filmmakers come together to pay cinematic tribute to the transcendent music, queer activism, and vibrant spirituality of African American composer, performer, and activist Julius Eastman (1940–1990). Originally a classically trained pianist, Eastman became a central figure in New York’s experimental music scene in the late 1970s. His music is known for its slow, cumulative structure, often bearing politically charged titles such as Evil N**** and Gay Guerrilla, marking both a radical compositional stance and an uncompromising political gesture.
Sunday 2nd August @ 15:00 | Irish Film Institute
Join us at the IFI for a screening and Q&A with directors Aileen Ye (How to Dance) and Victoire Karera Kampire (Joy Boy), representing Collectif Faire Part whose film Speech For A Melting Statue features in aemi’s 2026 touring programme, ‘Desire Lines’.
Synopsis:
An homage to Julius Eastman (1940–1980), African American pianist, composer, homosexual – legendary for his voice and his stage presence, who died in poverty. Joy Boy alterates between his music and archival voice recordings – visualised by a trans-national, six-headed collective in four chapters. Inflamed by colonial and life history, raw, radical and crystal clear. Coming from a wide spectrum of theoretical and artistic practices, the directors partake in a complex collaboration, independent and collective at the same time, in solidarity with Eastman and each other. (Barbara Wurm for Berlinale)
Directors: Mawena Yehouessi, Fallon Mayanja, Rob Jacobs, Victoire Karera Kampire, Paul Shemisi, Anne Reijniers
Producers: Rob Jacobs, Victoire Karera Kampire, Fallon Mayanja, Anne Reijniers, Paul Shemisi, Mawena Yehouessi
Belgium | 2026 | Duration: 1h 4m
Pre-feature short:
‘How to Dance’
Aileen Ye | Netherlands, UK | 2026 | 10m
This political dance film studies the body’s capacity to speak in resistance while society is ruled by capital and surveillance. Portraying an impressive performance by Jordan Achiano, who balances intensity and stillness and is captured with great energy and care, the film accompanies his movements with an excerpt from a KRS-One interview, dissecting capitalism and materialism. How to Dance asks us to think about forms of expression beyond the verbal. – Koen de Rooij
Aileen Ye is a film director and writer from Dublin exploring contemporary subcultures and body politics. Her films have internationally screened at festivals including BFI London Film Festival, IFFR, SXSW London, and exhibited at art institutions such as the Barbican, ICA, LUX, FACT Liverpool, Art Rotterdam, and esea Contemporary. In 2023/24, she won Best International Short Documentary for ‘Midnight Rising’ at Dublin IFF, and was a resident curator for Eye Filmmuseum. In 2022, she was mentored by A24. She has worked with NOWNESS Asia, Sevdaliza, and more.
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aemi @ GAZE Film Festival 2026: Joy Boy: A Tribute to Julius Eastman & How to Dance
Irish Film Institute (IFI), Sunday, August 2 at 03:00 PM GMT+1
In collaboration with GAZE Film Festival aemi presents ‘Joy Boy: A Tribute To Julius Eastman’ which sees six filmmakers come together to pay cinematic tribute to the transcendent music, queer activism, and vibrant spirituality of African American composer, performer, and activist Julius Eastman (1940–1990). Originally a classically trained pianist, Eastman became a central figure in New York’s experimental music scene in the late 1970s. His music is known for its slow, cumulative structure, often bearing politically charged titles such as Evil N**** and Gay Guerrilla, marking both a radical compositional stance and an uncompromising political gesture.
Sunday 2nd August @ 15:00 | Irish Film Institute
Join us at the IFI for a screening and Q&A with directors Aileen Ye (How to Dance) and Victoire Karera Kampire (Joy Boy), representing Collectif Faire Part whose film Speech For A Melting Statue features in aemi’s 2026 touring programme, ‘Desire Lines’.
Synopsis:
An homage to Julius Eastman (1940–1980), African American pianist, composer, homosexual – legendary for his voice and his stage presence, who died in poverty. Joy Boy alterates between his music and archival voice recordings – visualised by a trans-national, six-headed collective in four chapters. Inflamed by colonial and life history, raw, radical and crystal clear. Coming from a wide spectrum of theoretical and artistic practices, the directors partake in a complex collaboration, independent and collective at the same time, in solidarity with Eastman and each other. (Barbara Wurm for Berlinale)
Directors: Mawena Yehouessi, Fallon Mayanja, Rob Jacobs, Victoire Karera Kampire, Paul Shemisi, Anne Reijniers
Producers: Rob Jacobs, Victoire Karera Kampire, Fallon Mayanja, Anne Reijniers, Paul Shemisi, Mawena Yehouessi
Belgium | 2026 | Duration: 1h 4m
Pre-feature short:
‘How to Dance’
Aileen Ye | Netherlands, UK | 2026 | 10m
This political dance film studies the body’s capacity to speak in resistance while society is ruled by capital and surveillance. Portraying an impressive performance by Jordan Achiano, who balances intensity and stillness and is captured with great energy and care, the film accompanies his movements with an excerpt from a KRS-One interview, dissecting capitalism and materialism. How to Dance asks us to think about forms of expression beyond the verbal. – Koen de Rooij
Aileen Ye is a film director and writer from Dublin exploring contemporary subcultures and body politics. Her films have internationally screened at festivals including BFI London Film Festival, IFFR, SXSW London, and exhibited at art institutions such as the Barbican, ICA, LUX, FACT Liverpool, Art Rotterdam, and esea Contemporary. In 2023/24, she won Best International Short Documentary for ‘Midnight Rising’ at Dublin IFF, and was a resident curator for Eye Filmmuseum. In 2022, she was mentored by A24. She has worked with NOWNESS Asia, Sevdaliza, and more.
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On November 12, 2002, Ciao! Manhattan premiered in Amsterdam. Here’s some original Edie Sedgwick art!
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#CiaoManhattan #EdieSedgwick #ExperimentalFilm #Art #FanArt -
On November 12, 2002, Ciao! Manhattan premiered in Amsterdam. Here’s some original Edie Sedgwick art!
.
#CiaoManhattan #EdieSedgwick #ExperimentalFilm #Art #FanArt -
On November 12, 2002, Ciao! Manhattan premiered in Amsterdam. Here’s some original Edie Sedgwick art!
.
#CiaoManhattan #EdieSedgwick #ExperimentalFilm #Art #FanArt -
Drei Jahre alt und praktischdurchgängig aktuell geblieben: eine Videoperformance zur Weltlage:
https://vimeo.com/803826238?share=copy&fl=cl&fe=ci
#stimmfeld #Weltlage #videoart #videokunst #videoperformance #reflexionen #experimentalfilm #experimental #art #kunst
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Zveme!
📍 Distorted Session #10: Zaostřeno na Maďarsko
📅 středa 22. 7. od 17:00
🏛️ Dům umění města BrnaVe středu 22. 7. uvedeme v Domě umění experimentální film Arizona Diary (1992) maďarského mediálního umělce a filmaře Pétera Forgácse, který bude projekci osobně přítomen.
Film vznikl během cesty po Arizoně s básníkem Györgyem Petrim a umělcem Györgyem Galántaiem. Zachycuje jejich rozhovory, Petriho poezii i setkání se Steinou a Woodym Vašulkovými a vytváří osobitý filmový deník na pomezí dokumentu a uměleckého experimentu.
Po projekci bude následovat diskuse s Péterem Forgácsem o filmu i jeho dlouhodobé práci s archivními materiály, kterou proslul mimo jiné v cyklu Private Hungary.
Ukázka filmu: https://vimeo.com/1643916
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📍 Distorted Session #10: Focus on Hungary
📅 Wednesday, July 22, at 5 pm
🏛️ House of Arts BrnoOn Wednesday, July 22, we will screen the experimental film Arizona Diary (1992) by Hungarian media artist and filmmaker Péter Forgács, who will be present at the screening.
The film was made during a trip through Arizona with poet György Petri and artist György Galántai. It captures their conversations, Petri’s poetry, and their encounter with Steina and Woody Vašulka, creating a distinctive film diary that straddles between documentary and artistic experiment.
The screening will be followed by a discussion with Péter Forgács about the film and his long-term work with archival materials, for which he is known, among other things, for his series Private Hungary.
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Zveme!
📍 Distorted Session #10: Zaostřeno na Maďarsko
📅 středa 22. 7. od 17:00
🏛️ Dům umění města BrnaVe středu 22. 7. uvedeme v Domě umění experimentální film Arizona Diary (1992) maďarského mediálního umělce a filmaře Pétera Forgácse, který bude projekci osobně přítomen.
Film vznikl během cesty po Arizoně s básníkem Györgyem Petrim a umělcem Györgyem Galántaiem. Zachycuje jejich rozhovory, Petriho poezii i setkání se Steinou a Woodym Vašulkovými a vytváří osobitý filmový deník na pomezí dokumentu a uměleckého experimentu.
Po projekci bude následovat diskuse s Péterem Forgácsem o filmu i jeho dlouhodobé práci s archivními materiály, kterou proslul mimo jiné v cyklu Private Hungary.
Ukázka filmu: https://vimeo.com/1643916
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📍 Distorted Session #10: Focus on Hungary
📅 Wednesday, July 22, at 5 pm
🏛️ House of Arts BrnoOn Wednesday, July 22, we will screen the experimental film Arizona Diary (1992) by Hungarian media artist and filmmaker Péter Forgács, who will be present at the screening.
The film was made during a trip through Arizona with poet György Petri and artist György Galántai. It captures their conversations, Petri’s poetry, and their encounter with Steina and Woody Vašulka, creating a distinctive film diary that straddles between documentary and artistic experiment.
The screening will be followed by a discussion with Péter Forgács about the film and his long-term work with archival materials, for which he is known, among other things, for his series Private Hungary.
-
Zveme!
📍 Distorted Session #10: Zaostřeno na Maďarsko
📅 středa 22. 7. od 17:00
🏛️ Dům umění města BrnaVe středu 22. 7. uvedeme v Domě umění experimentální film Arizona Diary (1992) maďarského mediálního umělce a filmaře Pétera Forgácse, který bude projekci osobně přítomen.
Film vznikl během cesty po Arizoně s básníkem Györgyem Petrim a umělcem Györgyem Galántaiem. Zachycuje jejich rozhovory, Petriho poezii i setkání se Steinou a Woodym Vašulkovými a vytváří osobitý filmový deník na pomezí dokumentu a uměleckého experimentu.
Po projekci bude následovat diskuse s Péterem Forgácsem o filmu i jeho dlouhodobé práci s archivními materiály, kterou proslul mimo jiné v cyklu Private Hungary.
Ukázka filmu: https://vimeo.com/1643916
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📍 Distorted Session #10: Focus on Hungary
📅 Wednesday, July 22, at 5 pm
🏛️ House of Arts BrnoOn Wednesday, July 22, we will screen the experimental film Arizona Diary (1992) by Hungarian media artist and filmmaker Péter Forgács, who will be present at the screening.
The film was made during a trip through Arizona with poet György Petri and artist György Galántai. It captures their conversations, Petri’s poetry, and their encounter with Steina and Woody Vašulka, creating a distinctive film diary that straddles between documentary and artistic experiment.
The screening will be followed by a discussion with Péter Forgács about the film and his long-term work with archival materials, for which he is known, among other things, for his series Private Hungary.
-
Zveme!
📍 Distorted Session #10: Zaostřeno na Maďarsko
📅 středa 22. 7. od 17:00
🏛️ Dům umění města BrnaVe středu 22. 7. uvedeme v Domě umění experimentální film Arizona Diary (1992) maďarského mediálního umělce a filmaře Pétera Forgácse, který bude projekci osobně přítomen.
Film vznikl během cesty po Arizoně s básníkem Györgyem Petrim a umělcem Györgyem Galántaiem. Zachycuje jejich rozhovory, Petriho poezii i setkání se Steinou a Woodym Vašulkovými a vytváří osobitý filmový deník na pomezí dokumentu a uměleckého experimentu.
Po projekci bude následovat diskuse s Péterem Forgácsem o filmu i jeho dlouhodobé práci s archivními materiály, kterou proslul mimo jiné v cyklu Private Hungary.
Ukázka filmu: https://vimeo.com/1643916
--------------------
📍 Distorted Session #10: Focus on Hungary
📅 Wednesday, July 22, at 5 pm
🏛️ House of Arts BrnoOn Wednesday, July 22, we will screen the experimental film Arizona Diary (1992) by Hungarian media artist and filmmaker Péter Forgács, who will be present at the screening.
The film was made during a trip through Arizona with poet György Petri and artist György Galántai. It captures their conversations, Petri’s poetry, and their encounter with Steina and Woody Vašulka, creating a distinctive film diary that straddles between documentary and artistic experiment.
The screening will be followed by a discussion with Péter Forgács about the film and his long-term work with archival materials, for which he is known, among other things, for his series Private Hungary.
-
Zveme!
📍 Distorted Session #10: Zaostřeno na Maďarsko
📅 středa 22. 7. od 17:00
🏛️ Dům umění města BrnaVe středu 22. 7. uvedeme v Domě umění experimentální film Arizona Diary (1992) maďarského mediálního umělce a filmaře Pétera Forgácse, který bude projekci osobně přítomen.
Film vznikl během cesty po Arizoně s básníkem Györgyem Petrim a umělcem Györgyem Galántaiem. Zachycuje jejich rozhovory, Petriho poezii i setkání se Steinou a Woodym Vašulkovými a vytváří osobitý filmový deník na pomezí dokumentu a uměleckého experimentu.
Po projekci bude následovat diskuse s Péterem Forgácsem o filmu i jeho dlouhodobé práci s archivními materiály, kterou proslul mimo jiné v cyklu Private Hungary.
Ukázka filmu: https://vimeo.com/1643916
--------------------
📍 Distorted Session #10: Focus on Hungary
📅 Wednesday, July 22, at 5 pm
🏛️ House of Arts BrnoOn Wednesday, July 22, we will screen the experimental film Arizona Diary (1992) by Hungarian media artist and filmmaker Péter Forgács, who will be present at the screening.
The film was made during a trip through Arizona with poet György Petri and artist György Galántai. It captures their conversations, Petri’s poetry, and their encounter with Steina and Woody Vašulka, creating a distinctive film diary that straddles between documentary and artistic experiment.
The screening will be followed by a discussion with Péter Forgács about the film and his long-term work with archival materials, for which he is known, among other things, for his series Private Hungary.
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How we celebrated the USA in 1976.
200 is a 1975 animated short film directed by Vince Collins, made in honor of the United States #Bicentennial.
The film is a trippy, short impressionistic history of the US through its famous symbols.
https://youtu.be/a1-r8A3cx6E?si=WpkFgPymB20zTJ7l
More info: https://en.wikipedia.org/wiki/200_(film)
#UnitedStates #Film #AnimatedMovies #ExperimentalFilm #Psychedelic #1976 #1970s #AmericanSymbols -
How we celebrated the USA in 1976.
200 is a 1975 animated short film directed by Vince Collins, made in honor of the United States #Bicentennial.
The film is a trippy, short impressionistic history of the US through its famous symbols.
https://youtu.be/a1-r8A3cx6E?si=WpkFgPymB20zTJ7l
More info: https://en.wikipedia.org/wiki/200_(film)
#UnitedStates #Film #AnimatedMovies #ExperimentalFilm #Psychedelic #1976 #1970s #AmericanSymbols -
How we celebrated the USA in 1976.
200 is a 1975 animated short film directed by Vince Collins, made in honor of the United States #Bicentennial.
The film is a trippy, short impressionistic history of the US through its famous symbols.
https://youtu.be/a1-r8A3cx6E?si=WpkFgPymB20zTJ7l
More info: https://en.wikipedia.org/wiki/200_(film)
#UnitedStates #Film #AnimatedMovies #ExperimentalFilm #Psychedelic #1976 #1970s #AmericanSymbols -
How we celebrated the USA in 1976.
200 is a 1975 animated short film directed by Vince Collins, made in honor of the United States #Bicentennial.
The film is a trippy, short impressionistic history of the US through its famous symbols.
https://youtu.be/a1-r8A3cx6E?si=WpkFgPymB20zTJ7l
More info: https://en.wikipedia.org/wiki/200_(film)
#UnitedStates #Film #AnimatedMovies #ExperimentalFilm #Psychedelic #1976 #1970s #AmericanSymbols -
How we celebrated the USA in 1976.
200 is a 1975 animated short film directed by Vince Collins, made in honor of the United States #Bicentennial.
The film is a trippy, short impressionistic history of the US through its famous symbols.
https://youtu.be/a1-r8A3cx6E?si=WpkFgPymB20zTJ7l
More info: https://en.wikipedia.org/wiki/200_(film)
#UnitedStates #Film #AnimatedMovies #ExperimentalFilm #Psychedelic #1976 #1970s #AmericanSymbols -
https://www.europesays.com/ie/563949/ Reflx Lab’s New Experimental Film Turns the World Into a Red and Orange Hellscape #35mmfilm #analog #Arts #ArtsAndDesign #ArtsAndDesign #ArtsDesign #Design #diablo100 #Éire #Entertainment #experimentalfilm #film #IE #Ireland #redscale #redscalefilm #reflxlab #reflxlabdiablo100
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Reflx Lab’s New Experimental Film Turns the World Into a Red and Orange Hellscape https://petapixel.com/2026/07/01/reflx-labs-new-experimental-film-turns-the-world-into-a-red-and-orange-hellscape/ #reflxlabdiablo100 #experimentalfilm #redscalefilm #diablo100 #35mmfilm #redscale #reflxlab #Analog #analog #News #film
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Reflx Lab’s New Experimental Film Turns the World Into a Red and Orange Hellscape https://petapixel.com/2026/07/01/reflx-labs-new-experimental-film-turns-the-world-into-a-red-and-orange-hellscape/ #reflxlabdiablo100 #experimentalfilm #redscalefilm #diablo100 #35mmfilm #redscale #reflxlab #Analog #analog #News #film
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Reflx Lab’s New Experimental Film Turns the World Into a Red and Orange Hellscape https://petapixel.com/2026/07/01/reflx-labs-new-experimental-film-turns-the-world-into-a-red-and-orange-hellscape/ #reflxlabdiablo100 #experimentalfilm #redscalefilm #diablo100 #35mmfilm #redscale #reflxlab #Analog #analog #News #film
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Reflx Lab’s New Experimental Film Turns the World Into a Red and Orange Hellscape https://petapixel.com/2026/07/01/reflx-labs-new-experimental-film-turns-the-world-into-a-red-and-orange-hellscape/ #reflxlabdiablo100 #experimentalfilm #redscalefilm #diablo100 #35mmfilm #redscale #reflxlab #Analog #analog #News #film
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Reflx Lab’s New Experimental Film Turns the World Into a Red and Orange Hellscape https://petapixel.com/2026/07/01/reflx-labs-new-experimental-film-turns-the-world-into-a-red-and-orange-hellscape/ #reflxlabdiablo100 #experimentalfilm #redscalefilm #diablo100 #35mmfilm #redscale #reflxlab #Analog #analog #News #film
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In this episode you'll learn
• What Other Cinema is and why it matters
• The vision of Craig Baldwin
• How found-footage filmmaking transforms existing media
• Why San Francisco became a center of experimental cinema
#OtherCinema
#CraigBaldwin
#ExperimentalFilm
youtu.be/c3ljDnYtBYI
Other Cinema: Sanctuary of Und... -
In this episode you'll learn
• What Other Cinema is and why it matters
• The vision of Craig Baldwin
• How found-footage filmmaking transforms existing media
• Why San Francisco became a center of experimental cinema
#OtherCinema
#CraigBaldwin
#ExperimentalFilm
youtu.be/c3ljDnYtBYI
Other Cinema: Sanctuary of Und... -
aemi & IFI present: TRANCE FILMS
Irish Film Institute (IFI), Tuesday, June 30 at 06:30 PM GMT+1
aemi presents a very special international programme of experimental ‘trance films’.
The films selected here bypass comprehension, these are works that are experienced first and understood later (if at all). In his notes on Austrian filmmaker Jung an Tagen’s A Flock of Rotations Christian Höller describes how ‘there is no boundary here, no outside, no escape’ and this applies across a selection of films that take us from an explicitly digital realm to the far more earthly realm of the Atacama Desert in Daïchi Saïto’s EARTHEARTHEARTH (screening here in a beautiful 35mm print). As Alejandro Bachmann notes in relation to Happy Doom ‘the boundaries between inside and outside, me and the world, the virtual and the material, all become permeable, ambiguous, irrelevant’. A perfect descriptor for a programme that skirts the outer realm of psychedelia and cinema.
The screening includes two works screening from 35mm prints, both courtesy of Light Cone.
FILM INFO:
A Flock of Rotations, Jung an Tagen, 2026, Austria, 11 mins
Fuddy Duddy, Siegfried A. Fruhauf, 2016, Austria, 5 mins
Happy Doom,Billy Roisz, 2023, Austria, 3 mins
Ville Maria, Alexandre Larose, 2006-2009, Canada, 12 mins
EARTHEARTHEARTH, Daïchi Saïto, 2021, Japan, 30 minsTotal running time: 61 minutes
A Flock of Rotations – Jung an Tagen
Continuously falling pitches – descending into infinity.
Fuddy Duddy – Siegfried A. Fruhauf
In Siegfried A. Fruhauf´s Fuddy Duddy, something resembling a big bang is seen, with an energy resulting from the struggle between order and chaos. Everything we see takes place within a linear force field – whatever happens in the black and white images that arise from invisible sources of artistic creativity, whatever reveals its presence the instant it disappears. The lines themselves begin to flicker. It is as if they emerge from lidless eyes – were it only possible – yet they do not give way. The crucial grid underlying classical aesthetics of harmony and measurement begins to glow, but it does not go up in flames- Bert Rebhandl
Happy Doom – Billy Roisz
HAPPY DOOM is an audiovisual poem, an ode to color intoxication and vertigo. The screen a vibrating membrane that simultaneously spits and swallows colors and noisy beats – a hypnotic deformed circumpolar psychedelic short trip.
Ville Maria – Alexandre Larose
This film is inspired from a dream during which I fall from the top of a high-rise building facing the sky- Alexandre Larose
EARTHEARTHEARTH – Daïchi Saïto
Dawn breaks where land is flesh
And bones’ echoes;
You’ve lived through extinctions –
Stars, skies, sand and seas;
Future is catching us up at last,
And all the dead are ahead of us.A major film from a singular artist, earthearthearth is a pulsing, painterly tour de force. – Michael Sicinski
With special thanks to our colleagues at SixpackFilm and Light Cone
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aemi & IFI present: TRANCE FILMS
Irish Film Institute (IFI), Tuesday, June 30 at 06:30 PM GMT+1
aemi presents a very special international programme of experimental ‘trance films’.
The films selected here bypass comprehension, these are works that are experienced first and understood later (if at all). In his notes on Austrian filmmaker Jung an Tagen’s A Flock of Rotations Christian Höller describes how ‘there is no boundary here, no outside, no escape’ and this applies across a selection of films that take us from an explicitly digital realm to the far more earthly realm of the Atacama Desert in Daïchi Saïto’s EARTHEARTHEARTH (screening here in a beautiful 35mm print). As Alejandro Bachmann notes in relation to Happy Doom ‘the boundaries between inside and outside, me and the world, the virtual and the material, all become permeable, ambiguous, irrelevant’. A perfect descriptor for a programme that skirts the outer realm of psychedelia and cinema.
The screening includes two works screening from 35mm prints, both courtesy of Light Cone.
FILM INFO:
A Flock of Rotations, Jung an Tagen, 2026, Austria, 11 mins
Fuddy Duddy, Siegfried A. Fruhauf, 2016, Austria, 5 mins
Happy Doom,Billy Roisz, 2023, Austria, 3 mins
Ville Maria, Alexandre Larose, 2006-2009, Canada, 12 mins
EARTHEARTHEARTH, Daïchi Saïto, 2021, Japan, 30 minsTotal running time: 61 minutes
A Flock of Rotations – Jung an Tagen
Continuously falling pitches – descending into infinity.
Fuddy Duddy – Siegfried A. Fruhauf
In Siegfried A. Fruhauf´s Fuddy Duddy, something resembling a big bang is seen, with an energy resulting from the struggle between order and chaos. Everything we see takes place within a linear force field – whatever happens in the black and white images that arise from invisible sources of artistic creativity, whatever reveals its presence the instant it disappears. The lines themselves begin to flicker. It is as if they emerge from lidless eyes – were it only possible – yet they do not give way. The crucial grid underlying classical aesthetics of harmony and measurement begins to glow, but it does not go up in flames- Bert Rebhandl
Happy Doom – Billy Roisz
HAPPY DOOM is an audiovisual poem, an ode to color intoxication and vertigo. The screen a vibrating membrane that simultaneously spits and swallows colors and noisy beats – a hypnotic deformed circumpolar psychedelic short trip.
Ville Maria – Alexandre Larose
This film is inspired from a dream during which I fall from the top of a high-rise building facing the sky- Alexandre Larose
EARTHEARTHEARTH – Daïchi Saïto
Dawn breaks where land is flesh
And bones’ echoes;
You’ve lived through extinctions –
Stars, skies, sand and seas;
Future is catching us up at last,
And all the dead are ahead of us.A major film from a singular artist, earthearthearth is a pulsing, painterly tour de force. – Michael Sicinski
With special thanks to our colleagues at SixpackFilm and Light Cone
-
aemi & IFI present: TRANCE FILMS
Irish Film Institute (IFI), Tuesday, June 30 at 06:30 PM GMT+1
aemi presents a very special international programme of experimental ‘trance films’.
The films selected here bypass comprehension, these are works that are experienced first and understood later (if at all). In his notes on Austrian filmmaker Jung an Tagen’s A Flock of Rotations Christian Höller describes how ‘there is no boundary here, no outside, no escape’ and this applies across a selection of films that take us from an explicitly digital realm to the far more earthly realm of the Atacama Desert in Daïchi Saïto’s EARTHEARTHEARTH (screening here in a beautiful 35mm print). As Alejandro Bachmann notes in relation to Happy Doom ‘the boundaries between inside and outside, me and the world, the virtual and the material, all become permeable, ambiguous, irrelevant’. A perfect descriptor for a programme that skirts the outer realm of psychedelia and cinema.
The screening includes two works screening from 35mm prints, both courtesy of Light Cone.
FILM INFO:
A Flock of Rotations, Jung an Tagen, 2026, Austria, 11 mins
Fuddy Duddy, Siegfried A. Fruhauf, 2016, Austria, 5 mins
Happy Doom,Billy Roisz, 2023, Austria, 3 mins
Ville Maria, Alexandre Larose, 2006-2009, Canada, 12 mins
EARTHEARTHEARTH, Daïchi Saïto, 2021, Japan, 30 minsTotal running time: 61 minutes
A Flock of Rotations – Jung an Tagen
Continuously falling pitches – descending into infinity.
Fuddy Duddy – Siegfried A. Fruhauf
In Siegfried A. Fruhauf´s Fuddy Duddy, something resembling a big bang is seen, with an energy resulting from the struggle between order and chaos. Everything we see takes place within a linear force field – whatever happens in the black and white images that arise from invisible sources of artistic creativity, whatever reveals its presence the instant it disappears. The lines themselves begin to flicker. It is as if they emerge from lidless eyes – were it only possible – yet they do not give way. The crucial grid underlying classical aesthetics of harmony and measurement begins to glow, but it does not go up in flames- Bert Rebhandl
Happy Doom – Billy Roisz
HAPPY DOOM is an audiovisual poem, an ode to color intoxication and vertigo. The screen a vibrating membrane that simultaneously spits and swallows colors and noisy beats – a hypnotic deformed circumpolar psychedelic short trip.
Ville Maria – Alexandre Larose
This film is inspired from a dream during which I fall from the top of a high-rise building facing the sky- Alexandre Larose
EARTHEARTHEARTH – Daïchi Saïto
Dawn breaks where land is flesh
And bones’ echoes;
You’ve lived through extinctions –
Stars, skies, sand and seas;
Future is catching us up at last,
And all the dead are ahead of us.A major film from a singular artist, earthearthearth is a pulsing, painterly tour de force. – Michael Sicinski
With special thanks to our colleagues at SixpackFilm and Light Cone
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The Kite Ballet — Thaís Muniz
The Dock Arts Centre, Saturday, June 20 at 10:00 AM GMT+1
The Kite Ballet is a multidisciplinary series comprising the eponymous film, alongside textiles and sculpture. The work reflects on territoriality, community, joy, and degrowth, while advocating for play in adulthood as a revolutionary act.
The Kite Ballet by Thaís Muniz intertwines poetic and mythical elements with political, historical, and symbolic themes, amplifying the voices of local activists from the Itapuã area in Salvador, Brazil. The film portrays a group of kite runners in their weekly communal ritual, highlighting the threat of private development and ecological displacement of Afro-Indigenous sacred territory, where joy and spiritual practices have thrived for centuries. The film advocates for play and negotiation with nature as revolutionary acts.
Thaís Muniz is a Brazilian-Irish visual artist and researcher working across multiple mediums to explore the intersections of inherited and acquired identities, memory, transit, and inward love. Her community-oriented practice unfolds through intimate communal learning processes, including workshop, performance, installation, sculpture, and film. Her work also spans photography, celebrations, and activations, often incorporating archives, personal memorabilia, and symbology.
Muniz’s practice engages with the reimagination of realities through mechanisms of refusal, dreaming, and personal magic, challenging and expanding canonical systems of representation, building connections, and opening conversations. A central aspect of her work involves activating spaces through presence and critically engaging with the geopolitics of place.
More information about this exhibition can be found via The Dock's website.
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The Kite Ballet — Thaís Muniz
The Dock Arts Centre, Saturday, June 20 at 10:00 AM GMT+1
The Kite Ballet is a multidisciplinary series comprising the eponymous film, alongside textiles and sculpture. The work reflects on territoriality, community, joy, and degrowth, while advocating for play in adulthood as a revolutionary act.
The Kite Ballet by Thaís Muniz intertwines poetic and mythical elements with political, historical, and symbolic themes, amplifying the voices of local activists from the Itapuã area in Salvador, Brazil. The film portrays a group of kite runners in their weekly communal ritual, highlighting the threat of private development and ecological displacement of Afro-Indigenous sacred territory, where joy and spiritual practices have thrived for centuries. The film advocates for play and negotiation with nature as revolutionary acts.
Thaís Muniz is a Brazilian-Irish visual artist and researcher working across multiple mediums to explore the intersections of inherited and acquired identities, memory, transit, and inward love. Her community-oriented practice unfolds through intimate communal learning processes, including workshop, performance, installation, sculpture, and film. Her work also spans photography, celebrations, and activations, often incorporating archives, personal memorabilia, and symbology.
Muniz’s practice engages with the reimagination of realities through mechanisms of refusal, dreaming, and personal magic, challenging and expanding canonical systems of representation, building connections, and opening conversations. A central aspect of her work involves activating spaces through presence and critically engaging with the geopolitics of place.
More information about this exhibition can be found via The Dock's website.
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Opportunity: applications open for aemi’s ‘Developing Your Practice as a Film Artist’ programme 2026-2027
Dublin, Friday, June 26 at 08:00 AM GMT+1
Applications are now open for aemi’s year-long artist development programme:
‘Developing Your Practice as a Film Artist’This programme is designed to provide a group of nine Irish or Ireland-based film artists with a career support network to draw from across twelve months to enhance the creative development and audience reach of a single project. Central to the programme is the opportunity to participate in aemi’s Rough Cut development workshops through which filmmakers share works in progress with an invited audience of peers and arts professionals including film festival programmers, producers and critics.
This programme is focused exclusively on the development of film projects designed specifically for cinema and film festival audiences.
Applicants must be from or resident in Ireland.
Our goals with the programme are:
– To assist you to navigate the film artist landscape by offering project focused development
– To support you with film festival & exhibition strategy
– To broaden your network and community
-To help you identify and secure mentorship opportunities for career development and advancement.
-To help you to foster and build confidence in your practice
-To help you to expand the scope of your practice through critical engagement with your work in supportive environments.DEVELOPING YOUR PRACTICE AS A FILM ARTIST gives applicants access to:
-aemi Rough Cut Project Development Workshops
-Individuated aemi Mentorship
-Access to workshops, masterclasses, and information sessions
-peer to peer support across the year of the programmeUp to 9 artists will be selected to take part in this year long programme.
Programme meetings and Rough Cut events typically take place in Dublin and so we ask applicants to please consider these travel and potential accommodation costs before joining the course.
This opportunity is open to everyone. While applicants have typically attended a one-to-one aemi Artist Support Session in the past, having met with us previously is not a requirement and will not affect the evaluation of your application.
Interested applicants should email [email protected] with a completed Application-Form 2026 by end of day Friday 26th June.
aemi will accommodate adjustments requested during the application period and can accept an audio or video recording as equivalent to the written application form.
If you have any access needs that you would like to discuss with us please email [email protected] before applying and please also allow ample time for us to support you ahead of the deadline on Friday 26th June.
We actively invite filmmakers and artists who identify as being from underrepresented or marginalised communities to participate in this programme. Particular consideration will be given to recent migrants and to those filmmakers and artists falling under the protected grounds of the Equal Status Act laid out by the Irish Human Rights and Equality Commission. As part of aemi’s EDI strategy, we particularly encourage applications from people from the Global Majority (global majority refers to people who are Black, Asian, Brown, dual-heritage, indigenous to the global south, and/or have been referred to as “ethnic minorities”); Disabled people; and others who have experienced barriers or discrimination at work.
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aemi & IFI present: TRANCE FILMS
Irish Film Institute (IFI), Tuesday, June 30 at 06:30 PM GMT+1
aemi presents a very special international programme of experimental ‘trance films’.
The films selected here bypass comprehension, these are works that are experienced first and understood later (if at all). In his notes on Austrian filmmaker Jung an Tagen’s A Flock of Rotations Christian Höller describes how ‘there is no boundary here, no outside, no escape’ and this applies across a selection of films that take us from an explicitly digital realm to the far more earthly realm of the Atacama Desert in Daïchi Saïto’s EARTHEARTHEARTH (screening here in a beautiful 35mm print). As Alejandro Bachmann notes in relation to Happy Doom ‘the boundaries between inside and outside, me and the world, the virtual and the material, all become permeable, ambiguous, irrelevant’. A perfect descriptor for a programme that skirts the outer realm of psychedelia and cinema.
The screening includes two works screening from 35mm prints, both courtesy of Light Cone.
FILM INFO:
A Flock of Rotations, Jung an Tagen, 2026, Austria, 11 mins
Fuddy Duddy, Siegfried A. Fruhauf, 2016, Austria, 5 mins
Happy Doom,Billy Roisz, 2023, Austria, 3 mins
Ville Maria, Alexandre Larose, 2006-2009, Canada, 12 mins
EARTHEARTHEARTH, Daïchi Saïto, 2021, Japan, 30 minsTotal running time: 61 minutes
A Flock of Rotations – Jung an Tagen
Continuously falling pitches – descending into infinity.
Fuddy Duddy – Siegfried A. Fruhauf
In Siegfried A. Fruhauf´s Fuddy Duddy, something resembling a big bang is seen, with an energy resulting from the struggle between order and chaos. Everything we see takes place within a linear force field – whatever happens in the black and white images that arise from invisible sources of artistic creativity, whatever reveals its presence the instant it disappears. The lines themselves begin to flicker. It is as if they emerge from lidless eyes – were it only possible – yet they do not give way. The crucial grid underlying classical aesthetics of harmony and measurement begins to glow, but it does not go up in flames- Bert Rebhandl
Happy Doom – Billy Roisz
HAPPY DOOM is an audiovisual poem, an ode to color intoxication and vertigo. The screen a vibrating membrane that simultaneously spits and swallows colors and noisy beats – a hypnotic deformed circumpolar psychedelic short trip.
Ville Maria – Alexandre Larose
This film is inspired from a dream during which I fall from the top of a high-rise building facing the sky- Alexandre Larose
EARTHEARTHEARTH – Daïchi Saïto
Dawn breaks where land is flesh
And bones’ echoes;
You’ve lived through extinctions –
Stars, skies, sand and seas;
Future is catching us up at last,
And all the dead are ahead of us.A major film from a singular artist, earthearthearth is a pulsing, painterly tour de force. – Michael Sicinski
With special thanks to our colleagues at SixpackFilm and Light Cone
-
aemi & IFI present: TRANCE FILMS
Irish Film Institute (IFI), Tuesday, June 30 at 06:30 PM GMT+1
aemi presents a very special international programme of experimental ‘trance films’.
The films selected here bypass comprehension, these are works that are experienced first and understood later (if at all). In his notes on Austrian filmmaker Jung an Tagen’s A Flock of Rotations Christian Höller describes how ‘there is no boundary here, no outside, no escape’ and this applies across a selection of films that take us from an explicitly digital realm to the far more earthly realm of the Atacama Desert in Daïchi Saïto’s EARTHEARTHEARTH (screening here in a beautiful 35mm print). As Alejandro Bachmann notes in relation to Happy Doom ‘the boundaries between inside and outside, me and the world, the virtual and the material, all become permeable, ambiguous, irrelevant’. A perfect descriptor for a programme that skirts the outer realm of psychedelia and cinema.
The screening includes two works screening from 35mm prints, both courtesy of Light Cone.
FILM INFO:
A Flock of Rotations, Jung an Tagen, 2026, Austria, 11 mins
Fuddy Duddy, Siegfried A. Fruhauf, 2016, Austria, 5 mins
Happy Doom,Billy Roisz, 2023, Austria, 3 mins
Ville Maria, Alexandre Larose, 2006-2009, Canada, 12 mins
EARTHEARTHEARTH, Daïchi Saïto, 2021, Japan, 30 minsTotal running time: 61 minutes
A Flock of Rotations – Jung an Tagen
Continuously falling pitches – descending into infinity.
Fuddy Duddy – Siegfried A. Fruhauf
In Siegfried A. Fruhauf´s Fuddy Duddy, something resembling a big bang is seen, with an energy resulting from the struggle between order and chaos. Everything we see takes place within a linear force field – whatever happens in the black and white images that arise from invisible sources of artistic creativity, whatever reveals its presence the instant it disappears. The lines themselves begin to flicker. It is as if they emerge from lidless eyes – were it only possible – yet they do not give way. The crucial grid underlying classical aesthetics of harmony and measurement begins to glow, but it does not go up in flames- Bert Rebhandl
Happy Doom – Billy Roisz
HAPPY DOOM is an audiovisual poem, an ode to color intoxication and vertigo. The screen a vibrating membrane that simultaneously spits and swallows colors and noisy beats – a hypnotic deformed circumpolar psychedelic short trip.
Ville Maria – Alexandre Larose
This film is inspired from a dream during which I fall from the top of a high-rise building facing the sky- Alexandre Larose
EARTHEARTHEARTH – Daïchi Saïto
Dawn breaks where land is flesh
And bones’ echoes;
You’ve lived through extinctions –
Stars, skies, sand and seas;
Future is catching us up at last,
And all the dead are ahead of us.A major film from a singular artist, earthearthearth is a pulsing, painterly tour de force. – Michael Sicinski
With special thanks to our colleagues at SixpackFilm and Light Cone
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ONLINE: Drop-in event – info session for aemi’s ‘Developing Your Practice as a Film Artist’
Zoom, Friday, June 19 at 12:00 PM GMT+1
Join us for a free drop-in zoom information session for those thinking of applying to the Developing Your Practice as a Film Artist programme 2026-2027.
aemi will host a free drop-in zoom information session for those thinking of applying to the ‘Developing Your Practice as a Film Artist’ programme 2026-2027 on Friday 19th June @ 12:00-13:00
This will be a casual event that will provide an opportunity to speak with us and meet aemi as well as ask any questions about the programme.
This is a free event – book HERE
Join Zoom Meeting
https://us02web.zoom.us/j/84030341527?pwd=j9VvbUajkqjI9bgrzLwO4xEmTpcsS4.1
Meeting ID: 840 3034 1527
Passcode: 409688
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aemi & Docs Ireland present: Desire Lines + Q&A with Chloe Brenan, Eóin Heaney & Olivia Normile
Queen's Film Theatre, Belfast, Wednesday, June 17 at 06:00 PM GMT+1
aemi is thrilled to partner once again with Docs Ireland in Belfast to present a special screening of our 2026 touring programme 'Desire Lines' followed by a Q&A with featured filmmakers led by Rose Baker, Head of Programming at Belfast International Film Festival.
aemi & Docs Ireland present: Desire Lines
aemi is delighted to present ‘Desire Lines‘ at the eighth edition of the very brilliant Docs Ireland. This year’s edition of the aemi touring programme brings together a variety of innovative approaches to the documentary form from contemporary Irish and international filmmakers.
Featuring films by Chloe Brenan, Collectif Faire Part, Eóin Heaney, Olivia Normile and Basma al-Sharif, the programme is touring to Irish and international venues across 2026.
‘Desire Lines’ is a term from the field of landscape architecture used, as Sara Ahmed writes in Queer Phenomenology (2006) to ‘describe unofficial paths, those marks left on the ground that show everyday comings and goings, where people deviate from the paths they are supposed to follow.’ Taken as a whole, the films featured in ‘Desire Lines’ offer up a picture of imposed and chosen deviation, a picture that takes in experiences of isolation and displacement alongside those of collective resistance and revelation, taking care to capture the fleeting moments where these possibilities can briefly intersect.
This screening will be followed by a Q&A led by Rose Baker, Head of Programming at Belfast International Film Festival with featured filmmakers Chloe Brenan, Eóin Heaney and Olivia Normile.
FILM INFORMATION
Morning Circle / Morgenkreis, Basma al-Sharif, 2025, Canada/UAE, 21minutes
Verdigris, Chloe Brenan, 2025, Ireland 12 minutes
as above, so below (Limits and Demonstrations), Olivia Normile, 2025, Ireland, 3 minutes
Speech For A Melting Statue, Collectif Faire Part, 2023, Belgium, Congo, Democratic Republic, 10 minutes
Body Diagrams (Limits and Demonstrations), Olivia Normile, 2025, Ireland, 1 minute 30 seconds
PARISH, Eóin Heaney, 2024, Ireland, 27 minutesTotal running time 75 minutes -
aemi & Docs Ireland present: Desire Lines + Q&A with Chloe Brenan, Eóin Heaney & Olivia Normile
Queen's Film Theatre, Belfast, Wednesday, June 17 at 06:00 PM GMT+1
aemi is thrilled to partner once again with Docs Ireland in Belfast to present a special screening of our 2026 touring programme 'Desire Lines' followed by a Q&A with featured filmmakers led by Rose Baker, Head of Programming at Belfast International Film Festival.
aemi & Docs Ireland present: Desire Lines
aemi is delighted to present ‘Desire Lines‘ at the eighth edition of the very brilliant Docs Ireland. This year’s edition of the aemi touring programme brings together a variety of innovative approaches to the documentary form from contemporary Irish and international filmmakers.
Featuring films by Chloe Brenan, Collectif Faire Part, Eóin Heaney, Olivia Normile and Basma al-Sharif, the programme is touring to Irish and international venues across 2026.
‘Desire Lines’ is a term from the field of landscape architecture used, as Sara Ahmed writes in Queer Phenomenology (2006) to ‘describe unofficial paths, those marks left on the ground that show everyday comings and goings, where people deviate from the paths they are supposed to follow.’ Taken as a whole, the films featured in ‘Desire Lines’ offer up a picture of imposed and chosen deviation, a picture that takes in experiences of isolation and displacement alongside those of collective resistance and revelation, taking care to capture the fleeting moments where these possibilities can briefly intersect.
This screening will be followed by a Q&A led by Rose Baker, Head of Programming at Belfast International Film Festival with featured filmmakers Chloe Brenan, Eóin Heaney and Olivia Normile.
FILM INFORMATION
Morning Circle / Morgenkreis, Basma al-Sharif, 2025, Canada/UAE, 21minutes
Verdigris, Chloe Brenan, 2025, Ireland 12 minutes
as above, so below (Limits and Demonstrations), Olivia Normile, 2025, Ireland, 3 minutes
Speech For A Melting Statue, Collectif Faire Part, 2023, Belgium, Congo, Democratic Republic, 10 minutes
Body Diagrams (Limits and Demonstrations), Olivia Normile, 2025, Ireland, 1 minute 30 seconds
PARISH, Eóin Heaney, 2024, Ireland, 27 minutesTotal running time 75 minutes -
FREE - aemi: online skills sharing event with filmmakers Ross McClean & Michael Higgins
online, Friday, May 29 at 02:00 PM GMT+1
This online event aimed at film artists, offers practical skills sharing and information delivered by practitioners working in the field.
ONLINE SKILLS SHARING EVENT:
SESSION 1 @ 2pm: with Ross McClean
Ross will introduce and give an overview of his film practice while also focusing on workflow when making and planning film projects. Ross will also advise on how best to manage multiple projects and partners at once. Ross will also discuss his approach to festival strategies and how to productively navigate the festival circuit.
Ross McClean is a filmmaker from Belfast. His most recent film, No Mean City (2025), premiered at Visions du Réel, won a Golden Frog for Best Short Documentary at Camerimage, Best Director at CIFF, and Best British/Irish Short Film at Leeds and Docs Ireland. It has also been nominated for an IFTA award.
SESSION 2 @ 3.30pm: with Michael Higgins
Michael will introduce and give an overview of his film practice while also focusing on the more technical side of best practices when it comes to getting a film project completed. There will be particular emphasis on technical planning and ensuring deliverables meet necessary requirements touching on accessibility, DCP creation, file formatting and colour grading.
Michael Higgins is a filmmaker living and working in Kilkenny Ireland. Michael is interested in using the filmmaking process to rupture the reality of the everyday, skewing documentary and fiction in order to highlight alternative ways of seeing and experiencing.
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Saints & Scholars Club - Documentary Screening & Panel Discussion
Joly theatre, Hamilton building, Trinity College Dublin, Friday, May 15 at 05:45 PM GMT+1
Screening of Non Aligned: Scenes from the Labudović Reels (2022), with panel discussion on Yugoslavia and the Non-Aligned Movement, & post-screening pints.
Join Saints & Scholars Club for a special screening of 'NON-ALIGNED', with panel discussion and contributions from Dr Harun Šiljak, artist & archivist Petra Matić, Sajeev Narajan (Kranthi Ireland), and Elain Ross (Student Neutrality Front).
Get your FREE tickets here: https://www.eventbrite.com/e/saints-scholars-present-non-aligned-2022-tickets-1988072998857?aff=erelexpmlt
https://ainriail.org/event/saints-and-scholars-club-documentary-screening-and-panel-discussion
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R.I.P. Valie Export
She struck me as an extremely sharp person on the two occasions I encountered her: in 1988 in Berlin and in 2009 at WORM Rotterdam.
moving images from her retrospective exhibition at C/O Berlin in 2024:
https://archive.org/details/2024-05-04-EXPORT18/2024-05-04-EXPORT18.av1.mp4
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R.I.P. Valie Export
She struck me as an extremely sharp person on the two occasions I encountered her: in 1988 in Berlin and in 2009 at WORM Rotterdam.
moving images from her retrospective exhibition at C/O Berlin in 2024:
https://archive.org/details/2024-05-04-EXPORT18/2024-05-04-EXPORT18.av1.mp4
-
R.I.P. Valie Export
She struck me as an extremely sharp person on the two occasions I encountered her: in 1988 in Berlin and in 2009 at WORM Rotterdam.
moving images from her retrospective exhibition at C/O Berlin in 2024:
https://archive.org/details/2024-05-04-EXPORT18/2024-05-04-EXPORT18.av1.mp4
-
R.I.P. Valie Export
She struck me as an extremely sharp person on the two occasions I encountered her: in 1988 in Berlin and in 2009 at WORM Rotterdam.
moving images from her retrospective exhibition at C/O Berlin in 2024:
https://archive.org/details/2024-05-04-EXPORT18/2024-05-04-EXPORT18.av1.mp4
-
R.I.P. Valie Export
She struck me as an extremely sharp person on the two occasions I encountered her: in 1988 in Berlin and in 2009 at WORM Rotterdam.
moving images from her retrospective exhibition at C/O Berlin in 2024:
https://archive.org/details/2024-05-04-EXPORT18/2024-05-04-EXPORT18.av1.mp4
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1st Video HackBo Experimental Screening!
Fri May 15th, 5pm, Bogotá, Colombiaw/ (among others) The Darlings of Cancel Culture’s first short film!
http://thedarlingsofcancelculture.bandcamp.com
#hackbo
#hackbosque
#thedarlingsofcancelculture
#wemgehörtdiewelt
#bogota
#experimentalfilm
#videoart
#experimentalart -
1st Video HackBo Experimental Screening!
Fri May 15th, 5pm, Bogotá, Colombiaw/ (among others) The Darlings of Cancel Culture’s first short film!
http://thedarlingsofcancelculture.bandcamp.com
#hackbo
#hackbosque
#thedarlingsofcancelculture
#wemgehörtdiewelt
#bogota
#experimentalfilm
#videoart
#experimentalart -
1st Video HackBo Experimental Screening!
Fri May 15th, 5pm, Bogotá, Colombiaw/ (among others) The Darlings of Cancel Culture’s first short film!
http://thedarlingsofcancelculture.bandcamp.com
#hackbo
#hackbosque
#thedarlingsofcancelculture
#wemgehörtdiewelt
#bogota
#experimentalfilm
#videoart
#experimentalart -
1st Video HackBo Experimental Screening!
Fri May 15th, 5pm, Bogotá, Colombiaw/ (among others) The Darlings of Cancel Culture’s first short film!
http://thedarlingsofcancelculture.bandcamp.com
#hackbo
#hackbosque
#thedarlingsofcancelculture
#wemgehörtdiewelt
#bogota
#experimentalfilm
#videoart
#experimentalart -
1st Video HackBo Experimental Screening!
Fri May 15th, 5pm, Bogotá, Colombiaw/ (among others) The Darlings of Cancel Culture’s first short film!
http://thedarlingsofcancelculture.bandcamp.com
#hackbo
#hackbosque
#thedarlingsofcancelculture
#wemgehörtdiewelt
#bogota
#experimentalfilm
#videoart
#experimentalart -
dancer, filmmaker, sound-maker based in Las Vegas. working at the edges of movement and perception — what the body knows before the mind does. making a short dance film at dawn in the desert this month. drawn to slow attention, deep time, inquiry, things that leave traces
also: synesthesia, notebook pages, cracked earth, ink, ecologies of being
#introduction #dance #experimentalfilm #soundart #creativecoding #somaticpractice #deeplistening #ecology #experimentalart