Rouzbeh Rashidi

An intimate stream of memories reaching out across time and space, taking on a uniquely experimental form that cuts the viewer adrift in a weave of old footage rising to the surface of consciousness like a dream.

“Persistencies of Sadness & Still Days”, is a four hour feature film by Maximilian Le Cain and Rouzbeh Rashidi. Structured in two sections or ‘takes’ of two hours each, this dream-like, experimental project offers two complementary explorations of cinematic form that skirt around possible narratives, ducking through a series of fluctuating audio-visual categories and intensities.

Homo Sapiens Project (201) was completed in 2021 as part of re-envisioning and restructuring Rashidi's filmography. This nineteen-hour experimental feature is constituted from many feature films produced between 2002 to 2014. These experimental features were made as a type of test or trial experiment. Rashidi assembled the films from footage accumulated over the years, archival footage, found footage and rushes donated by his close collaborators.

Homo Sapiens Project (200) was completed in 2020 as part of the 20th anniversary of Experimental Film Society. This eight-hour experimental feature is constituted from short film experiments made between 2000 to 2010. These films have already undergone many metamorphoses over the years. They were always restless wandering spirits seeking a permanent place of rest but so far without success. Each section of Homo Sapiens Project (200) was made under the unique condition of living out a form of subtle therapeutic practice. Collectively they reflect major life-changing events, formalistic mutations and thematic shifts within Rouzbeh Rashidi’s filmography. In spite of this, they could not find the peace of a satisfactory final shape. Indeed, they are about peace, something that rarely (if ever) exists within Rashidi’s work. But now, after twenty years of roaming the subconscious, they have come to rest in a permanent retirement in one world, one very personal floating planet.

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.

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.

Weird Weird Movie Kids Do Not Watch The Movie is the second collaborative feature film between Rouzbeh Rashidi and Maximilian Le Cain. This hypnotic, visually and sonically immersive exploration of a haunted space unfolds in two parts. In the first, a woman (Eadaoin O’Donoghue) dissolves her identity into the ghostly resonances she finds in the rooms and corridors of a sprawling, atmospheric seaside basement property. In the second, a man (Rashidi), existing in a parallel dimension of the same space, pursues a bizarre and perverse amorous obsession.

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.”

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.

The Kingdom Of Shadows is a mystical cinematic experience which stirs from the darkness the spirits of our ancestors and reawakens the horror of unresolved crimes and denied desires.

A film essay MINOTAUR covers 15 years of the author's life. Through various formats of private archives, from cell phone recordings, Instagram posts, segments from the author's previous films, vacation videos, we experience a Proustian journey through fragments of the recorded and cathartic confrontation with transience, dear people, poetry of small things and growing up.

A film essay MINOTAUR covers 15 years of the author's life. Through various formats of private archives, from cell phone recordings, Instagram posts, segments from the author's previous films, vacation videos, we experience a Proustian journey through fragments of the recorded and cathartic confrontation with transience, dear people, poetry of small things and growing up.

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

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

A tale of people unfolds under the night sky. These doomed couples and lost individuals begin journeys and attempt to find resolution in their lives. Love is observed from a distance, sadness is in the air. With little sympathy for the loss and destruction caused to the characters, the stories progress and become neatly woven into a minimalistic portrayal of modern life.

A documentary like no other. Starting with the bizarre practices and fantasies of a group of filmmakers working under the label Experimental Film Society, it spins off into a manifesto of light and sound. This dazzling journey through a view of cinema as cosmic ritual and erotic delirium is also an idiosyncratic celebration of the medium itself. Rouzbeh Rashidi’s ornate visual style unleashes a parade of visionary scenes that redefine movie magic as a fevered hallucination.

A documentary like no other. Starting with the bizarre practices and fantasies of a group of filmmakers working under the label Experimental Film Society, it spins off into a manifesto of light and sound. This dazzling journey through a view of cinema as cosmic ritual and erotic delirium is also an idiosyncratic celebration of the medium itself. Rouzbeh Rashidi’s ornate visual style unleashes a parade of visionary scenes that redefine movie magic as a fevered hallucination.

A documentary like no other. Starting with the bizarre practices and fantasies of a group of filmmakers working under the label Experimental Film Society, it spins off into a manifesto of light and sound. This dazzling journey through a view of cinema as cosmic ritual and erotic delirium is also an idiosyncratic celebration of the medium itself. Rouzbeh Rashidi’s ornate visual style unleashes a parade of visionary scenes that redefine movie magic as a fevered hallucination.

A documentary like no other. Starting with the bizarre practices and fantasies of a group of filmmakers working under the label Experimental Film Society, it spins off into a manifesto of light and sound. This dazzling journey through a view of cinema as cosmic ritual and erotic delirium is also an idiosyncratic celebration of the medium itself. Rouzbeh Rashidi’s ornate visual style unleashes a parade of visionary scenes that redefine movie magic as a fevered hallucination.

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.”

A tale of people unfolds under the night sky. These doomed couples and lost individuals begin journeys and attempt to find resolution in their lives. Love is observed from a distance, sadness is in the air. With little sympathy for the loss and destruction caused to the characters, the stories progress and become neatly woven into a minimalistic portrayal of modern life.

A tale of people unfolds under the night sky. These doomed couples and lost individuals begin journeys and attempt to find resolution in their lives. Love is observed from a distance, sadness is in the air. With little sympathy for the loss and destruction caused to the characters, the stories progress and become neatly woven into a minimalistic portrayal of modern life.

“Persistencies of Sadness & Still Days”, is a four hour feature film by Maximilian Le Cain and Rouzbeh Rashidi. Structured in two sections or ‘takes’ of two hours each, this dream-like, experimental project offers two complementary explorations of cinematic form that skirt around possible narratives, ducking through a series of fluctuating audio-visual categories and intensities.

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.”

An intimate stream of memories reaching out across time and space, taking on a uniquely experimental form that cuts the viewer adrift in a weave of old footage rising to the surface of consciousness like a dream.

An intimate stream of memories reaching out across time and space, taking on a uniquely experimental form that cuts the viewer adrift in a weave of old footage rising to the surface of consciousness like a dream.

A bleak, cryptic vision of life in contemporary Iran that eschews overt social commentary in favour of a very personal vision of stifled lives. Directed remotely by Rashidi from Ireland over Skype, the making of this unique film reflects the alienation it so compellingly portrays.

Surreal and mysterious, in equal parts absurd and intense, Mutual Admiration Society is part of the noted multi-film collaboration between actor James Devereaux and experimental filmmaker Rouzbeh Rashidi. Based entirely around a silent, tour-de-force one-man performance by Devereaux as a man who appears to be haunting and threatening himself, Mutual Admiration Society uses startling visual techniques and editing rhythms to create a claustrophobic hall of mirrors with Devereaux’s tormented protagonist at its centre.

An intimate stream of memories reaching out across time and space, taking on a uniquely experimental form that cuts the viewer adrift in a weave of old footage rising to the surface of consciousness like a dream.

An intimate stream of memories reaching out across time and space, taking on a uniquely experimental form that cuts the viewer adrift in a weave of old footage rising to the surface of consciousness like a dream.

Surreal and mysterious, in equal parts absurd and intense, Mutual Admiration Society is part of the noted multi-film collaboration between actor James Devereaux and experimental filmmaker Rouzbeh Rashidi. Based entirely around a silent, tour-de-force one-man performance by Devereaux as a man who appears to be haunting and threatening himself, Mutual Admiration Society uses startling visual techniques and editing rhythms to create a claustrophobic hall of mirrors with Devereaux’s tormented protagonist at its centre.

A bleak, cryptic vision of life in contemporary Iran that eschews overt social commentary in favour of a very personal vision of stifled lives. Directed remotely by Rashidi from Ireland over Skype, the making of this unique film reflects the alienation it so compellingly portrays.

A tale of people unfolds under the night sky. These doomed couples and lost individuals begin journeys and attempt to find resolution in their lives. Love is observed from a distance, sadness is in the air. With little sympathy for the loss and destruction caused to the characters, the stories progress and become neatly woven into a minimalistic portrayal of modern life.

An intimate stream of memories reaching out across time and space, taking on a uniquely experimental form that cuts the viewer adrift in a weave of old footage rising to the surface of consciousness like a dream.

A bleak, cryptic vision of life in contemporary Iran that eschews overt social commentary in favour of a very personal vision of stifled lives. Directed remotely by Rashidi from Ireland over Skype, the making of this unique film reflects the alienation it so compellingly portrays.

Surreal and mysterious, in equal parts absurd and intense, Mutual Admiration Society is part of the noted multi-film collaboration between actor James Devereaux and experimental filmmaker Rouzbeh Rashidi. Based entirely around a silent, tour-de-force one-man performance by Devereaux as a man who appears to be haunting and threatening himself, Mutual Admiration Society uses startling visual techniques and editing rhythms to create a claustrophobic hall of mirrors with Devereaux’s tormented protagonist at its centre.

Little is known of Jean Speck (1860-1933) beyond the fact that he opened Zurich’s first cinema. Rouzbeh Rashidi and Jann Clavadetscher consider the flittering black and white ghosts and shadows that he left in his wake in their phantasmagorical experimental feature film. This journey through a cinematic night probes the very essence of the cinematic image.

“Persistencies of Sadness & Still Days”, is a four hour feature film by Maximilian Le Cain and Rouzbeh Rashidi. Structured in two sections or ‘takes’ of two hours each, this dream-like, experimental project offers two complementary explorations of cinematic form that skirt around possible narratives, ducking through a series of fluctuating audio-visual categories and intensities.

“Persistencies of Sadness & Still Days”, is a four hour feature film by Maximilian Le Cain and Rouzbeh Rashidi. Structured in two sections or ‘takes’ of two hours each, this dream-like, experimental project offers two complementary explorations of cinematic form that skirt around possible narratives, ducking through a series of fluctuating audio-visual categories and intensities.

Little is known of Jean Speck (1860-1933) beyond the fact that he opened Zurich’s first cinema. Rouzbeh Rashidi and Jann Clavadetscher consider the flittering black and white ghosts and shadows that he left in his wake in their phantasmagorical experimental feature film. This journey through a cinematic night probes the very essence of the cinematic image.

A tale of people unfolds under the night sky. These doomed couples and lost individuals begin journeys and attempt to find resolution in their lives. Love is observed from a distance, sadness is in the air. With little sympathy for the loss and destruction caused to the characters, the stories progress and become neatly woven into a minimalistic portrayal of modern life.

“Persistencies of Sadness & Still Days”, is a four hour feature film by Maximilian Le Cain and Rouzbeh Rashidi. Structured in two sections or ‘takes’ of two hours each, this dream-like, experimental project offers two complementary explorations of cinematic form that skirt around possible narratives, ducking through a series of fluctuating audio-visual categories and intensities.

Little is known of Jean Speck (1860-1933) beyond the fact that he opened Zurich’s first cinema. Rouzbeh Rashidi and Jann Clavadetscher consider the flittering black and white ghosts and shadows that he left in his wake in their phantasmagorical experimental feature film. This journey through a cinematic night probes the very essence of the cinematic image.

Little is known of Jean Speck (1860-1933) beyond the fact that he opened Zurich’s first cinema. Rouzbeh Rashidi and Jann Clavadetscher consider the flittering black and white ghosts and shadows that he left in his wake in their phantasmagorical experimental feature film. This journey through a cinematic night probes the very essence of the cinematic image.

Weird Weird Movie Kids Do Not Watch The Movie is the second collaborative feature film between Rouzbeh Rashidi and Maximilian Le Cain. This hypnotic, visually and sonically immersive exploration of a haunted space unfolds in two parts. In the first, a woman (Eadaoin O’Donoghue) dissolves her identity into the ghostly resonances she finds in the rooms and corridors of a sprawling, atmospheric seaside basement property. In the second, a man (Rashidi), existing in a parallel dimension of the same space, pursues a bizarre and perverse amorous obsession.

Surreal and mysterious, in equal parts absurd and intense, Mutual Admiration Society is part of the noted multi-film collaboration between actor James Devereaux and experimental filmmaker Rouzbeh Rashidi. Based entirely around a silent, tour-de-force one-man performance by Devereaux as a man who appears to be haunting and threatening himself, Mutual Admiration Society uses startling visual techniques and editing rhythms to create a claustrophobic hall of mirrors with Devereaux’s tormented protagonist at its centre.

Homo Sapiens Project (200) was completed in 2020 as part of the 20th anniversary of Experimental Film Society. This eight-hour experimental feature is constituted from short film experiments made between 2000 to 2010. These films have already undergone many metamorphoses over the years. They were always restless wandering spirits seeking a permanent place of rest but so far without success. Each section of Homo Sapiens Project (200) was made under the unique condition of living out a form of subtle therapeutic practice. Collectively they reflect major life-changing events, formalistic mutations and thematic shifts within Rouzbeh Rashidi’s filmography. In spite of this, they could not find the peace of a satisfactory final shape. Indeed, they are about peace, something that rarely (if ever) exists within Rashidi’s work. But now, after twenty years of roaming the subconscious, they have come to rest in a permanent retirement in one world, one very personal floating planet.

Homo Sapiens Project (200) was completed in 2020 as part of the 20th anniversary of Experimental Film Society. This eight-hour experimental feature is constituted from short film experiments made between 2000 to 2010. These films have already undergone many metamorphoses over the years. They were always restless wandering spirits seeking a permanent place of rest but so far without success. Each section of Homo Sapiens Project (200) was made under the unique condition of living out a form of subtle therapeutic practice. Collectively they reflect major life-changing events, formalistic mutations and thematic shifts within Rouzbeh Rashidi’s filmography. In spite of this, they could not find the peace of a satisfactory final shape. Indeed, they are about peace, something that rarely (if ever) exists within Rashidi’s work. But now, after twenty years of roaming the subconscious, they have come to rest in a permanent retirement in one world, one very personal floating planet.

Homo Sapiens Project (200) was completed in 2020 as part of the 20th anniversary of Experimental Film Society. This eight-hour experimental feature is constituted from short film experiments made between 2000 to 2010. These films have already undergone many metamorphoses over the years. They were always restless wandering spirits seeking a permanent place of rest but so far without success. Each section of Homo Sapiens Project (200) was made under the unique condition of living out a form of subtle therapeutic practice. Collectively they reflect major life-changing events, formalistic mutations and thematic shifts within Rouzbeh Rashidi’s filmography. In spite of this, they could not find the peace of a satisfactory final shape. Indeed, they are about peace, something that rarely (if ever) exists within Rashidi’s work. But now, after twenty years of roaming the subconscious, they have come to rest in a permanent retirement in one world, one very personal floating planet.

Homo Sapiens Project (200) was completed in 2020 as part of the 20th anniversary of Experimental Film Society. This eight-hour experimental feature is constituted from short film experiments made between 2000 to 2010. These films have already undergone many metamorphoses over the years. They were always restless wandering spirits seeking a permanent place of rest but so far without success. Each section of Homo Sapiens Project (200) was made under the unique condition of living out a form of subtle therapeutic practice. Collectively they reflect major life-changing events, formalistic mutations and thematic shifts within Rouzbeh Rashidi’s filmography. In spite of this, they could not find the peace of a satisfactory final shape. Indeed, they are about peace, something that rarely (if ever) exists within Rashidi’s work. But now, after twenty years of roaming the subconscious, they have come to rest in a permanent retirement in one world, one very personal floating planet.

Homo Sapiens Project (201) was completed in 2021 as part of re-envisioning and restructuring Rashidi's filmography. This nineteen-hour experimental feature is constituted from many feature films produced between 2002 to 2014. These experimental features were made as a type of test or trial experiment. Rashidi assembled the films from footage accumulated over the years, archival footage, found footage and rushes donated by his close collaborators.

Homo Sapiens Project (201) was completed in 2021 as part of re-envisioning and restructuring Rashidi's filmography. This nineteen-hour experimental feature is constituted from many feature films produced between 2002 to 2014. These experimental features were made as a type of test or trial experiment. Rashidi assembled the films from footage accumulated over the years, archival footage, found footage and rushes donated by his close collaborators.

Homo Sapiens Project (201) was completed in 2021 as part of re-envisioning and restructuring Rashidi's filmography. This nineteen-hour experimental feature is constituted from many feature films produced between 2002 to 2014. These experimental features were made as a type of test or trial experiment. Rashidi assembled the films from footage accumulated over the years, archival footage, found footage and rushes donated by his close collaborators.

Homo Sapiens Project (200) was completed in 2020 as part of the 20th anniversary of Experimental Film Society. This eight-hour experimental feature is constituted from short film experiments made between 2000 to 2010. These films have already undergone many metamorphoses over the years. They were always restless wandering spirits seeking a permanent place of rest but so far without success. Each section of Homo Sapiens Project (200) was made under the unique condition of living out a form of subtle therapeutic practice. Collectively they reflect major life-changing events, formalistic mutations and thematic shifts within Rouzbeh Rashidi’s filmography. In spite of this, they could not find the peace of a satisfactory final shape. Indeed, they are about peace, something that rarely (if ever) exists within Rashidi’s work. But now, after twenty years of roaming the subconscious, they have come to rest in a permanent retirement in one world, one very personal floating planet.

Homo Sapiens Project (200) was completed in 2020 as part of the 20th anniversary of Experimental Film Society. This eight-hour experimental feature is constituted from short film experiments made between 2000 to 2010. These films have already undergone many metamorphoses over the years. They were always restless wandering spirits seeking a permanent place of rest but so far without success. Each section of Homo Sapiens Project (200) was made under the unique condition of living out a form of subtle therapeutic practice. Collectively they reflect major life-changing events, formalistic mutations and thematic shifts within Rouzbeh Rashidi’s filmography. In spite of this, they could not find the peace of a satisfactory final shape. Indeed, they are about peace, something that rarely (if ever) exists within Rashidi’s work. But now, after twenty years of roaming the subconscious, they have come to rest in a permanent retirement in one world, one very personal floating planet.

Homo Sapiens Project (201) was completed in 2021 as part of re-envisioning and restructuring Rashidi's filmography. This nineteen-hour experimental feature is constituted from many feature films produced between 2002 to 2014. These experimental features were made as a type of test or trial experiment. Rashidi assembled the films from footage accumulated over the years, archival footage, found footage and rushes donated by his close collaborators.

Homo Sapiens Project (201) was completed in 2021 as part of re-envisioning and restructuring Rashidi's filmography. This nineteen-hour experimental feature is constituted from many feature films produced between 2002 to 2014. These experimental features were made as a type of test or trial experiment. Rashidi assembled the films from footage accumulated over the years, archival footage, found footage and rushes donated by his close collaborators.

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.

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.

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.

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.

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.

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.

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.

Weird Weird Movie Kids Do Not Watch The Movie is the second collaborative feature film between Rouzbeh Rashidi and Maximilian Le Cain. This hypnotic, visually and sonically immersive exploration of a haunted space unfolds in two parts. In the first, a woman (Eadaoin O’Donoghue) dissolves her identity into the ghostly resonances she finds in the rooms and corridors of a sprawling, atmospheric seaside basement property. In the second, a man (Rashidi), existing in a parallel dimension of the same space, pursues a bizarre and perverse amorous obsession.

Weird Weird Movie Kids Do Not Watch The Movie is the second collaborative feature film between Rouzbeh Rashidi and Maximilian Le Cain. This hypnotic, visually and sonically immersive exploration of a haunted space unfolds in two parts. In the first, a woman (Eadaoin O’Donoghue) dissolves her identity into the ghostly resonances she finds in the rooms and corridors of a sprawling, atmospheric seaside basement property. In the second, a man (Rashidi), existing in a parallel dimension of the same space, pursues a bizarre and perverse amorous obsession.

Weird Weird Movie Kids Do Not Watch The Movie is the second collaborative feature film between Rouzbeh Rashidi and Maximilian Le Cain. This hypnotic, visually and sonically immersive exploration of a haunted space unfolds in two parts. In the first, a woman (Eadaoin O’Donoghue) dissolves her identity into the ghostly resonances she finds in the rooms and corridors of a sprawling, atmospheric seaside basement property. In the second, a man (Rashidi), existing in a parallel dimension of the same space, pursues a bizarre and perverse amorous obsession.

TRAILERS unites the most personal and experimental aspects of underground filmmaking with a scope that is as cosmically vast as a science fiction epic. Rashidi’s ongoing exploration into the nature of cinema sees a group of characters adrift in space, each locked into their own sexual rituals while a cataclysm of universal proportions unfolds. Humanity has become a mysterious burlesque show for alien eyes: the gaze of the film camera. This visionary spectacle uses multiple formats and visual textures in weaving an erotic anti-narrative suspended in its own space and time.

HE, the third work in the ongoing collaboration between Rouzbeh Rashidi and actor James Devereaux, is a troubling and mysterious portrait of a suicidal man. Rashidi juxtaposes the lead character’s apparently revealing monologues with scenes and images that layer the film with ambiguity. Its deliberate, hypnotic pace and boldly experimental structure result in an unusual and challenging view of its unsettling subject.

Self Decapitation is a Janus-headed self-portrait by Rouzbeh Rashidi and Maximilian Le Cain in which death and desire each take possession of this film in two parts. The ambiguities of inhabiting a human body are conjured by way of film technology in its faults, faulty memories and false promises. There is no escape from its haunting – except perhaps to haunt it in turn…

A relationship between a man and a woman discloses during the course of the film.

TRAILERS unites the most personal and experimental aspects of underground filmmaking with a scope that is as cosmically vast as a science fiction epic. Rashidi’s ongoing exploration into the nature of cinema sees a group of characters adrift in space, each locked into their own sexual rituals while a cataclysm of universal proportions unfolds. Humanity has become a mysterious burlesque show for alien eyes: the gaze of the film camera. This visionary spectacle uses multiple formats and visual textures in weaving an erotic anti-narrative suspended in its own space and time.

HE, the third work in the ongoing collaboration between Rouzbeh Rashidi and actor James Devereaux, is a troubling and mysterious portrait of a suicidal man. Rashidi juxtaposes the lead character’s apparently revealing monologues with scenes and images that layer the film with ambiguity. Its deliberate, hypnotic pace and boldly experimental structure result in an unusual and challenging view of its unsettling subject.

TRAILERS unites the most personal and experimental aspects of underground filmmaking with a scope that is as cosmically vast as a science fiction epic. Rashidi’s ongoing exploration into the nature of cinema sees a group of characters adrift in space, each locked into their own sexual rituals while a cataclysm of universal proportions unfolds. Humanity has become a mysterious burlesque show for alien eyes: the gaze of the film camera. This visionary spectacle uses multiple formats and visual textures in weaving an erotic anti-narrative suspended in its own space and time.

TRAILERS unites the most personal and experimental aspects of underground filmmaking with a scope that is as cosmically vast as a science fiction epic. Rashidi’s ongoing exploration into the nature of cinema sees a group of characters adrift in space, each locked into their own sexual rituals while a cataclysm of universal proportions unfolds. Humanity has become a mysterious burlesque show for alien eyes: the gaze of the film camera. This visionary spectacle uses multiple formats and visual textures in weaving an erotic anti-narrative suspended in its own space and time.

TRAILERS unites the most personal and experimental aspects of underground filmmaking with a scope that is as cosmically vast as a science fiction epic. Rashidi’s ongoing exploration into the nature of cinema sees a group of characters adrift in space, each locked into their own sexual rituals while a cataclysm of universal proportions unfolds. Humanity has become a mysterious burlesque show for alien eyes: the gaze of the film camera. This visionary spectacle uses multiple formats and visual textures in weaving an erotic anti-narrative suspended in its own space and time.

A relationship between a man and a woman discloses during the course of the film.

A relationship between a man and a woman discloses during the course of the film.

A relationship between a man and a woman discloses during the course of the film.

A relationship between a man and a woman discloses during the course of the film.

HE, the third work in the ongoing collaboration between Rouzbeh Rashidi and actor James Devereaux, is a troubling and mysterious portrait of a suicidal man. Rashidi juxtaposes the lead character’s apparently revealing monologues with scenes and images that layer the film with ambiguity. Its deliberate, hypnotic pace and boldly experimental structure result in an unusual and challenging view of its unsettling subject.

HE, the third work in the ongoing collaboration between Rouzbeh Rashidi and actor James Devereaux, is a troubling and mysterious portrait of a suicidal man. Rashidi juxtaposes the lead character’s apparently revealing monologues with scenes and images that layer the film with ambiguity. Its deliberate, hypnotic pace and boldly experimental structure result in an unusual and challenging view of its unsettling subject.

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.”

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.”

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.”

Reminiscences of Yearning is so many ghosts, searching the landscape for traces. there's no sense of the past- it's in the present, searching the footage for what remains, a summoning of the disappeared. We're invited to patiently wait and see if they appear or not. A ritual.. at least.

Elpis is a poetic essay film about the effects of the Iran–Iraq War and its trauma and psychological impact. It is narrated through the voice of a woman writing a book. It embraces many subjects, such as war, diaspora, immigration, love and alienation, using sensory and experiential techniques. The film showcases lavish ethereal landscapes and nature, in Estonia, Latvia, Ireland and Germany. Iraqi-German writer and artist Claudia Basrawi narrates, fitting the film perfectly to the subject matter it explores.

A man (James Devereaux) sits on a park bench talking to the camera, trying to weave together a thought that won’t cohere while commenting on passers-by, his ‘guests’… Mysterious images intervene, overturning the serenity of the park-bench monologue. Rouzbeh Rashidi’s feature proves as engaging as it is elusive.

Phantom Islands is an experimental film that exists at the boundary of documentary and fiction. It follows a couple adrift and disoriented in the stunning landscape of Ireland’s islands. Yet this deliberately melodramatic romance is constantly questioned by a provocative cinematic approach that ultimately results in a hypnotic and visceral inquiry into the very possibility of documentary objectivity.

Phantom Islands is an experimental film that exists at the boundary of documentary and fiction. It follows a couple adrift and disoriented in the stunning landscape of Ireland’s islands. Yet this deliberately melodramatic romance is constantly questioned by a provocative cinematic approach that ultimately results in a hypnotic and visceral inquiry into the very possibility of documentary objectivity.

Phantom Islands is an experimental film that exists at the boundary of documentary and fiction. It follows a couple adrift and disoriented in the stunning landscape of Ireland’s islands. Yet this deliberately melodramatic romance is constantly questioned by a provocative cinematic approach that ultimately results in a hypnotic and visceral inquiry into the very possibility of documentary objectivity.

Phantom Islands is an experimental film that exists at the boundary of documentary and fiction. It follows a couple adrift and disoriented in the stunning landscape of Ireland’s islands. Yet this deliberately melodramatic romance is constantly questioned by a provocative cinematic approach that ultimately results in a hypnotic and visceral inquiry into the very possibility of documentary objectivity.

HSP 100 is a portrait of experimental filmmaker Maximilian Le Cain. As Le Cain discusses his life, work and relationship with cinema, Rashidi envelops him in a hallucinatory audio-visual ambiance that ultimately results in a poetic dialogue with the ideas and feelings he expresses.

HSP 100 is a portrait of experimental filmmaker Maximilian Le Cain. As Le Cain discusses his life, work and relationship with cinema, Rashidi envelops him in a hallucinatory audio-visual ambiance that ultimately results in a poetic dialogue with the ideas and feelings he expresses.

HSP 100 is a portrait of experimental filmmaker Maximilian Le Cain. As Le Cain discusses his life, work and relationship with cinema, Rashidi envelops him in a hallucinatory audio-visual ambiance that ultimately results in a poetic dialogue with the ideas and feelings he expresses.

HSP 100 is a portrait of experimental filmmaker Maximilian Le Cain. As Le Cain discusses his life, work and relationship with cinema, Rashidi envelops him in a hallucinatory audio-visual ambiance that ultimately results in a poetic dialogue with the ideas and feelings he expresses.

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.

HSP 100 is a portrait of experimental filmmaker Maximilian Le Cain. As Le Cain discusses his life, work and relationship with cinema, Rashidi envelops him in a hallucinatory audio-visual ambiance that ultimately results in a poetic dialogue with the ideas and feelings he expresses.

One of Rashidi’s freest and most mysterious films to date, CIRCUMCISION OF PARTICIPANT OBSERVATION weaves a series of humorous, frightening and ultimately hypnotic vignettes into a visionary tapestry of cinematic dreaming.

A man (James Devereaux) sits on a park bench talking to the camera, trying to weave together a thought that won’t cohere while commenting on passers-by, his ‘guests’… Mysterious images intervene, overturning the serenity of the park-bench monologue. Rouzbeh Rashidi’s feature proves as engaging as it is elusive.

A man (James Devereaux) sits on a park bench talking to the camera, trying to weave together a thought that won’t cohere while commenting on passers-by, his ‘guests’… Mysterious images intervene, overturning the serenity of the park-bench monologue. Rouzbeh Rashidi’s feature proves as engaging as it is elusive.

A man (James Devereaux) sits on a park bench talking to the camera, trying to weave together a thought that won’t cohere while commenting on passers-by, his ‘guests’… Mysterious images intervene, overturning the serenity of the park-bench monologue. Rouzbeh Rashidi’s feature proves as engaging as it is elusive.

A man (James Devereaux) sits on a park bench talking to the camera, trying to weave together a thought that won’t cohere while commenting on passers-by, his ‘guests’… Mysterious images intervene, overturning the serenity of the park-bench monologue. Rouzbeh Rashidi’s feature proves as engaging as it is elusive.

A documentary like no other. Starting with the bizarre practices and fantasies of a group of filmmakers working under the label Experimental Film Society, it spins off into a manifesto of light and sound. This dazzling journey through a view of cinema as cosmic ritual and erotic delirium is also an idiosyncratic celebration of the medium itself. Rouzbeh Rashidi’s ornate visual style unleashes a parade of visionary scenes that redefine movie magic as a fevered hallucination.

A film of a dying world populated by mythic creatures and spirits, our personal meditation on nature and the environment captured on Super 8 film.

Dreaming Is Not Sleeping is an introspective essay film exploring the relationship between memory, existence, and time, narrated by a spectral voice drifting through ancient ruins. The film contemplates perception, clairvoyance, and whether the present can be seen through the lens of memory, blurring the lines between past, present, and future. As the voice moves through decaying structures, it reflects on human impermanence and defiance of time. Vignettes of past lives illustrate universal human experiences. The film concludes by pondering existence, consciousness, and humanity’s drive to create meaning amidst an indifferent universe, challenging viewers to reflect on their own place in time and memory.