Tadhg O'Sullivan

Between the all-too-familiar prison walls and his mother's house, Ryan grapples with himself, eventually finding an escape with the sheep in the verdant fields of Northern Ireland.

When her mother Nuala goes missing somewhere in Ireland, artist Myrid Carten returns from London to find her. Her search takes her into a feuding family, a contested house; and a history that threatens to take everyone down, including herself.

Making Dust is an essay film, a portrait of the demolition of Ireland's second largest Catholic Church, the Church of the Annunciation in Finglas West, Dublin. Understanding this moment as a 'rupture', the film maps an essay by architectural historian Ellen Rowley on to documentation of the building's dismantling. Featuring oral interviews recorded at the site of the demolition and in a nearby hairdressers, the film invites viewers to pause and reflect on this ending alongside the community of the building. The film is informed by Ultimology, and invites its audience to think about the life cycles of buildings and materials, how we mourn, what is sacred, how we gather, what we value and issues of sustainability in architecture.

In a small house, on the Irish coast, a woman writes a letter to an unknown correspondent. She ponders the evanescence of memory and art. Her home brims with traces of life—faded photographs, scattered artworks, some unfinished. All is shrouded by the constant murmur of the sea: that vast canvas of everything that was and will be.

Naofumi Yximalloo Ishimaru is an obscure cult musician who has spent most of his 57 years on the fringes of music and society. Perennially uncertain of what he wants, Naofumi is constantly moving - drawing people to him before pushing them away and setting out alone once more.

On the eve of war in Bosnia, two boys go looking for treasure in an abandoned hill fort oblivious to the encroaching danger. Instead of gold they find a gun and overnight both their lives are changed forever.

a non-narrative, meditative film on isolation and thinking framed by the Fastnet Lighthouse off the South West coast of Ireland.

‘The Great Wall has been completed at its most southerly point.’ So begins Kafka’s short story ‘At the Building of the Great Wall of China’, and so, at Europe’s heavily militarised south-eastern frontier, begins this film. In the shadow of its own narratives of freedom, Europe has been quietly building its own great wall. Like its famous Chinese precursor, this wall has been piecemeal in construction, diverse in form and dubious in utility. Gradually cohering across the continent, this system of enclosure and exclusion is urged upon a populace seemingly willing to accept its necessity and to contribute to its building.