Patrick Kennelly

Encuentro Americano

On a hot Sunday morning, in a bustling American diner, the fragile lives of strangers collide over greasy breakfasts, black coffee reflections, and tense interactions amidst the 2024 U.S. election cycle.

InTime

On the last night before his brother leaves for war, a deaf writer must conquer his fears if dancing with the girl of his dreams should ever become a reality.

Excess Flesh

Obsessed with her sexy roommate, Jill violently imprisons Jennifer in their apartment in a twisted attempt to bring them closer together.

All Hallows' Eve: Inferno

From an executive producer of Terrifier 2 comes All Hallows Eve: Inferno, a new installment of the franchise that first introduced the world to Damien Leone's Art the Clown and the short film Terrifier. This horror anthology brings together up-and-coming writers and directors and features tales that will send a shiver down your spine.

Clipping: Splendor & Misery

A surreal post-apocalyptic drama by Patrick Kennelly inspired by the clipping. album “Splendor & Misery”

Guys Reading Poems

A resourceful boy creatively uses poetry to survive when his mother, a disturbed avant garde painter, locks him in a puppet box and builds an art installation around his imprisonment.

Waking Nightmare

Jordan suffered manic episodes after the loss of her friend. Her mother has a family doctor prescribe her Ambien to help with her sleepwalking. As time goes on, Jordan has issues remembering what happened.

Hammurabi

Jacobina is inspired to kidnap a man she believes is her abusive birth father.

ten minutes is two hours

This short-form documentary video shot in South Sudan, is both a work of and a commentary upon cultural exploitation. It is a self-consciously “cinematic” recreation of a journey through a land plagued by the ghosts of colonialism and the present anxiety of conflicting religious and political agendas - both of which can often seem one and the same. Evoking a surreal sense of place, both very present and very distant, the video depicts the hazy lines between notions of “foreign aid” “missionary practice” and “colonialism,” and shows the ways history has of recycling itself. The essayistic, experimental nature of the work is inspired by the politically charged silent-era montage of Dovzhenko, Vertov, and Eisenstein and the later impressionistic film and video works of Marker and Godard.