Scorpion's Stone

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.

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.

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.

"Personal Growth" is a Super-8 film work, an enigmatic, fragmented piece that could have been filmed at any point in the past sixty years. It conveys the haunting charge of a privately made home movie of great significance to its creators but unsettlingly mysterious to viewers. Its grainy, black and white texture vividly renders the elemental coastal seascapes where it was filmed. Langan & Le Cain appear as a couple who inhabit this wild terrain as if it were a domestic arena.

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.

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…

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.

A simple, modest and faithful record of some moments at the Lucca Film Festival in October 2010, with songs and speeches by Abel Ferrara: trace of the co-presence of two of the greatest contemporary filmmakers, dissident and true sons of Cesare Zavattini’s revolutionary spirit.

Set in the near future, Whale Skull sifts the fragments of an imploded cinematic landscape in the search for clues to move forward. Shifting back and forth through flashbacks of impending cataclysm and its eerie aftermath, this broiling collage mixes viscerally playful bargain basement sci-fi with a lyrical consideration of personal experimental cinema.

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.

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.

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.”

Hovering in the sensuous haze where flesh and dream become one, it wordlessly explores the shared inner life of two people whose devotion to one another expresses itself in forms that still challenge convention.

“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.