The final cinema screening of aemi’s 2022 Tour ‘In the long now’ takes place in the UK at The Garden Cinema as part of Irish Film London, with in-person introduction by filmmaker Patrick Hough and aemi
‘In the long now’ is aemi’s curated film programme that places work by Irish contemporary film artists in conversation with three titles by international practitioners, all of whom are innovating new approaches to the moving image as an artform.
Featuring recent films by Eavan Aiken (IE), Jeamin Cha (KR), Patrick Hough (IE), Sandy Kennedy (IE), Alee Peoples (USA) and Sylvia Schedelbauer (DE), ‘In the long now’ explores ideas relating to love, liveness, mortality, and the act or technological process of seeing beyond the limits set by our physical abilities.
‘In the long now’ received its world premiere at Cork International Film Festival 2021, and has toured to a number of venues across Ireland and internationally across 2022. More info on the ‘In the long now’ tour
Alee Peoples, Standing Forward Full, 2020, USA, 5 minutes 38 seconds
Eavan Aiken, White Hole, 2021, Ireland, 13 minutes
Jeamin Cha, Ellie’s Eye, 2020, Korea/ USA, 11 minutes
Sandy Kennedy, The Incorporeal Body of a Shadow Soul, 2021, Ireland, 12 minutes
Sylvia Schedelbauer, Labor of Love, 2020, Germany, 12 minutes
Patrick Hough, The Black River of Herself, 2021, Ireland/ UK, 27 minutes
Alee Peoples, Standing Forward Full
A helter skelter is an amusement ride with a spiral slide built around a tower. Like this film, an exorcism attempt of an unrequited desire, itʼs either moving too fast or at a complete standstill. Disorienting but exciting.
Eavan Aiken, White Hole
Human and animal kin are instrumentalised; units of production, their substrate exhausted. Can we conceive a future where technology serves all and look forward with Promethean vigour?
White Hole spirals through space and time, seeking the ideal moment for opportunity.
Jeamin Cha, Ellie’s Eye
Ellie’s Eye is an essay video comprising found and original footage. This film interrogates how future societies and technologies can approach psychological issues of different individuals, and whether we are objectifying the human psyche itself.
Sandy Kennedy, The Incorporeal Body of a Shadow Soul
Based on memories and experiences of innocent women harmed by patriarchal ideologies in Irish culture, The Incorporeal Body of a Shadow Soul is a film poem, imagining the half life of a soul unable to escape the time and place of her wounding.
Sylvia Schedelbauer, Labor of Love
An expanding feeling, unfolding new inflections — forever different, forever changing.
Patrick Hough, The Black River of Herself
When an archaeologist is sent to Offaly excavate the remains of an Iron Age bog body, he finds the unexpected. The bog body has awakened to deliver him a stark warning; he must confront the impending storm of ecological collapse or face unfathomable disaster.
Essay by Gwen Burlington
‘In the long now’ is accompanied by a new text by Irish critic Gwen Burlington which looks closely at what each film means in relation to life and death cycles – from more human-centric experiences to the impacts of climate change on the planet across space and time.