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The Best Dean Kavanagh Directed Movies

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Hole in the Head is an experimental feature film in which the protagonist re-stages his family's home movies in order to recall a traumatic event. Melding new with old technologies and a film-within-a-film structure, Hole in the Head proposes a hauntological discourse on autofiction, trauma and private ritual.

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50

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The first film in a two-part study of daily routines.

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50

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A man investigates a memory of places and people. The evidence drifts deeper and deeper into an unforgivable jungle; he might not be the true owner of his memories, his thoughts may not be of his own, it may not even be his body.

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6.7

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

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6.8

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60

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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.

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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.

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The troubling hallucinations of a deranged mind.

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The remains of a day. Originally conceived as part of the portmanteau feature film In Passing (2011), which was completed by an international alliance of Remodernist filmmakers.

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Onlookers at the canal.

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‘My first movie’.

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A young man recalls a fishing trip from his childhood but he is uncertain if it is his own memory.

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A compendium of home movies sewn into a fragmented nocturnal narrative on travel

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The discovery of an ancient artefact. The night extends beyond the grip of reality. The inhabitants of a small community perish.

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The second film in a two-part study of daily routines.

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This found footage project takes the form of four experimental films surrounding the mystery of the titular character. Rather than overtly appearing in each film, Johnny Kline is more a summation of the evils within the film as a whole: he is a monstrosity of cinema. By composing fragmented narratives and drawing on an array of found materials the films of Johnny Kline form a visceral and furious passage through the underbelly of found-footage cinema, where Kline is both a master of ceremonies and a spectre behind and betwixt each frame.

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A relationship unravels during a storm. Poor Edward is considered as part of the official canon of Remodernist Film.

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A journey into the dark visions of a small coastal town. Memories of the inhabitants or memories created by the place itself.

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A séance of old and new light.

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A found-footage film that seeks to sever all narrative ties.

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Cut to the chase was a phrase used by Hollywood studio executives, meaning “don't bore us with the dialogue - get to the interesting scenes without unnecessary delay." Cut to the Chase is a film crafted through images captured from a customised telecine apparatus and combines archival found-footage material with newly generated footage.

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Originally conceived as a road movie, Sound from the Valley Floor is at once a film diary and a perverse comedy permeated with a dream logic.

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A silent film adrift in the lost rooms of an old house. A final letter to an old friend.

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The latest materialist gesture in cinema's dematerialisation- uncompromising alter-ego Johnny Kline returns in the form of found and partially destroyed early 20th century pornography and found material depicting domestic scenes. Always inappropriate in his re-appropriation of found materials Kline brings the private and public realms together in the creation of a drive-in cinema and a child's discovery of a satan-worshipping cult. A marriage of Messe Noire (1928) and the Irish landscape captured from various formats including 16mm through a custom-designed telecine apparatus and finished in an anaglyph 3D process, The Curse of Johnny Kline stands alone in contemporary Irish underground cinema.

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The last day of the week is the first day of the week.

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A man cruises the streets of his old neighbourhood at nightfall.

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A young man films his family to better understand them and as a result is destroyed by them.

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