Music in the City

Director: Yvonne McDevitt

Year: 2026

Structured as a psychogeographic voyage, the film explores place, memory, and sensation through the inner life of a poet whose sense of self gradually dissolves into cinematic reflection. Departing from conventional documentary forms, EVERY MOON IS ATROCIOUS invites audiences into a layered sensory environment where image, sound, and language operate associatively. At its core lies the poetry of the late Niall McDevitt (1967-2022), whose work forms the conceptual and emotional spine of the film, shaping a trance-like rhythm that mirrors the protagonist’s journey towards death and the unknown. Yvonne McDevitt’s filmmaking resists separating form from feeling. Dreamlike visuals, intense durational shots, and richly layered sound design prioritise emotional resonance over linear narrative. Fragmented imagery and superimpositions draw viewers into a meditative mode, presenting the film as a cinematic drift that charts inner terrains as much as physical ones. Movement through cities and coastlines becomes inseparable from movement through memory, grief, and desire. Official Selection Dublin International Film Festival 2026 - World premiere

Director: Richard Philpott

Year: 2027

NOW AGAIN is the first filmic interpretation of Marcel Proust's entire novel 'À la recherche du temps perdu'. Part Two encompasses the volumes of SODOM & GOMORRAH. Filmmaker Richard Philpott stretches narrative form into rich and varied experimental territories, providing a visual feast and sonic immersion, using AI and unique digital production techniques, to reveal the vast panoramic structure of Proust's great masterwork and provide a 21st century foundation for this timeless 20th century epic.

Director: Andromeda Graziano

Year: 2026

Robert Schumann wrote a declaration of love for Clara in his early music. SCHUMANN A LOVE STORY is a 30 minute dance film about this declaration set to one of his most famous works, Fantasiestücke Op.12. The three dancers and the pianist tell the story of how Schumann's two alter egos, Eusebius-the mild, and Florestan-the wild fight for Clara's attention. Which of Schumann's two passionate sides will she choose?