Reed O'Beirne

Last of Our Kind

Reed O'Beirne

Emma Jones, Scott Plusquellec

Weaving together film, music and poetry, "Last of Our Kind" transforms the memory of a lost love into a ritualistic incantation of longing. Action is exaggerated and time seems to blur, as the lovers' tale unfolds poetically into a modern interpretation of the Persephone myth. Shot entirely on Super-8 - the movie traces the poem, line by line, throughout the city of Seattle in sequences of time-lapse photography blended with live-action that collapse and rearrange time and events into memories. Shot as a silent film, "Last of Our Kind" features an original soundtrack created by Robin Guthrie interwoven with a voiceover recitation of Rick Linville's poem.

Tri-Alogue #4

Caryn Cline, Reed O'Beirne

Emily Durand

A subtle movement of dancer’s arms invites three panels of film into one frame in this micro-symphony of sound and image in which the changing light evokes the passing of time. Human and non-human, interior and exterior co-exist in this highly improvisational yet serendipitous portrait of the forever-changing city of Seattle. Collaborating to subdivide a 16mm film frame into thirds, Caryn Cline, Linda Fenstermaker and Reed O’Beirne present their separately shot segments simultaneously within one spatial plane. From the interplay of these three points of view emerges a cinematic conversation based on a horizontal compositional logic within the shared frame. This combined connotative relationship between the subframes evokes a spectacle of fractured spatial and temporal perspective.

Suspension 360

Reed O'Beirne

A London bridge over the eerily, empty River Thames serves as a platform to explore the tension between the need for the normalcy of personal routines and the threat posed by a lurking, invisible pathogen that is disrupting the health and connections of human life across the globe.

Tri-Alogue #2

Caryn Cline, Reed O'Beirne

By presenting three filmmakers’ work simultaneously within a single 16mm frame, Tri-Alogue #2 offers a complexity of perspective that undermines the omniscient cinematic gaze and evokes a deeper relational mystery. Collaborating to subdivide a 16mm film frame into thirds, three lmmakers present their separately-shot segments simultaneously within one spatial plane. From the interplay of these three points of view emerges a cinematic conversation based on a horizontal compositional logic within the shared frame.