Wednesday, 28 October – The Blair Witch Project, €9, 20:30, Light House Cinema
Late ’90s America saw an incredible surge in the production of paranoia-tinged horror, which really started to flourish, of course, in the political climate following September 11, 2001. The X-Files captured this atmosphere of impending doom, as did the conspiracy films of the ’80s. The Blair Witch Project was the first of its kind – an unexpected sensation, it drew its roots from the eerie (and oddly pornily-soundtracked) Cannibal Holocaust, and birthed [REC] and the seemingly never-ending Paranormal Activity series. Tickets here.
Physicist Tom McCormack and artist Siobhan McDonald will be in discussion in the Science Gallery as part of City of Physics 2015. Their recent collaborations will be the starting point for the conversation, but that experience will also be used as a springboard to examine what sort of knowledge exchange between their fields is possible, and how understanding might enhance aesthetic experience. The two UCD residents have been conducting experiments on light and optics, and on the ways in which nature adapts to the environment. Check it out here.
Friday, 30 October – Goblin (Suspiria and Profondo Rosso double-bill) / I-F / The Horrorist / Umberto / Everything Shook, €22/15/40, 19:00, District 8
Halloween should always be celebrated with Italian sleaze. Dario Argento’s surreal and unabashedly erotic Suspiria and Profondo Rosso are two of the most stylish horror films in existence, with a vibrant aesthetic present in its Hammer-style depictions of gore and its proggy, psychedelic soundtrack. Goblin’s Claudio Simonetti will give a live performance of both scores, sandwiching his Q & A with Chris O’Neill of the Triskel Arts Centre. Following the screenings will be an abundance of spooky acid and disco, between I-F, Umberto, The Horrorist and Everything Shook. Details here and here.
Saturday, 31 October – The Discotekken Halloween Bash, €10, 22:00, Tengu
The tireless Louis Scully is reanimating the Discotekken series for a night of fake blood and glitter in Tengu. Most of the Discotekken family will be making an appearance, including the man himself, Eoin Cody, and Frank B, as well as Platinumray. Meanwhile, Slim Tim and Johnny Hammond of Manma Saor will be upstairs mellowing out to afrobeat, reggae and hip hop. Costume is encouraged, but there’ll be plenty of props and you won’t be turned away if you’re not wearing some terrible synthetic animal onesie. Details here and tickets here.
Sunday, 1 November – Dublin Vegfest, €8/10, 11:00, F2 Centre
A celebration of vegan food and culture awaits you on Sunday, if you’re not feeling too scaldy after the weekend’s festivities. The day’s events will include talks and live music, information stalls, yoga, goodie bags, food and film. Many of the talks go beyond just considering veganism, into discussing the ethical and environmental impact of the food we consume. Facebook event here, more details here.
Audiard has been praised for his meticulous attention to shots, score and the minutiae of scene, which he curates with as much attention as he directs his actors. In Read My Lips, overworked and underlooked secretary Carla (Emmanuelle Devos), hires an ex-con (Vincent Cassel) as her secretary, and the two form an unexpected, intimate bond. Audiard’s Dheepan, this year’s Palme d’Or winner at Cannes, will be screened on the 20 November and accompanied by a Q & A with the director. More on Read my Lips here and here.
Tuesday 3 November – Gretchen Bender, free, 11-19:00, Project Arts Centre,
Gretchen Bender’s 1987 Total Recall is an assault on all senses that proved seminal. The “electronic theatre”, as she calls it, blends corporate logos, cuts from films, commercials and advertising into a choreographed mimicry of popular media that careens across multiple screens. Initially an overview, its intensity works to subvert that media’s original impact and ultimately question corporate self-representation. Oisín Byrne’s printed and painted curtain was created as a response to Bender’s electronic theatre and provides a static entrance to her work. More here.