Marc-Ivan O'Gorman

A cryptic exploration of a sitcom apartment.

A young man who visits an abandoned house in the mountains is haunted by its sinister pagan past.

A stop motion re-telling of the classic Edgar Allen Poe short story, in which a man is driven to insanity by the presence of his older companion's pale blue eye.

Three young men vacationing in Bangkok, Thailand meet a Thai woman who ends up dead the next morning. Upon returning to the states, the men are haunted by the vengeful spirit of the woman.

In a rare and potentially fatal feat of cinematic daring, "Dublin 26.06.08" was shot entirely between 12.01am and 11.59pm on Thursday June 26th 2008. This audacious cinematic collage offers both a unique snapshot of a single day in the life of Dublin and a vivid example of a bold guerrilla filmmaking model. The film is an eclectic, multi-authored impression of Dublin (within the bounds of the encircling M50 motorway) as it lived, died, breathed, made love, filled up and emptied, consumed, wept, was rained and shone upon, grew bright and then darkened again.

After his wife and eight year old son disappear on a beach and the police find no clues, Antoine starts investigating their disappearance himself. Starting with locals, Antoine immerses himself into their world entering an underground cult that leads him into a remote, abandoned western town in the desert. Now, he must find his family as the cult leader plays a twisted, psychedelic game with him…

Three young men vacationing in Bangkok, Thailand meet a Thai woman who ends up dead the next morning. Upon returning to the states, the men are haunted by the vengeful spirit of the woman.

Three young men vacationing in Bangkok, Thailand meet a Thai woman who ends up dead the next morning. Upon returning to the states, the men are haunted by the vengeful spirit of the woman.

In a rare and potentially fatal feat of cinematic daring, "Dublin 26.06.08" was shot entirely between 12.01am and 11.59pm on Thursday June 26th 2008. This audacious cinematic collage offers both a unique snapshot of a single day in the life of Dublin and a vivid example of a bold guerrilla filmmaking model. The film is an eclectic, multi-authored impression of Dublin (within the bounds of the encircling M50 motorway) as it lived, died, breathed, made love, filled up and emptied, consumed, wept, was rained and shone upon, grew bright and then darkened again.