Kevin Marron

A raw young officer and a handful of desperate men. A thousand miles of enemy infested ocean: and a ship that would not die.

A family adopts a runt of a dachshund from a shelter. Only time will tell if little "Shelly" and her new family are up for the challenges of entering the nation's greatest wiener dog race, Wienerschnitzel's "Wiener Dog Nationals."

A man hunts divine beings in a city that is falling into decrepitude. The society may have turned its back on him, but that doesn't stop him from moving forward in his endless search.

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.

A little girl from birth has powers to move objects with her mind. As a young girl tragedy happens and she chooses to never use her gift again. When she becomes older the world starts to be overtaken with unknown machines. As Lex and her brother Ethan run for their life's, she has to make a decision to keep her oath, or to over come her fear and use her gift.

An irreverent, modern, non-traditional re-telling of Ulysses, told rapidly by a succession of over 75 international actors. The film maintains the rhythm of the novel's stream of consciousness with intimate, minutely nuanced provocative performances.

A raw young officer and a handful of desperate men. A thousand miles of enemy infested ocean: and a ship that would not die.

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.