Reed O'Beirne

While St. Paul is said to have received his revelation from a celestial third heaven, our unseen narrator challenges you to decipher a revelation of the terrestrial everyday here and now, the impossible conundrum of reality. You are invited to enter a prismatic rumination on perceptions of spacetime, along with the related confines of language and the complexity of perspective. Revelation 360 poses spatiotemporality as an interrogation, giving you the freedom to navigate through time and space, while indicating the limitations of our conceptions, inevitably tied down by our situated experiences and the circumscriptions of language. The narrator sees you and offers suggestions for your interpretation that are both certain and uncertain, reassuring and unsettling - leaving you as both the watcher and the watched. When does it start, where is the middle, and how does it end? Are these even the right questions?

Created by animating MRI scans, PHANTOM LIMBS peers deeply into the physical body to conjure inner space as an enveloping world of light breaking upon the mind. Set to music by Seattle band, St. Kilda.

A haunting exploration of familial bonds, intergenerational memory, and the enduring impact of shared narratives. Filmmaker Kamila Kuc steps into the emotional stream of inherited family history as the lines between documentary, testimony, and fiction blur. She performs acts of bearing witness not just for herself but also on behalf of her grandmother. Together, they testify to their experiences and the reverberations these stories have over time. I Was There is a palimpsest - a layered tapestry where past and present intertwine in the intimate process of activating memory and vulnerability as forms of resistance. It honors the testimonial object inherited from ancestors and the living connection that binds generations in the shared pursuit of justice and healing.

A wordless woman rises to confront herself through a dance of self-liberation. Featuring choreography and dance by Carolyn Pavlik, along with an original soundtrack by Robin Guthrie, the film evokes a mystical story-line of struggle and release.

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.

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.

While St. Paul is said to have received his revelation from a celestial third heaven, our unseen narrator challenges you to decipher a revelation of the terrestrial everyday here and now, the impossible conundrum of reality. You are invited to enter a prismatic rumination on perceptions of spacetime, along with the related confines of language and the complexity of perspective. Revelation 360 poses spatiotemporality as an interrogation, giving you the freedom to navigate through time and space, while indicating the limitations of our conceptions, inevitably tied down by our situated experiences and the circumscriptions of language. The narrator sees you and offers suggestions for your interpretation that are both certain and uncertain, reassuring and unsettling - leaving you as both the watcher and the watched. When does it start, where is the middle, and how does it end? Are these even the right questions?

While St. Paul is said to have received his revelation from a celestial third heaven, our unseen narrator challenges you to decipher a revelation of the terrestrial everyday here and now, the impossible conundrum of reality. You are invited to enter a prismatic rumination on perceptions of spacetime, along with the related confines of language and the complexity of perspective. Revelation 360 poses spatiotemporality as an interrogation, giving you the freedom to navigate through time and space, while indicating the limitations of our conceptions, inevitably tied down by our situated experiences and the circumscriptions of language. The narrator sees you and offers suggestions for your interpretation that are both certain and uncertain, reassuring and unsettling - leaving you as both the watcher and the watched. When does it start, where is the middle, and how does it end? Are these even the right questions?

While St. Paul is said to have received his revelation from a celestial third heaven, our unseen narrator challenges you to decipher a revelation of the terrestrial everyday here and now, the impossible conundrum of reality. You are invited to enter a prismatic rumination on perceptions of spacetime, along with the related confines of language and the complexity of perspective. Revelation 360 poses spatiotemporality as an interrogation, giving you the freedom to navigate through time and space, while indicating the limitations of our conceptions, inevitably tied down by our situated experiences and the circumscriptions of language. The narrator sees you and offers suggestions for your interpretation that are both certain and uncertain, reassuring and unsettling - leaving you as both the watcher and the watched. When does it start, where is the middle, and how does it end? Are these even the right questions?

Created by animating MRI scans, PHANTOM LIMBS peers deeply into the physical body to conjure inner space as an enveloping world of light breaking upon the mind. Set to music by Seattle band, St. Kilda.

A haunting exploration of familial bonds, intergenerational memory, and the enduring impact of shared narratives. Filmmaker Kamila Kuc steps into the emotional stream of inherited family history as the lines between documentary, testimony, and fiction blur. She performs acts of bearing witness not just for herself but also on behalf of her grandmother. Together, they testify to their experiences and the reverberations these stories have over time. I Was There is a palimpsest - a layered tapestry where past and present intertwine in the intimate process of activating memory and vulnerability as forms of resistance. It honors the testimonial object inherited from ancestors and the living connection that binds generations in the shared pursuit of justice and healing.

A wordless woman rises to confront herself through a dance of self-liberation. Featuring choreography and dance by Carolyn Pavlik, along with an original soundtrack by Robin Guthrie, the film evokes a mystical story-line of struggle and release.

A wordless woman rises to confront herself through a dance of self-liberation. Featuring choreography and dance by Carolyn Pavlik, along with an original soundtrack by Robin Guthrie, the film evokes a mystical story-line of struggle and release.

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.

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.

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.