Date: Friday 22nd March
Venue: St. James’ Church
Cost: €10.00 (includes film plus live performance)
Time: 9.00pm
Format: Feature Documentary - Followed by Live Performance

79mins/2018/Ire/Colour/Digital

“Cinematography plus psychoanalysis equals The Science of Ghosts.” Jacques Derrida.

Can a film ever truly reflect who you are? Adrian Crowley becomes a ghost visiting his own life, imagining what a documentary about himself would be like, blurring the lines between documentary and fiction, reality and imagination, subject and director.
In this meditation on storytelling and filmmaking, we ask: where do we find the true story of a person? Is it in what they tell us, or rather in what they don’t tell us? And do they even know themselves?

Directed by Niall McCann (Art Will Save The World 2012, Lost In France, 2017) who further explores the playful territory he mapped out in his first two films, pushing the form of not just what a music film is supposed to be and could be into new places but what a “documentary” is and could be.

The role of the musician is “played by” Adrian Crowley playing the role of himself, as each of us do each day and as Derrida plays himself in Ghost Dance, the film our title is derived. The film is filled with the sonorous vocals and beautiful melodies of Crowley, and also features stunning performances by Radie Peat of Lankum, Brigid Mae Power, the Crash Ensemble and an appearance by the celebrated Irish writer Kevin Barry.

Adrian Crowley is an award winning Irish artist and musician once described in Rolling Stone Magazine by American songwriter Ryan Adams as: the greatest songwriter you may not have heard of. He is signed to the iconic Scottish record label Chemikal Underground.

The Film will be introduced by Director Niall McCann and will be followed with a live performance by Adrian Crowley in The Church.

Trailer:

“McCann is clearly a cineliterate director. He employs the best and most engaging aspects of experimental films in a way that is challenging but also very funny and lyrical. Some cuts feel like punchlines, while others work as mini-cliffhangers.” Dublin Inquirer

“McCann cleverly juxtaposes the sublime with the even more sublime and always manages to carry it off with panache. As experimental films go, I would suggest this has tones of Meshes of the Afternoon (Maya Deran, 1943, USA), with its unpredictable reminiscences – McCann’s wonderful offering allows and encourages viewers to think for themselves – it is what makes his film well worth seeing.” Film Ireland

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