Ireland/USA/France | 73mins | 2K digital | 4:3
Written, directed & produced by Dónal Foreman
Executive produced by Nicole Brenez & Philippe Grandrieux
Funded by the Arts Council of Ireland / An Chomhairle Ealaíon
 
This film is a part of the series
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An Irish filmmaker grapples with the legacy of his estranged father, the late American documentarian Arthur MacCaig, through MacCaig's decades-spanning archive of the conflict in Northern Ireland.
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Drawing on over 30 years of unique and never-seen-before imagery, The Image You Missed is a documentary essay film that weaves together a history of the Northern Irish Troubles with the story of a son's search for his father. In the process, the film creates a candid encounter between two filmmakers born into different political moments, revealing their contrasting experiences of Irish nationalism, the role of images in social struggle, and the competing claims of personal and political responsibility.
This film is a part of the series "It May Be That Beauty Has Strengthened Our Resolve", produced by Nicole Brenez & Philippe Grandrieux.
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Awards
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Grand Jury Prize of Avant-Garde & Genre Competition (BAFICI)
Prize for Best Original Music + Special Mention in French Competition (Cinéma du Réel)
First Prize in International Competition (Filmmaker Fest)
First Prize in International Competition (Transcinema Festival)
First Prize in International Competition (Muestra de Cine de Lanzarote)
First Look Award (Athens Avant-Garde Film Festival)
"Portraits" Grand Jury Prize (DocsMX)
Special Mention in International Competition (L'Alternativa)
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Screenings
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2018:
International Film Festival Rotterdam- Jan 27th, 28th, 29th & 31st (World Premiere)
Dublin International Film Festival - March 4th (Irish Premiere)
CPH:DOX, Copenhagen - March 17th, 19th & 22nd (Danish Premiere)
Cinéma du Réel, Paris (French Competition) - March 27th, 28th & 30th (French Premiere)
BAFICI, Buenos Aires (Avant-Garde & Genre Competition) - April (American Premiere)
Art of the Real at Lincoln Centre, New York City - May 4th (North American Premiere)
IndieLisboa (International Competition) - April 29th & May 1st (Portuguese Premiere)
Edinburgh International Film Festival - June 28th & 30th (UK Premiere)
Galway Film Fleadh, Ireland - July 13th
Guth Gafa International Documentary Film Festival, Ireland - July 22nd
Guanajuato International Film Festival - July 20th & 27th (Mexican Premiere)
Camára Lucída, Ecuador - July 28th & 30th (Ecuadoran Premiere)
Dokufest, Kosova - August 3rd-11th (Balkan Premiere)
Melbourne International Film Festival, August 5th & 15th (Australian Premiere)
Pull Focus Documentary Festival, Belfast - August 9th
IRISH THEATRICAL RELEASE:
- Irish Film Institute, Dublin - August 10th to 23rd
- Triskel Arts Centre, Cork - August 12th to 15th
Black Canvas Festival of Contemporary Cinema, Mexico City - August 21st to 26th
Open City Documentary Festival, London - September 8th
Hamburg FilmFest - October 4th & 6th (German Premiere)
Vancouver International Film Festival - October 8th & 10th (Canadian Premiere)
Astra Film Festival - October 17th, 18th, 19th (Romanian Premiere)
Athens Avant-Garde Film Festival - October 18th (Greek Premiere)
DocsMX - October 19th & 20th
"The Essay Film - Visible Thinking", Berlin - October 20th
São Paulo International Film Festival, Brazil
- October 18th, 19th, 23rd, 25th, 29th (Brazilian Premiere
Source Arts Centre, Thurles, Ireland - October 24th
Viennale (Vienna International Film Festival) - October 29th & November 2nd (Austrian Premiere)
Cambridge Film Festival - November 1st
Leeds International Film Festival - November 7th
Les Ecrans Documentaires, Arcueil, France - November 11th
Montreal International Documentary Festival (RIDM) - November 13th & 15th
L'Alternativa (Barcelona Independent Film Festival) - November 15th & 18th (Spanish Premiere)
Filmmaker Fest, Milan, Italy - November 20th (Italian Premiere)
Elliant Media Library, France - November 23rd
Muestra de Cine de Lanzarote, Canary Islands - November 28th
Transcinema, Peru - December 4th (Peruvian Premiere)
2019:
MEXICO CITY THEATRICAL RELEASE:
- Cineteca Nacional, Mexico City, November 23rd to January 17th
- La Casa del Cine - from February 7th
- Le Cinéma at the French Institute of Latin America- from February 1st
Union Docs, New York City, January 10th
DocPoint (Helsinki Documentary Film Festival) - Jan 29th, 30th & Feb 2nd (Finnish Premiere)
Bellwether at Amherst Cinema, Massachusetts - March 7th
Festival Internacional de Cine de Cartagena de Indias, Colombia, March 10th
Portland International Film Festival, Oregon - March 15th & 17th
Chicago European Film Festival at Gene Siskel Film Center, March 15th & 18th
LONDON THEATRICAL RELEASE:
ICA Cinema, London, March 29th to April 4th
Five Lamps Arts Festival, Dublin, April 5th
VariaVision at the Volksbühne, April 7th
Sarasota Film Festival, Florida - April 7th & 9th
La Cinémathèque française, Paris - April 12th
Odyssey Cinemas, Belfast - April 12th & 16th
"Northern Ireland: Our Battle of Images" at Irish Film Institute, Dublin - April 15th (film series curated by Dónal Foreman)
Centre for Irish Studies, Aarhus University, Denmark - April 23rd
DocLounge Aarhus, Denmark - April 24th
Festîvala Belgefîlman a FîlmAmedê -Amed, Turkey - May 10th
Europa 61, Cinema Trindade, Porto, Portugal - May 17th & 18th
Block Museum of Art, Northwestern University, Chicago - May 30th
"Northern Ireland: Battle of Images" at Metrograph, New York City - June (film series curated by Dónal Foreman)
Metrograph, New York City - from May 31st
Northwest Film Forum, Seattle, Washington - June 1st, 2nd & 3rd
Jean Cocteau Cinema, Santa Fe, New Mexico - June 15th
Phoenix Leicester, UK - June 26th & 27th
Retour de Festival, Orleans, France - September 17th
University of Wisconsin-Milwaukee - October 9th
GREEK THEATRICAL RELEASE (October 25th-26th):
- Greek Film Archive, Athens
- Danaos Cinema, Athens
- Thessaloniki International Film Festival
La Muestra Internacional Documental de Bogotá, Colombia - October 8th + November 7th
Spotlight Cinema, Madison Museum of Modern Art, Wisconsin - November 20th
The Docyard, Boston - December 2nd
Filmoteca Navarra - December 26th
2020:
Cineteca Madrid - January 15th & 30th
LUX Valence (with Grenoble Alpes University, Nicole Brenez & Robert Bonamy) - January 27th
Ambulante Sardinia - January 29th
2021:
DocLisboa: Europe in Cinema and the World (Cultural Program of the
Portuguese Presidency of the Council of the European Union) - January-March
Fresh Film Festival, Ireland - March 23rd
2024:
DCTV's Firehouse Cinema, New York City - November 14th
Le Mois du Doc @ L'Hermine Cultural Center, Sarzeau, Brittany, France - November 28th
"The Underground Archive" @ Filmoteca Catalyuna, Barcelona, Spain - December 11th & 18th
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Press
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IRISH PRESS:
“Superb ... A wonderful film from an intrguging, restless talent ... Following up Out of Here, a narrative hit here in 2013, Foreman’s new film elegantly intertwines Irish history and a study of parenthood to form an intelligent cinematic essay. ”
—Donald Clarke, The Irish Times
“Foreman has … plumbed his own unique circumstance to explore deep, delicate questions of national socio-political soul-searching. … In seeking to locate an individual through his art, Foreman has demonstrated above all his own profound prowess as a maker and interrogator of images.”
—Ronan Doyle, Scannain.com
“Poetic and poignant … Engaging and evocative … A film full of vulnerability and bravery ... The profound reflections of a seasoned filmmaker.”
—Síomha McQuinn, Film Ireland
"Foreman (director of the superb post-boom drama Out of Here) weaves together the personal and the political in an enthralling exhumation of a painful past."
—John Maguire, The Sunday Business Post
"Avoiding the mawkish and sentimental, The Image You Missed is a highly-skilled work of art, with a reflective, uncompromising approach to biography."
—Patrick Kehoe, RTÉ.ie
"Foreman ... uses his own film to turn the camera’s scrutiny back on his absent father, producing an engaging, clever consideration and critique of MacCaig’s legacy, of political docs more generally, and of the subtle differences between looking at and looking for."
—Conor Smyth, The Thin Air
"Part documentary, part essay, part therapy, The Image You Missed is a fascinating account of a life less ordinary."
—Michael Doherty, RTÉ Guide
INTERNATIONAL PRESS:
“Premiering in a sidebar at Rotterdam, this elliptical compendium of archival and newly shot footage quickly became a ‘buzz’ picture among the event's more ardently cinephile attendees … [An] engaging and quietly rewarding affair … An impressionistic primer on tumultuous Ulster affairs during and after the Troubles.”
—Neil Young, The Hollywood Reporter
“A moving and thoughtful first-person essay film … No longer beholden to his elder’s legacy, Foreman seems poised to carve out one of his own.”
—Jordan Cronk, Film Comment
“The Image You Missed is a meticulously hand-made, achingly evocative piece about a son coming to terms about who his father was as a man and as an artist.”
—Pamela Cohn, Filmmaker Magazine
“An intriguing documentary... that takes a sidelong look at the Troubles.”
—Ben Konigsberg,The New York Times
“Irish film-maker Donal Foreman’s marvellous, feature-length The Image You Missed (available on Vimeo) works through the film archive of his own father, American documentarian Arthur MacCaig, to assemble new familial and political narratives.”
—Guy Lodge ,The Guardian
“A meticulous and challenging comparison of two different ways of being a man, a citizen, and a filmmaker … A vibrant call for new fictions to be collectively written.”
—Chloé-Galibert-Laîné, DesistFilm.com
“Foreman grapples with MacCaig’s true-believer propaganda with a more nuanced approach, yielding a dichotomy of great relevance to today’s video essay makers: those 'able to reach conclusions' and those 'always concerned with what gets left out'.”
—Kevin B. Lee, Sight & Sound
“A deeply personal and powerfully moving documentary essay.”
—Leonardo Goi, Senses of Cinema
"Foreman’s excavation of a familial rift unearths stories without neat conclusions. Yet some common ground is nevertheless found. Despite working in different climates, the perspectives of father and son, at least, meet on the subject of documentary film-making. They believe in the power of images and, as Mr Foreman said in an interview, the importance of 'conjuring ghosts, not getting rid of them'."
—Sarah Jilani, The Economist
“A beautifully choreographed conversation between two men caught in a perpetual state of diaspora … Each film is a mission impossible, but Foreman’s plays out at depths few others normally venture in.”
—Leonardo Goi, The Film Stage
“Irish director Dónal Foreman’s exquisite, elliptical autobiographical essay film stages a profoundly moving encounter with his late estranged father … How to reconcile the personal and the political, how we connect (or fail to) with images and with each other through images lie at the heart of this absolute must-see, one of the most charged and beautifully weighted essay films of recent times.”
—Kieran Corliss (Deputy Editor of Sight & Sound),
"Eschewing easy conclusions in favor of infinite critique, the politics of the film are found, even more so than in Foreman’s conflicted admiration for McCaig and the nationalist movement, in its very approach to image-making and historical memory—a devastating performance of the inseparability of the personal, the political, and the aesthetic."
—Patrick Harrison, MUBI Notebook
"The film poses cinema itself as the instrument that, at once, links the dispersed members of a political movement, and serves as the thin thread that connects father to son, across time, and beyond death.”
—Leo Goldsmith, The Brooklyn Rail
"One of Donal's first texts is called 'Images Are Everything' (2003): it relates to the teaching of cinema and its title could not be more salient with regard to the explicit or implicit questions raised by The Image You Missed. What is a father who has not raised his son? How can a father devote his whole life to images without ever making or keeping any of his son? What is the power of these images that one can devote a life entirely and exclusively to them? What is the role of material or mental representations in collective life and in private life? What is the function, what is the efficacy, of activist films? By what mysterious paths do ideals, gestures, desires pass from one generation to another without them even needing to rub shoulders? How can we describe the incredible power of the forms of influence exercised by absence? All these questions and many more structure The Image You Missed, not verbally but by determining the subtlety and richness of each connection between the images shotby the father and those shot by the son. Donal Foreman's essay, anchored on his solid visual and theoretical grounding in the field of political cinema, develops his subject from the dialogues between the images themselves and, in so doing, invents a cascade of image events."
—Nicole Brenez, Images de la Culture (CNC)
"Essential ... Worthy of a course in documentary and its multiple ways of facing the real."
—José Geraldo Couto, Instituto Moreira Salles
"Briiliantly explored ... the question of what we’re really looking for when we partake in the act of watching..."
—Kiva Reardon, Filmmaker Magazine
"The Image You Missed is a shot reverse-shot between generations, where the ideals of the first face the disillusionment of the second, an Eisensteinian dialectic montage between these and the obsessive object of the father's cinema, namely the condition of Northern Ireland."
—Giampiero Raganelli, CineClandestino
"In this valuable autobiographical essay by Foreman, the journalistic and historical sense of the images transcends and becomes an intimate, essential truth, something that recovers the political and aesthetic experience of the world."
—Lucas Santos, Asa Nisi Masa Blog
"The Image You Missed says two very important things: that a movie should start where others end; that in a revolution, we always fight in the name of those who fought before us. However, it is not necessarily a question of mourning ... The melancholy here does not describe a contemplative state but a path towards action."
—Carlos Solano, Revue 24
"Foreman’s film is a candid personal journey of a lost connection, but it is also an evocative piece of social history ... Both director and recent history are laid bare before us with powerful effect."
—Anna Cale, The Culture Vulture
"Though it’s structurally and thematically challenging, the film is an investigation of process that grounds that search in more heartbreaking and relatable questions of how we construct memories of our loved ones, particularly those who were barely there to begin with."
—Maxwell Courtright, Tone Madison
"Dónal Foreman’s remarkable audiovisual collage The Image You Missed seems indebted to Godard’s philosophy of historical montage ... The ethics of representation, the ability of cinema to function as a tool of historical thought, the power of the camera as an instrument of political action – all of these issues come to the fore in Foreman’s montage. ... In seeking out resonances with MacCaig’s practice and his own, Foreman speaks to the way that the personal and the political intertwine, and makes the possibility of genuine social reformation seem achievable, however elusive it may appear."
—James Slaymaker, Film International
"Foreman’s relationship with his deceased father is predicated on animating his ghost as an ethical act: animating the ghost of his father but not his father per se. It is an estimate that involves sensing, as that which is faithful to the truth of not really knowing. The emphasis is on an ethics of working through material in a continuum that has no finality; a dialogue without final word. Sensing can assume a certain value, divorced from certainty of verifiable knowing."
—Dara Waldron, Studies in Documentary Film
"... Impressionistic montages ... reflect the vagaries of memory, the verities of history, and the need to reconcile the potential of the past with the realities of the present. [Foreman] deftly and dreamily cuts from MacCaig’s footage to his own images and counterpoints his father’s comments in interviews or letters with his own sometimes-plaintive, never-to-be-answered questions about why his father abandoned him and what his life might have been like had he not."
—Peter Keough, The Boston Globe
"Stunning and intimate"
—Rob Thomas,The Cap Times
Interviews
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A Note on
"It May Be That Beauty
Has Strengthened Our Resolve"
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"In response to André S. Labarthe and Janine Bazin's wonderful series 'Cinéastes de notre temps', dedicated to classical auteurs described by their spiritual heirs from the Nouvelle Vague, our series pays tribute to known and unknown filmmakers who have participated with guns, cameras, or both simultaneously, in the struggles of resistance and of liberation throughout the 20th century, and to those who today continue to fight against all dictatorships. Fearless and often heroic auteurs, they are examples of relevance and courage for which the cinema thankfully represents their collective history; filmmakers of the struggles for liberation, often with romantic trajectories, are also those who have most encountered censorship, prison, death, and today are consigned to oblivion.
"The series does not stem from a dogmatic list of the rules of the game. It is precisely the opposite, which conducts the movement of films; a gesture of freedom, without weight, by which the filmmaker can witness the work of another filmmaker, of his aesthetic, ethical, and political engagement, of his struggle with the world and with himself.
"Each film from the series is thus in itself a particular object which will have been thought out, produced, and realized according to the necessity that it brings. Each film addresses a common concern shared by all the others—that of transmitting the power of cinema when cinema and life are so deeply affected by one another. It is this concern that forms the unity of the series."
—Philippe Grandrieux, Nicole Brenez.
Films in the series
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Masao Adachi
Salut et Fraternité. Les images selon René Vautier
The Image You Missed
Newsreel : du cinéma anonyme vers des luttes nommées
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(Philippe Grandrieux, 2011)
(Oriane Brun Moschetti, 2015)
(Dónal Foreman, 2017)
(James Schneider & Ivora Cusak, 2018)
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The Filmmakers
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Arthur MacCaig (1948-2002)
 Born in Weehawken, New Jersey in 1948, but living most of his life in Paris, Arthur MacCaig directed and produced political documentary films starting in 1978. He received a degree in anthropology from the University of Hawaii in 1971, and a degree from France's National School of Cinema in 1977.
He is best remembered for his debut feature (and film school graduate project), The Patriot Game (1979), a visceral analysis of the conflict in Northern Ireland and one of the first films to passionately portray the Northern Irish nationalist perspective. Produced by Iskra, the French film collective founded by Chris Marker, it was described as “thorough and thoughtful” by Janet Maslin in the New York Times and “informative, vivid and partisan” by J. Hoberman in the Village Voice. It was also described by the UK Foreign Office as “damaging and highly critical of Her Majesty’s Government”. MacCaig would go on to make seven more films in Northern Ireland, charting the evolution of the struggle over a 25 year period, earning unprecedented access to the underground Irish Republican Army.
He would also make several films about another nationalist struggle, that of the Basque-Spanish conflict, beginning with Euskadi: the Stateless Nation, which premiered at the Cannes Film Festival in 1984 and was described as “serious, intelligent, and effective”by Libération.
He died in Belfast in 2008.
Selected Filmography (as director)
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The Patriot Game
Euskadi: The Stateless Nation
The Jackets Green
Irish Ways
Against Her Majesty
Irish Voices
I Am Become Death
War and Peace in Ireland
Song of Ireland
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(1979, feature)
(1984, feature)
(1987, short)
(1989, feature)
(1991, short)
(1995, short)
(1995, feature)
(1998, feature)
(2002, short)
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Dónal Foreman (director, producer, editor)
 Dónal Foreman (born in Dublin, 1985) is an Irish filmmaker living in New York City. He has been making films since he was 11 years old. Since then, he has written, directed and edited over fifty short films and two features. His first feature, Out of Here (2013) was theatrically released at the Irish Film Institute in 2014, receiving 4-star reviews from major newspapers including the Irish Times, the Independent and the Sunday Business Post. The Irish Times praised the film as "profound, humorous and touching" with "note-perfect performances".
At age 17, he won the title of Ireland's Young Filmmaker of the Year, and more recently he has been nominated for the Rising Star award at the Irish Film & TV Awards, and awarded the Discovery Award from the Dublin Film Critics Circle. He’s an alumnus of the Irish National Film School and the Berlinale Talent Campus, and, since 2011, a member of the Brooklyn Filmmakers Collective. As a film critic, he has written for many publications including Cahiers du Cinema and Filmmaker Magazine, and as a teaching artist, he was worked with public school students across New York City for the Tribeca Film Institute among other organisations.
Selected Filmography (as writer, director & editor)
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Removal
You’re Only What I See Sometimes
Declarations
Pull
Refuge
6 x Occupy
The Ghost Said
Out of Here
The Image You Missed
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(2006, short)
(2008, short)
(2009, short series)
(2010, short)
(2011, short)
(2012, short series)
(2012, short diptych)
(2013, feature)
(2017, feature)
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Nicole Brenez (executive producer)
 Nicole Brenez is the author and editor of several books and is the curator of the Cinémathèque française's avant-garde film series since 1996. She contributes to several film magazines, including Cahiers du Ciném, Trafic and Sight & Sound. She has organised many film events and retrospectives, notably “Jeune, dure et pure, A History of Avant-Garde Cinema in France” for the French Cinémathèque in 2000 (80 screenings, 400 films). She is also the curator for the Experimental Section for the Cinéma du Réel Film Festival since 2010, and has organized series or events at the Louvre Museum, Lincoln Center, Anthology Film Archives and the Tate Modern.
Philippe Grandrieux (executive producer)
 Philippe Grandrieux’s work covers several areas of kinetic visual arts: feature film, experimental television, video art, documentary, and museum and gallery installation. He pushes the boundaries of whatever field he is working in and strives for an ever inventive, truly radical cinema. Grandrieux’s first three full-feature films—Sombre (1999), La vie nouvelle (2002), and Un lac (2008)—demonstrate his profound exploration of image, sound, and narrative structures In the 1980s, he worked in collaboration with the French Institut National de Audiovisuel and the television channel La Sept Arte where he helped develop new cinematographic forms and formats that called into question some basic principles of film writing. More recently his films, installations and performances have been presented at CPH:DOX, Lincoln Center, the Whitney Museum, and at the Locarno, Venice and Rotterdam Film Festivals.
Michael Buckley (original music)
 Regarded as the most important and influential musician on the Irish jazz scene, saxophonist/ flautist and composer Michael Buckley has been playing professionally since the age of six when critics hailed him as a child prodigy. Born in Dublin city in 1971 Michael first came to prominence on an international level when, aged 10, he played flute with the legendary saxophonist George Coleman in the National Concert Hall. Though largely self-taught, his obvious talent has been developed by his father Dick Buckley, and such legends as Milt Hinton. Buckley has found his own unique voice playing both on saxophone and flute.
Now in his early 40s, Buckley is rapidly becoming the most important producer of his generation, with countless albums from jazz to traditional to hip hop to his credit. As a session musician he has also collaborated on recordings with Glen Hansard, Donovan, The Cranberrys and The Coors.
Ohal Grietzer (original music)
 Ohal is a composer and mixed-media artist working primarily with audio and video. She is focused on the production and performance of electronic music using synthesizers, field recordings, and voice. Ohal's score for Lior Shamriz's film Cancelled Faces and her debut album Acid Park were released last year on Styles Upon Styles. She has previously worked on music and film with TV On The Radio's Tunde Adebimpe, collaborated with Tyondai Braxton and toured in Rain Machine. Ohal has performed her work at the Fridman Gallery, MoMA PS1, and NTS Radio. She is currently working on a second album and is completing the score for Tzion Avraham Hazan's video installation Ashkelon Augmented.
Christopher Colm Morrin (original music)
 Previously known as "Robotnik", Christopher Colm Morrin is a Dublin born poet, singer-songwriter, filmmaker, film composer and visual artist currently based in Berlin. In 2012 he finished “Robotniks” second album “The Death Of Robotnik” in Berlins infamous Funkhaus studios. He moved to Berlin at the end of 2012 to follow a new path and take time out from being a live performer. The period from 2013 till now is when Morrin began to feel the deep significance of poetry, images, drawing, sound experimentation and filmmaking.
Andrew Kirwan (sound design)
 Andrew Kirwan is a sound designer and composer based in Dublin, Ireland. Graduating with a diploma in sound engineering and an degree in music technology, he splits his time between working as a freelance composer and working on sound design for animation in Windmill Lane, one of Ireland’s largest post production houses. His past projects in sound design include Coda, which was shortlisted for an Academy Award for Best Animation, and Dangermouse, which won Best Music & Sound Design at the Irish Animation Awards.
Ernest Larsen (voice of Arthur MacCaig)
 Ernest Larsen is a New York-based novelist, filmmaker, media critic, and curator. His new book, The Trial Before the Trial, a factual expose of the secret grand jury system in the U.S, is forthcoming from Automedia. He is co-curator of the DVD sets, Disruptive Film: Everyday Resistance to Power, Vol. 1 & 2, from Facets Multimedia, that gathers dozens of short-form experimental/political films. With his collaborator, Sherry Millner, he has produced many films including Rock the Cradle (2012) and How Do Animals and Plants Live? (2018).
Seán Brennan (1927-1997) (cinematography)
 Born in Dublin in 1927, Seán Brennan lived in New York City with his partner Martin from the 1950s until a few months before his death in 1997. After working for decades as a graphic artist in various advertising agencies, he eventually turned freelance so that he had more time to travel and watch movies. In the late 1960s, he started shooting 8mm home movies, ranging from travelogues to short fiction skits and animations, shooting over 7 hours of material, but apparently lost interest in the practice by the early 1970s. Excerpts of this material feature in The Image You Missed.
Piers McGrail (cinematography)
 Piers McGrail shot his first feature, Kelly+Victor in 2011, which recieved a BAFTA for 'Outstanding Debut'. Since then he has shot a number of features that have premiered at major festivals including Sundance, Tribeca and Toronto. A classmate of Dónal Foreman at the Irish National Film School, they collaborated on nine short films together and Foreman’s debut feature Out of Here (2013). Clips from their work together, most notably The Ghost Said (2014) and Out of Here, are featured in The Image You Missed.
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For UK screenings, please contact inquiries@contemporaryfilms.com
For all other queries, please contact donalforeman@gmail.com
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