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Poster for Evil Dead Burn - a red tinted image of a woman’s face screaming in profile, her neck clutched by a zombie-type hand, while there are sparks of flame and red smoke as from a fire behind her face.
Poster for Project Hail Mary. A starscape of multiple colours blurs past as a background not unlike an action frame in an old anime, prominently reddish orange but with traces of purple on the left and a bit of green to the right. A small figure in a red spacesuit dangles up on the left hand of the image, attached by a thin red tether to a whitish, circular portion of a spaceship in motion.
Screenshot of a page from a translation service from Ancient Greek to English. It notes that ‘Ancient Greek is a low-resource language — fast translations may contain errors. Use Advanced for the most accurate results.’ There are two text boxes, one on top in Ancient Greek with a translate button next to it, one down on the bottom with English and options to sound it out, copy or share it. The Ancient Greek text is as follows: ἣν ζητεῖς ἀγάπην, ἐν τῇ φάραγγι τῆς ψυχῆς ἐστιν. ἣν ζητεῖς ἀγάπην, ἐν τῇ σοφίᾳ τῇ γεγραμμένῃ ἐν ταῖς ἀρχαίαις δέλτοις ἐστίν. The English text is as follows: The love you seek it's in the valley of the soul. The love you seek it's in the wisdom written on the ancient scrolls
Photo of part of a picture from the Usborne book of Greek myths. In this drawing by Rodney Matthews there is a stormy sea with a misty view of towering mountains in the background. There is also a version of the Scylla from myth, which here has at least four fish like human heads all on top of each other in profile, with a fishy humanoid upper trunk of a body in greens and turquoises giving way to a lower body of four feral looking slapping dog heads and a darker purpling to grey colour that continues to the spiky and once again fishy lower part of the body, plunging into the water past full view.
Screenshot of Elliot Page as Sinon in the movie The Odyssey. Medium shot, his eyes are almost closed as a blade is at his throat. A wooden surface is behind is head.
A photo taken of the screen in Cinema 1 of the Irish Film Institute. showing a promotion for The Odyssey: Matt Damon in costume as Odysseus with the pseudo-Roman gear, with burning fires and a large horse figure in shadows framed by it. Onscreen text: 70MM A FILM BY CHRISTOPHER NOLAN THE ODYSSEY 17.07.26 SHOT ENTIRELY WITH IMAX FILM CAMERAS SCREENING IN 70MM EXCLUSIVELY AT THE IRISH FILM INSTITUTE, IRELAND'S ONLY 70MM CINEMA
Screenshot of a page from a Fangoria article -their header in red on the upper right side of the image, above which is an arrow directing back to Bluesky, with search and menu bar icons on the left hand side of the image. Beneath these is some text, which is as follows: Although Reconcile is Campbell's first written venture into the oater genre, let's not forget his starring role in the weird western series The Adventures of Brisco County, Jr., in which he played the titular lawyer-turned-bounty hunter for all 27 episodes of the sadly-cancelled show.
Screenshot from the Galway Film Fleadh page for Irish Animation. A drawn image of a human body wearing a suit in medium view - but instead of a head, the body has a fish placed on top. An old CRT style computer screen and tower is on a desk on the right, some natty green wallpaper and a box is behind him.
Screenshot of the Galway Film Fleadh page for the movie Feed. Five people in medium shot all stand in front of a green forest, one woman at the far left, another second from the right, the other three are men. The woman on the far left poses confidently, the three on the right all look off at something to the right, and one from the left is looking down at a device he is holding.
Screenshot of the Galway Film Fleadh page for the movie American Doctor. A medium shot of four male figures all wearing medical scrubs and face masks, with one of those hospital lighting systems above them as they look down to a shared point between them - in context, one assumes, a patient.
Screenshot of the Galway Film Fleadh page for the movie Prosecution. A woman in the distance medium of the image is seated in front of a wooden desk in a wooden panelled room, an out of focus man is seated in profile looking to our left on the right of the image, an even closer out of focus part of a head is engulfing the left side of the image.
Screenshot of the Galway Film Fleadh page for the movie You Believe In Angels, Mr. Drowak? (Sie glauben an Engel, Herr Drowak?) It is a photo in two tones: on the right, a medium shot of a black and white image of an old moustachioed man looking sadly while wearing a vest, but a cake with multiple candles before him is coloured yellow, and the yellow dress and shoulder to back of the head view of a young woman looking at him is in colour.
Screenshots of the Galway Film Fleadh page for Hold Onto Me (Kp’ata Me.) A photo of a scraggy ground with tufts of green and a sea beyond it, a jeep in the far right and in the foreground on the left a young girl reclining on a chair in profile (reclining towards the centre) while slightly further back on the right a man reclines on a similar chair the other way, both forming a kind of triangle in front of a small table with cups and drinks around it in the middle of the image.
Screenshot of the Galway Film Fleadh page for the movie At The Place Of Ghosts (Sk+te'kmujue'katik.) A photo shows two men in a medium shot, in a bright green forested clime, the one on the right closer to us and with his arm in a sling while the one on the left holds the arm of a bag presumably strewn over his back. Both of them are looking off at something to the left.
Galway Film Fleadh page for the film Washed Up. A photo shows a full view of a woman standing from behind, in the middle of the frame, the sea extending beyond in front of her and green landscape beneath her feet.
Screenshot from the Galway Film Fleadh page for Naxos. A beautiful blue reddish sky of morning or evening, the light coursing over blue clouds, are the background to a central shot of a two piece colonnade in the centre of the image with a man standing in front of it, looking towards it. Off in the distance on the right are mountains, on the left are the lights of a city and the seaside.
A screenshot of the Galway Film Fleadh page for Brace For Oblivion. A soldier in camo fatigues is seen from behind, marching forwards across a snow strewn landscape.
Screenshot of the Galway Film Fleadh page for the film Rolling Papers (Pilad Paberid.) A woman, left, sits next to a man, right, in a medium shot, in front of a wall of small wooden sticks pointing out and a tree to the right and glass and wooden buildings behind the sort of wall with greenery behind that.
Josefina Rautiainen (right) being interviewed (by the person on the left) after a screening of her film How To Shout at the Galway Film Fleadh.
Screenshot from the Galway Film Fleadh page for How To Shout (Huutamisen taito), showing a woman with long stringy hair in the centre of the image, a TV on a table with a potted plant on the left behind her - while on the right half of her face is obscured by someone in front of her, the back of their head and distinctly shorter hair visible to us.
Margit Lillak (right) is interviewed about her movie Becoming Roosi at the Galway Film Fleadh.
Screenshot for the Galway Film Fleadh page for Becoming Roosi. A close up of a young person’s face, hands on the face while the eyes are closed, wearing drab darkly hued gear and having long stringy hair.
Screenshot from the Galway Film Fleadh page for Spacetime Chronixles. A stylised animation style 3D image of a man in the middle distance standing in front of a bench, surrounded by blocky green trees, with various somewhat picturesquely quaint buildings just visible behind that forest. The man has a red shirt and is holding a newspaper, a bag is on the ground next to him to our left.
Anita Naughton (left) being interviewed by an interlocutor (right) about the movie Stardust: A Story of Love in Architecture at the Galway Film Fleadh.
A screenshot from the Galway Film Fleadh page for Stardust: A Story Of Love & Architecture. The image shows a red sky over a marquee titled ‘Stardust’ at the side of a building, the words spread across spiky lights suggesting an explosion and a globe statue hanging above it.
Screenshot for the Galway Film Fleadh page for the film The Silent Run. An orange tinted photo of two people, seen medium shot with their faces and shoulders visible, a young man (left) and woman (right.) The man wears a white shirt and the woman something pinkish (the tinting makes it ambiguous. Both of their faces are in profile and seen from above as they lie down, upside down from our perspective, their curls of hair exploding from the tops of their heads and extending down in the image as they embrace, the woman’s hand on the man’s face and the man’s extended around the back of her head. They lean in as if about to or just after a kiss.
Kun’ao Yan (right) being interviewed (by someone on the left) at the Galway Film Fleadh.
A screenshot of a medium shot of Jeff Kober in the TV series China Beach as Sergeant Evan ‘Dodger’ Winslow. He is wearing military gear (including machine gun bullets as bandoliers) and is staring offscreen to the left with a distant look.
Galway Film Fleadh poster for the film Jet Lag In Summer (八九点钟), presented with the EAFFI. A woman (left) and man (right) sit in an apartment, the woman on a sofa and the man on the ground, with a small table between them in the centre of the image, on which are three bottles. They are in the process of stretching out their hands over the table clinking glasses they each other. Behind the man are visible three potted plants and a widow into a mostly darkened space, with the lights seeming to mostly be reflections from their room.
A screenshot of the Galway Film Fleadh page for the movie Joybubbles - a closeup in black and white of someone seated on a sofa, the image consisting of their face with two landline phone receivers placed by their hands on either side.
Screenshot from the Galway Film Fleadh page for the film Light Pillar (Han ye deng zhu.) The film is depicted as a drawn image of a man seated in a room with chairs ahead and to the side (like a bus) with another man with a moustache and a truly impressive stretch of wavy hair closer to us on the right hand side. Behind the first man are windows, to an outside tinted orange, with clouds and the trace of a heavily industrialised city in the distance.
Screenshot of the Galway Film Fleadh page for the movie Laundry (Uhlanjululo), the image shows a trumpet in profile, with a man having his lips pressed to it on the right side of the image as his hands hold it, fingers primed, clearly in the middle of playing the instrument.
Screenshot from the Galway Film Fleadh page for The Fin. A group of a little over a dozen people all dirty, all wearing yellow uniforms - are huddled together. One in the centre middle has her hand held up as if asking a question in class.
Presenter (on the left) interviews the cast and crew (on the right) of Our House at their premiere in the Galway Film Fleadh.
Screenshot from the Galway Film Fleadh page for Our House (the opening film.) An image of three people fairly dressed drably in front of a grey ceiling, looking down towards our POV (the camera appears to be on the ground.)
A poster for the film Blue Heron (from the Jeonju Film Festival), featuring the eponymous bird on a keychain, standing in a red void that comprises the rest of the image.
Screenshot from the movie Star Trek II: The Wrath of Khan. William Shatner as James T. Kirk (medium view) is seated on the ground; with some greenery visible in front of him and, darker, behind him; he is wearing a white shirt with one arm visible and a red piece. He is looking up off camera to the right of the image.
Close up shot of Sonya Walger as Molly Cobb in For All Mankind (2019.) She is wearing reflective aviator glasses, and a blue top over a white shirt. There is a grey wall behind her that ends to the left of the image opening to a blackness behind it.
Poster for The Ghost In The Shell (2026), a stylised anime image of Major Mokoto Kusanagi, her hair glowing bluely and wearing a silvery skin-tight texture open in the middle of her chest. Wires spin out of her against a red-orange, electric heated seeming background with traces of computer chip lines.
Screenshot of the poster art for the video game: Harlan Ellison’s I Have No Mouth, And I Must Scream, billed under ‘Free Games’ and marked furthermore as ‘Coming Soon’ and, beneath the poster, Free Jul 02-Jul 09. The poster is one of what is recognisably Harlan Ellison’s face partially subsumed by grey, computer chip like lines (notably blocking where his mouth would be), extending off in all directions with a slight blue glow behind them.
Poster for Tron. A stylised image of a male figure standing in the middle of a series of concentric circle, hands up stretched, a feminine figure to the right. Both of them glow blue from their chests, as a blue light stretches in a line from the chest of the man upwards. A red light surrounded by a blue light is behind him, and there is a black background.
Poster for Clockwork Orange - a red background against which there is a stylised face with a black bowler hat and a single eye on our left with a black iris and black eyelashes, an ear further left and no more face.
Poster for the X-Files film - a blue tinted image of Scully and Mulder in silhouette in the middle distance, a light behind them as they walk across an indistinct yet detailed ground. Behind them is a cloudy sky, and, to the right, two helicopters.
Screenshot of text from the quoted article. As follows: But I didn't watch TADC because I thought I would like it, though I did. Nor did I watch it to do market speculation, though I have. I watched it because I wanted to spectate the formative experience that the queer artists of the future are currently having with a story. TADC follows in the footsteps of Undertale and Homestuck and Buffy and Xena Warrior Princess and Star Trek. The only people who care about this shit right now are still in school. But one day you will see traces of it everywhere. love ya lots, helmet girl xx
Photo of a page from a programme note. Text as follows: French Reverie Henning Kraggerud Director/Violin/Viola Fauré Pavane in G minor, Op. 50 (arr. Flavio Regis Cunha) Debussy La fille aux cheveux de lin (arr. Lee Armstrong) Satie Gymnopédie No.1 (arr. Elaine Fine) Massenet Méditation from Thais Hunka Beyond Ravel String Quartet in F Major (arr. Rudolph Barshai)
Poster for the film Angel’s Egg: a black background with a white egg shape on top of it, inlaid inside the egg is an image of a young porcelain white film with similarly shock white flowing hair.
A screenshot of text from the first chapter of H.G. Wells’ War of the Worlds. Text as follows: And before we judge of them too harshly we must remember what ruthless and utter destruction our own species has wrought, not only upon animals, such as the vanished bison and the dodo, but upon its own inferior races. The Tasmanians, in spite of their human likeness, were entirely swept out of existence in a war of extermination waged by European immigrants, in the space of fifty years. Are we such apostles of mercy as to complain if the Martians warred in the same spirit?
Poster for Disclosure Day: an eye against a splash of white light like stars morphing in a warp or something in the sky.
Screenshot of a Spotify playlist by Valondar (who has an orange orb of an avatar. There are also headers to mix, edit, sort, and change names and details.) The name of the playlist is Normal Feelings Playlist (description: Feeling fine) and the cover art is a shutterstock image of something labelled as a cisgender flag (given a number 2133072783), the flag is a stripe of pink, then dark blue, then white. The playlist is eleven minutes long and consists of two songs: Isn’t She Lovely by Stevie Wonder, and Anthems For A Seventeen Year Old Girl by Broken Social Scene. Both are accompanied by the album covers for Songs In The Key Of Love and You Forget It In People respectively.
Closeup of the blue alien character Korvo from the animated series Solar Opposites. To the right part of a door behind him and a guitar can be seen.
The National Symphony Orchestra, Dennis Russell Davies (left) and Maki Namekawa (in white, on the left, hand on piano) accepting their applause.
The National Symphony Orchestra (with Dennis Russell Davies standing centre) accepting applause at the National Concert Hall.
Screenshot of a page from a programme. Text is as follows: PHILIP GLASS EXPLORED National Symphony Orchestra Ireland™ Dennis Russell Davies conductor Maki Namekawa piano Sat. 6 June '26, 7.30pm - National Concert Hall Programme Philip Glass The Light Irish Premiere / 24' Interlude from The Voyage Irish Premiere / 6' Piano Concerto, Mishima Irish Premiere / 40’
Screenshot from Frinkiac of the Simpsons. Homer Simpson is reading off a sheet in front of Roger Meyers Jr, who is sitting by a table. Text: Patricia needs to be louder, angrier, and have access to a time machine.
Screenshot from the anime Flowers of Evil (2013.) Medium view of the protagonist, Takao Kasuga, walking down a street. Telephone poles and houses are visible in the background, Takao is wearing a shirt and tie.
The National Symphony Orchestra (with Dennis Russell Davies standing centre) accepting applause at the National Concert Hall.
The National Symphony Orchestra, Dennis Russell Davies (left) and Angélique Kidjo (in red, on the left.)
Screenshot of a programme note for the National Symphony Orchestra Ireland. Details are as follows: National Symphony Orchestra Ireland Dennis Russell Davies conductor Angélique Kidjo voice Fri. 5 June '26, 7.30pm - National Concert Hall Presented by Paul Herriott, RTÉ lyric fm Programme Philip Glass Prelude and Dance (The City) from Akhnaten rish Premiere /18 Ifè Songs Irish Premiere / 19' Symphony No. 8 Irish Premiere / 39'
Hand holding a CD cover for Sev Trek: Music From The Pus In Boots Animated Cartoon (Music composed and performed by Marcos Kleine Featuring bonus tracks from BenHerd.) The cover shows three CG models from the film, all playing instruments. Left to right: Commander Piker (a Commander Riker spoof) on the trombone, Captain Pinchhard (a Captain Picard spoof) on the flute and Beta (a Data spoof) on the violin.
Poster for The Amazing Digital Circus: The Last Act (in cinemas June 2026, https://digitalcircus.movie), mostly an all black image with a spotlight singalong out a single figure on a stage in the middle distance. This is the character Caine from the eponymous cartoon series, a figure with huge wobbly fake teeth in lieu of a head. He wears a black top hat.