31st Galway Film Fleadh Programme

Extra Ordinary 

Galway Film Fleadh has announced their 2019 programme which includes 95 International and Irish feature films. This year’s programme features films from 36 countries including 10 World Premieres. 30 films are feature directorial debuts and over 40% of films are by female filmmakers. 

This year’s programme includes a programme of New Irish Cinema, featuring a number of World Premieres from talented Irish directors. This home-grown programme includes dramatic and comedic features in addition to a range of documentaries which cover a range of topics across politics, the arts, culinary innovation and human rights.

New Irish Cinema Highlights include, Jihad Jane, a debut documentary from emerging Irish filmmaker Ciaran Cassidy which paints an intriguing portrait of the online post-9/11 world. Finky, directed by Dathaí Keane (An Klondike), is an Irish-language drama about a musician and puppeteer who finds his way into a hellish circus troupe. Breaking Out, a documentary filmed over 10 years about the larger-than-life musician Fergus O’Farrell who, undaunted by his diagnosis with muscular dystrophy, continued to tour and compose music for the Oscar® winning film, Once. The doc has a special connection to the Film Fleadh, as the festival to give Once its World Premiere in 2006. Bruno, directed by Karl Golden and starring Diarmuid Murtagh, is a drama about a homeless Irishman in London. Animals (Sophie Hyde) is based on the acclaimed novel by Emma Jane Unsworth which tells the hedonistic female-driven story of two thirty-something party-mad friends who wreak havoc on the streets of Dublin.

Speaking at the programme launch, Director of Programming Will Fitzgerald talked about the line-up by relating a story about watching Agnès Varda’s last film, which plays on the closing day of the Fleadh: “This year’s Fleadh is as much about celebrating cinematic accomplishments as discovering new talent. Inspired by the Gleaner herself, I’d been taking a trip down cinema lane, gleaning some of the highlights. This year’s Fleadh has got tributes to Varda, cinematographer Robby Müller, an animated biopic of Luis Buñuel, documentaries on the composer Scott Walker and the making of Alien, and more.”

Other festival highlights include Never Grow Old, the festival’s closing film from Irish director Ivan Kavanagh and starring Emile Hirsch and John Cusack, a dark Western tale about an Irish undertaker on the American frontier. Sing me Back Home, the festival’s opening film, is French actress Sandrine Dumas’ (Let the Sunshine In) directorial debut. Bait, Mark Jenkin’s film shot on a 1976 Bolex 16mm camera and processed by hand tells the story of a northern English fisherman without a boat.

A Bread Factory, a film in two parts is Patrick Wang’s newest film after 2015’s The Grief of Others, a small-town comedy drama starring Tyne Dale (Cagney & Lacey).

Rounding out the premieres and Q+A’s are a range of event screenings, panel discussions and public interviews which include a dog-friendly screening of the documentary Buddy about the bond between guide dogs and their owners, a special Singalong version of the Disney classic The Little Mermaid and Cumar: A Galway Rhapsody, a portrait of Galway’s artistic community, including author Mike McCormack, comedian Tommy Tiernan, poet Rita Ann Higgins, Macnas and many more. 

The 2019 Film Fleadh features a culinary cinema strand including the World Premiere of Stage: The Culinary Internship, exposing the reliance of Michelin star restaurants on unpaid internships, among other films including The Heat: A Kitchen (R )evolution, championing the work of female chefs in the restaurant industry.

The festival will present a series of political documentaries in a section titled The Film Fleadh Goes to Washington, featuring insight and archive footage. These include Watergate – Or: How We Learned to Stop an Out of Control President which is presented in two parts plus Active Measures, an well researched look at Russian interference in the 2016 U.S. Presidential election and Dark Money, which follows the money trail behind U.S. poltics and a  fly-on-the-wall portrait of Steve Bannon called The Brink.

The programme also brings back its selection of music-related films including opening night late film Marianne & Leonard: Words of Love about the late Leonard Cohen and his muse Marianne Ihlen. This strand will also feature Once AuroraEvery Night’s a Saturday Night and Heyday: The Mic Christopher Story, spotlighting artists AURORA, Rolling Stones’ sax player Bobby Keys and the late Irish singer/songwriter Mic Christopher respectively.

On the closing night is the Film Fleadh Awards Ceremony, which includes the Bingham Ray New Talent Award, for which five filmmakers across the fields of directing, producing and acting have been nominated. The 2019 nominees are directors Mike Ahern  (Extra Ordinary), Enda Loughman (Extra Ordinary), actor Lola Petticrew (A Bump Along the Way), actor Lauryn Canny (Darlin’) and director Tristan Heanue (Ciúnas (Silence)).

The 31stGalway Film Fleadh takes place from 9th-14thJuly in the Town Hall Theatre and Pálás cinema, Galway. 

Full list of films here

Tickets and further information for all films and events are now available at www.galwayfilmfleadh.com

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Reel Horror Show: Episode 12

Otto Lehtonen

 

Our grotesque gathering of ghouls and goblins return to spread mischief in the latest episode of the Reel Horror Show. Ali Doyle, Conor Dowling, Conor McMahon and Mark Sheridan are all chained at the ankle to a pipe and will only be set free by discussing horror for over an hour – will they succeed and be freed or will they fail and be handed a hacksaw by their evil editor. 

Films that come under the horror hammer include Extremely Wicked, Shockingly Evil and Vile,  Escape Room, The Silence, Us,  The Twilight Zone, Mom and Dad, Insidious IV, A Nightmare on Elm Street, Victor Crowley, The Cure for Wellness, Unfriended: Dark Web, Slenderman, Possum – “it’s a guy, with a bag, with a spider in it…”, The Haunting of Sharon Tate, Necromancer, Patchwork, May, Pet Sematary.


 

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Review: Diego Maradona

DIR: Asif Kapadia 

“Football is a game of deceit” –  Diego Maradona

A dancer, a chancer, a renegade romancer, whether it was on the field or in the streets, Diego Maradona zigged and zagged through opposition, pulling the wool over our eyes and the ball from under their noses. In a career built upon a catalogue of bluffs and outrageous talent, his stardom stretched beyond the pitch, converting stadiums into cathedrals brimming with the hymns of “Olé, Olé, Olé”. Though chaos trailed him with every dizzying run, tackles sliding in from tabloids and addiction nipping at his heels, the iconic number 10 sidestepped a doomed fate, surviving to tell the tale long after the final whistle blew.

The ultimate trickster, cheating death is what separates Maradona from Asif Kapadia’s previous subjects in Amy (2015) and Senna (2010). The director’s interest, however, is in what these gifted people had in common, and what emerges is an intimate triptych exploring the burdens of god-given genius.

Nowhere is this theme more starkly apparent than in the film’s immersive opening scenes: following his record-breaking transfer from FC Barcelona, a convoy of squealing Fiats drags us through the bursting streets of Naples, down into a feverishly packed Stadio San Paolo for Maradona’s unveiling. It’s a suffocating introduction that would look a riot if taken out of context but instead we’re left feeling the trappings of talent closing in around us.

Like with his previous aforementioned documentaries, here Kapadia employs his trademark mosaic method in turning the screen into a palette of archival snippets. From cheesy late night chat show clips to fuzzy home videos, the audience sift through mounds of memory in order to salvage the hidden truths buried beneath. It’s an intoxicating formula which has yet to lose its appeal and with it we sense a keen interplay between subject and form, where the clattering of spliced imagery echo the giddy erraticism of the two-footed wunderkind.

It comes as a slight disappointment then that the story we carve out struggles to find any refreshing insight into the myth of Maradona, preferring instead to stick to well trodden narratives of the ‘tortured genius’. The film leans heavily on the internal conflict between ‘Diego’, the humble boy from the slums and ‘Maradona’, the self-destructive demigod. For a figure globally renowned for his daring instincts on the pitch, Diego Maradona (2019) feels content with cautiously playing the ball out from the back.

Kapadia’s astuteness is rather how he shuffles recorded memories while still managing to evoke an overpowering sense of time and place. By focusing on the star’s turbulent Napoli years and allowing flashbacks to slip in naturally, we forego the stale rhythms of the ‘cradle to grave’ approach while still engaging with the crucial context surrounding the story. A big part of that backdrop is the question of national identity, something Kapadia touched on with Senna. Here it’s foregrounded, political, social, and consistently compelling.  

A life spent on the run inevitably takes its toll. In its final moments, the film reaches a sombre conclusion in weighing up the heavy price of greatness – no doubt encouraging some viewers to roll their eyes considering Maradona’s recent conduct. A saint and a sinner, the man has made a career from polarising opinion. They say every good story needs a hero and a villain, Maradona played both. However, it’s Kapadia, in an earnest attempt to dig beneath tabloid tattle, who finds the boy caught in the middle.

Brian Quinn

129 minutes
15A (see IFCO for details)
Maradona is released 14th June 2019

 

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It Goes to Eleven Distribution Launches

 It Goes to Eleven today launches a brand new international sales and distribution company, specialising in independent feature films and theatrical documentaries.

For its first feature, It Goes to Eleven Distribution partnered with Snackbox Films (Older Than Ireland) to distribute their award-winning feature documentary Under The Clock. The feature was shown at cinemas across Ireland and festivals around the world earlier in the year and will be airing on RTÉ ONE on Monday 17th June at 9.35pm for its TV premiere.

Offering full Irish, British and international distribution and sales capabilities, I It Goes to Eleven Distribution aims to provide filmmakers with the best platform to reach the right audience each and every time.

With decades of experience working across production, distribution, exhibition, marketing and PR for some of the world’s biggest film and broadcasting companies, the team are in a unique position to support independent film and filmmakers, whilst providing a personal, fresh and collaborative approach to film distribution.

George Fields,  It Goes to Eleven Distribution, Director of Technical Management & Theatrical Sales, said: “A lot of time, effort and resource goes into making a film so it’s our commitment to make their film work hard for them at the distribution stage, giving their project the best possible exposure and opportunity for critical and commercial success.”

James Elms,  It Goes to Eleven Distribution, Director of Marketing, Publicity & Theatrical Sales, said: “We’re in a unique position to combine our industry-leading expertise across all areas of film distribution with a personal and collaborative approach to become a true and loyal partner for filmmakers.”

Garry Walsh,  It Goes to Eleven Distribution, Director of Group Distribution & Theatrical Sales, said: “Our aim is to support independent film and filmmakers, giving them the right distribution so their film can find an audience. Now, we’re welcoming filmmakers to get in touch with us and see how we can work together for a successful film launch”

Colm Nicell, Director of Under The Clock, said: “As filmmakers, it’s important for our distribution partner to connect with the type of films we make and who we’re making them for. With some larger distribution companies. you hand over your film and it gets lost in a slate of other distribution content that that company happens to be releasing at the same time. It Goes to Eleven Distribution is the ideal fit for us as they are as passionate and committed to our content as we are and this ensures that we get our films in front of our target audience each and every time. They understand the filmmaking business but more importantly they get the business of filmmaking. 

Award-winning documentary Under The Clock premieres on RTÉ ONE on Monday 17th June at 9.35pm

All filmmakers are encouraged to contact It Goes to Eleven Distribution, at hello@itgoestoeleven.ie

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Review of Irish Film @ DIFF 2019: DIFF Shorts #4

David Deignan takes in a “vibrant shorts programme” at this year’s Dublin International Film Festival.


This vibrant shorts programme, the fourth out of five screened as part of the Dublin International Film Festival, was diverse in terms of theme, tone and form. Programmer Si Edwards deserves props for his keen sense of pacing, with the eclectic selection of films complementing each other well. There were eight shorts screened in total, so here we’ll list some brief notes on each one.

Mother – Director: Natasha Waugh, Producer: Sharon Cronin (Ireland)

 

This absurdist comedy follows hard-working mum Grace, whose perfectly happy home family is suddenly disrupted when her husband arrives home one day with a brand new kitchen appliance – and she slowly starts to realize there may not be room for both of them in the house.

Mother is a wonderfully weird little film, with the strangeness gradually escalating until its hilarious crescendo. Waugh’s direction is subtle but confident, and the film looks great thanks to excellent production design. The central performances are entertaining, with an especially enjoyable turn from Lochlann O’Mearáin as Grace’s husband. Special praise must go to Jonathan Hughes’ offbeat, original script.

This was a real crowd-pleaser, and the perfect way to open the programme.

Inanimate – Director: Lucia Bulgheroni, Producer: Lennard Ortmann (UK)


Inanimate is an accomplished animation produced by the students of NFTS. Its protagonist, Katrine,  is forced to try and piece her previously normal life back together when it starts to fall apart – literally!

The impressive short has done well on the festival circuit so far, even scooping two prizes at the prestigious Annecy Film Festival – Europe’s biggest animation film festival.

It’s wonderfully chaotic and, while it doesn’t do much new in terms of is narrative, it’s technically excellent and an enjoyable journey. Evidently Kaufman inspired, Inanimate is well worth watching.

The Egg and The Thieving Pie – Director: Lola Blanche Higgins, Producer: Reshma Makan (UK)


A smart and engaging short; this tells the story of Community Police Officer Shona, who finds herself battling the call of the ocean when investigating the theft of a precious egg.

This short seemed to have the highest production value of the bunch and it showed on screen. The off-kilter diegesis is full of intrigue and drives this mystery thriller onwards. It takes its time telling it’s story and it works, with a twist ending which will leave audiences asking questions. Features a surprising star turn which I won’t spoil here.

No Place – Director: Laura Kavanagh, Producer: Laura Kavanagh (UK)


No Place is a drama focusing on single mother Angela after she, along with her two young kids, have been evicted from their home. The audience accompanies her as she struggles to maintain a sense of normality as an increasingly desperate situation unfolds.

This is a well put together short for the most part, and props must go to Laura Kavanagh for writing, directing and producing, Michelle McMahon gives a good performance as Grace, in a film which benefits from its subject matter being so pertinent in the midst of the current housing crisis.

That being said, it suffers in comparison to other recent works such as Paddy Breathnach’s drama Rosie, which covers all of the same ground, and short documentaries such as Luke Daly and Nathan Fagan’s Through the Cracks. At just 7 minutes long, this short doesn’t have time to tell the story it wants to tell and, as a result, comes off a little melodramatic.

Child – Director: Joren Molter, Producer: Floor Onrust (Netherlands)


This pensive film follows Ella who, upon visiting a museum with her daughter and the child of a colleague, suddenly becomes aware a hidden side of herself.

The cinematography and production design really stand out in this sleek short, and Sophie van Winden is compelling in the lead role.

That being said, it features a polarising, thoroughly uncomfortable ending which will undoubtedly make or break the film for audiences. It didn’t sit totally well with me, but a significant portion of those in attendance felt differently.

Stigma – Director: Helen Warner, Producer: Marie McDonald (Northern Ireland)


A string of confessions unveil an intense tale of religious guilt, sin and redemption in this experimental drama set against the dramatic and rugged Northern Irish countryside.

Stigma is a poetic, provoking short with an intriguing vision which stood out among the programme. Narratively, I struggled to engage with the film but this was softened by the technical assuredness of the film and an admiration for the team’s alternative style of storytelling.

El Hor – Director: Dianne Lucille Campbell, Producer: Brian J. Falconer (Northern Ireland)


El Hor is a sometimes meditative, other times discombobulating observation of one of the most ancient and highly honoured dog breeds, the Saluki. They guide us in love, prepare us for death and transform us in life.

This is another experimental, boundary-pushing short film. It’s absolutely gorgeous looking, stunningly shot in black and white. This short is the one that has stayed with me weeks after the screening, and director Dianne Lucille Campbell was a worthy winner of the Dublin Film Critics Circle’s Michael Dwyer Discovery Award for her work.

Five Letters to the Stranger Who Will Dissect my Brain – Director: Oonagh Kearney, Producer: Roisín Geraghty (Ireland)


Easily the best titled film of the programme, Five Letters to the Stranger Who Will Dissect my Brain (I couldn’t resist writing that again) is based on the poem of the same name by Doireann Ní Ghríofa. It depicts the journey of first-year medical student Viv, whose first encounter with a cadaver in the anatomy room sends her on a soul-searching quest into the nature of what it means to be alive.

Director Oonagh Kearney was the winner of the Best Irish Short Director at last year’s Cork Film Festival and it’s not hard to see why. This is a beautiful short, refreshingly original and undoubtedly emotional. Venetia Bowe shines as Viv while special praise must be reserved for Irene Buckley’s haunting score and Cara Holmes’ nuanced editing.

 

DIFF Shorts #4 screened on Tuesday,  26th February 2019 as part of the Dublin International Film Festival. 

 

 

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Review: Late Night

DIR: Nisha Ganatra • WRI: Mindy Kaling Music: Lesley Barber • DOP: Matthew Clark • ED: Eleanor Infante • PRO : Ben Browning, Jessie Henderson, Mindy Kaling, Howard Klein  • CAST: Emma Thompson, Mindy Kaling, John Lithgow, Ike Barinholtz, Hugh Dancy

Late Night, written and produced by Mindy Kaling achieves something not many films do – it discusses pertinent cultural issues yet is underlined with the uplifting positivity of a romantic comedy. The film, which stars Emma Thompson and Mindy Kaling, can be viewed as a conversation opener. It paves the way for subjects such as gender and race to come to the fore. It’s worth celebrating that these topics are raised and also handled with a degree of insight and transparency – and not forgetting a healthy dose of clever humour.

Structurally this film contains many recognisable romantic comedy aspects; it contains heaps of self-realisation and roadblocks that are overcome with dramatic flair. However, one crucial element of the romantic comedy is muted and replaced with a new focus – it showcases women that are pursuing their careers rather than an irresistibly charming man. Both Thompson and Kaling shine in their roles; Thompson as revered comedy talk show host Katherine Newbury and Kaling as Molly – the naïve, overly enthusiastic yet charming new comedy writer on Newbury’s talk show writing team. As the jaded romantic narrative is omitted in this film it highlights instead two women overcoming the various obstacles that they face in the world of TV. The plot centres on Katherine Newbury scrabbling to carry on as the host of her talk show aided by Molly’s interventions and ideas.

As the title of this film would suggest, it explores the present state of talk-shows and where their popularity falls within the ever-changing landscape of the media. In terms of entertainment this film questions both what do people want to hear and who do they want to hear it from. The film commences with the self-possessed, sophisticated and undeniably smart, talk-show host Katherine Newbury accepting what we are soon to learn is just one of the many awards she has won throughout her career. This beginning is a stark contrast with what follows – the long concealed news that her show’s numbers have been dropping for years and her position and power are shaky.

With her show slipping away, Katherine must entirely re-question her style if she is to compete in the fast-paced, short-attention-spanned world of today’s social media and Youtube culture. The film reveals that media is changing – Katherine’s experience, intellect and sharp wit have been replaced with seemingly mindless teens and videos of online animals. Despite her awards and success, the film takes a realistic stand point in highlighting that she must incorporate popular tastes, gags and internet celebrities in order to keep her viewers engaged. This film does not shy away from revealing the decline in popularity for shows such as Katherine’s and effectively depicts dog-Youtubers and teenage vampire actresses as the silly yet scary threats to the legacy she has built. It calls into question media as we know it and begs the question if talk shows can remain relevant in modern society and if so how.  

While Emma Thompson excellently embodies the infamous Katherine Newbury, Kaling’s performance as Molly is equally engaging and culturally relevant. While it is made clear in this film what kind of content is now necessary to keep audience’s attention the film also shows who we are now interested in – what voices in society need to be heard. Katherine hires Molly not based on her experience but rather because she needs to fill a hole in her comedy writing team – a woman. The film takes issues of race and background head on, with it being revealed to Molly that she’s not there on merit but rather as a “diversity hire”. It is clear that the world of this office is one of the white, seemingly privileged male and Molly is only there to make sure a different voice is represented on this team. The inherent acceptance that Molly, based on her Indian heritage and female gender, is not welcome in the writer’s room is reflected when the other male writers presume she is an office administrator rather than a writer. Molly’s initial earnestness to succeed is quickly crushed by her peers. Although in rom-com fashion she does overcome these challenges, her experiences highlight successfully how far she must go to be accepted in this role on the basis of her race and gender.

As this comedy focuses on women who are committed to their careers, this provides an insight to the trials women must face to be accepted in their roles and stay relevant and on top of their game. While Katherine Newbury is represented as legendary within the world of comedy her position is still threatened by the next unimaginative and vaguely sexist young male comedian that comes along. The ratio of men to women in the writers group is 7:1 meaning that in this world only a certain portion of voices and opinions are being heard. For example, Katherine Newbury chooses to shy away from women’s issues which aren’t often discussed such as menopause and contraceptive choices. The world of TV painted in this film shows one where even a powerful woman, regarded as being accomplished, still needs to fight to retain her position.

Overall Late Night is an extremely enjoyable watch with serious subjects raised but with a smart joke around every corner. It courageously says what might not always be said and to that effect it raises questions that need to be asked and changes that need to be made. Emma Thompson encapsulates the star that gets a reality check and fights to the end to remain the star that she is- all whilst showcasing a dazzling collection of power suits. Mindy Kaling has written an excellent film which illustrates the difficulties which can be in a working gal’s way and shows us how to overcome them with equal doses of strength and comedy.

Irene Falvey

101 minutes
15A (see IFCO for details)
Late Night  is released 7th June 2019

Late Night  – Official Website


 

 

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In Production: ‘My Other Suit is Human’

Andrew Paul Montague’s short film My Other Suit is Human is about dealing with grief in an unconventional way.

A bereaved mother, Zoe, struggles to overcome the death of her young son, Noah. Inspired by his favourite TV show, she decides to make and dress in a robot suit to keep the reminders of the sadness of her world out. Something her husband, Stephen, doesn’t understand thinking she is having a breakdown. Her actions drive a wedge further between them and alienates them as a couple even more. My Other Suit is Human is a short film about loss, grief and ultimately, love.

Written and to be directed by Bray native, Andrew Paul Montague and produced by Kira Fitzpatrick from Santry, My Other Suit is Human is the MA graduation film for Andrew from the London Film School, one of the top film schools in the world (Variety 2019). Already an award-winning script, the film will be supported by Genera Films, a company in the UK that invests in short films. Andrew and Kira have also attached several professional members of crew including Zeta Spyraki, an award winning DP and runner up of the Panalux award for cinematography in 2017. The film is to be shot in Kent at the end of July with a view to submitting to major short film festivals from the end of August.

Their Kickstarter can be found here: http://kck.st/2QmeoT4

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Review: Framing John DeLorean

James Bartlett gets behind the wheel of Framing John DeLorean.

Even if you’re not a petrol head, you definitely know the car he designed. Stainless steel silver, gull-wing doors, and it travels through time when it reaches 88 mph…

Okay, that last bit isn’t true, but you know I’m talking about the DeLorean DMC-12, the amazing-looking sports car that took Marty and Doc flying Back to the Future in the 1985 movie and its two sequels.

What fewer people know is that John DeLorean was arrested in an FBI sting at a Los Angeles hotel and charged with conspiracy to obtain and distribute 55 pounds of cocaine in 1982 – yes, several years before the car became a movie icon. The factory had been in production for barely a year or so, but his glamorous image, model wife and celebrity endorsements didn’t look like it was going to be enough to save it from closure. Those 55 pounds of cocaine were apparently his desperate attempt to get some big money – fast.   

That factory? It was in a suburb of Belfast. Yes, the DeLorean cars were all made in Belfast, during some of the worst days of “The Troubles.” And a huge chunk of the money invested in DeLorean’s venture had come from the British government. But on that night in 1982, the party was over.

DeLorean was acquitted on the drugs charge, but questions about many missing millions never went away, and what you could call the Tesla of its day seemed destined to be a quirky museum exhibit.

A superstar automotive executive, a dream to start a new economical and environmentally-conscious car company, millions of dollars, drugs, sectarian violence, disgrace, and Hollywood magic.  How has this story not been filmed before?

It’s a question that opens Framing John DeLorean, a documentary that’s slightly different in that it talks to the actors playing the roles in the reenactment sequences.  It also talks to a number of people who were involved in the whole escapade: designers, engineers, still-disappointed factory workers, lawyers, the FBI agent, the informer who drew DeLorean into the sting, and others.

Was DeLorean a visionary undone by bad luck, or a con man on the make?

The most interesting moments – which, like the reenactments, you wish there were more of – see Baldwin talking off-camera (usually in the make-up chair) about how he approached the role, and what he thinks DeLorean must have felt as his dream crumbled about him.

Those reenactments – often matching shot-for-shot directly from archive footage – really bring the story to life, though it’s of course the interviews with the actual people (and especially DeLorean’s children), that bring the story home.

DeLorean’s fame – and then infamy – clearly crushed his son and daughter. Their parents divorced immediately after the court verdict, and they suffered jokes and media attention all their young lives. More than that, their father was actively looking to bring his car company back right up until his own death in 2005, and it seems they often felt they came second or third in his affections.

DeLorean the company still lives, by the way.  Liverpudlian Stephen Wynne bought all the remaining parts in a bankruptcy sale in 1997, and his repair facilities in several US cities are always booked up months in advance. He’s waiting for government approval to go back into limited production, and has improved everything under the bonnet and elsewhere for a 21st century version.

There are still rabid fans and collectors across the world as well, and strong reviews for Framing John DeLorean at Tribeca led to the news that George Clooney’s Smokehouse Productions is planning a project, with Clooney directing and maybe starring.

Also, 2018’s Driven, which was directed by Belfast’s own Nick Hamm and looked at the relationship between DeLorean and that confidential informant, has just been picked up for North American distribution.

Wherever John Z. DeLorean is now, he’s surely happy about it all.

 

Framing John DeLorean is released on VOD 7th  June 7 2019


 

 

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John Butler, Writer/Director Papi Chulo

Set in modern-day Los Angeles, Papi Chulo tells of a down-on-his-luck weatherman (Matt Bomer) who is shaken by the end of a relationship. He has an on-air meltdown, prompting concerned bosses to persuade him to take some time out. To fill his days, he employs a Latino migrant worker (Alejandro Patiño) to paint his home but also to keep him company. Despite their cultural, age and language differences, they connect.

Paul Farren sat down with writer/director John Butler to talk about creating his comedy/drama,  the themes of empathy and unlikely friendship, the talents of Matt Bomer and Alejandro Patiño and working with DOP Cathal Watters and composer John McPhillips.


Papi Chulo is in cinemas from 7th June 2019

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Irish Film Review: Papi Chulo

DIR/WRI John Butler • DOP: Cathal Watters • ED: John O’Connor • PRO: Rebecca O’Flanagan, Robert Walpole • DES: Susannah Honey • MUS: John McPhillips • CAST: Matt Bomer, Alejandro Patiño, Elena Campbell-Martinez

John Butler, director of Handsome Devil (2016) and The Stag (2013), has proven his ability to explore the poignancy, volatility, and ultimate realness of human connections in his films. Papi Chulo, starring Matt Bomer and Alejandro Patiño, is certainly no exception. The film follows Sean (Bomer), a TV weatherman who finds himself struggling with loneliness and isolation in the sweltering urban landscape of Los Angeles. In an effort to combat this loneliness, Sean hires migrant worker Ernesto (Patiño), under the guise of requiring his labor, but it becomes apparent very quickly that Sean is not looking for an employee so much as he is looking for a friend.

The two certainly make an unlikely pair. Sean is young, white, gay, and apparently wealthy. Ernesto is middle-aged, Mexican, married with a wife and children, and doing everything he can to make ends meet. Through these characters, human differences and their ultimate limitations becomes one of the film’s main points of exploration. Sean and Ernesto clearly have very little in common, and their relationship is even more strained by the distinct language barrier between them. However, the two men manage to find ways around it, and the film reveals through its progression that what is truly important is the act of communication itself, the connection that forms between two people simply from being heard and acknowledged.

Barriers between people undoubtedly exist; barriers of race, class, age, and language. Butler skillfully demonstrates these barriers not only through the characters’ dialogue, but also through a clever motif of glass doors and windows. An early scene in the film, for instance, has Sean taking refuge behind the window of his car door in an effort to avoid a conversation with his coworker Susan (D’Arcy Carden). This motif also serves to initially separate Sean and Ernesto, as Sean is frequently shown viewing the older man through his car window or the glass door of his deck. These separations create tensions between characters, which in turn create opportunities for the film’s wry sense of humor. Butler perfectly captures the universal human experience of awkwardness, whether it comes from stretches of silence between two characters that lasts just a little too long for comfort, or from a character trying, and failing, to keep his composure under the scrutiny of his peers.

Papi Chulo is ultimately a film about human connections, about the shared experiences of loneliness, loss, and unlikely friendships. It is brilliantly acted, with wonderfully astute and down-to-earth performances by Bomer and Patiño, backed by Wendi McLendon-Covey, D’Arcy Carden, and Elena Campbell-Martinez. The urban setting of Los Angeles is particularly well-suited to the narrative, as Sean and Ernesto form an unlikely friendship in a city where genuine human connections can prove shallow more often than not, and where time can seem to stand still under an always-shining sun.

 Dakota Heveron

98 minutes
15A (see IFCO for details)
Papi Chulo is released 7th June 2019

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Review: X-Men: Dark Phoenix

DIR: Simon Kinberg • WRI:John Byrne, Chris Claremont, Dave Cockrum, Simon Kinberg DOP: Mauro Fiore • ED: Lee Smith • PRO: Todd Hallowell, Simon Kinberg, Hutch Parker, Lauren Shuler Donner • DES: Claude Paré • MUS: Hans Zimmer • CAST: Matt Bomer, Alejandro Patiño, Elena Campbell-Martinez

It never bodes well when a film gets a press screening the day before it is to be unleashed on the public, being optimistic I thought maybe it’s some kind of bluff. Then I saw the rest of my press-screening invite telling me that all comments and reviews were embargoed until 7am on the day of the film’s unleashing. A double bluff, I optimistically thought.  No such luck I’m afraid.

Dark Phoenix arrives with less than a whimper; the much delayed and rumoured-to-be-a troubled production, fails on nearly all fronts as a piece of glossy summer entertainment. With the best of goodwill from the most ardent fan it might work but for everyone else it is going to be a proverbial damp squib.

The plot concerns itself with the justly famous Dark Phoenix saga presented in the pages of X-Men back in the seventies, courtesy of comic legends Chris Claremont and John Byrne in the days before Watchmen came along and inadvertently turned things upside down. The only similarity between this film and its source material is Jean Gray’s struggle with a newfound omnipotent power and rival aliens fighting for said power.  All the original space-opera glory of the comic book only gets a brief nod when the X-Men go into space (not outer jut the bit outside the ozone layer), to save some astronauts from the space anomaly that is going to be the source of Jean’s and everyone else’s woes.

Set in 1992 to no good effect whatsoever, Charles Xavier’s X-people are media darlings and on the presidential hotline and yes, it does involve a bat phone type scenario, albeit without the humour; humour is very thin on the ground and when attempted falls squarely on its arse. Charles Xavier is seen to be losing the run of himself, a man verging on the pompous and thinking he knows better than everyone else using his protégés as his propaganda machine to maintain the love for mutant kind. The emotional heart of the story concerns Xavier doing what he thinks is best for Jean without concern for his right to do so when he suppresses a bad memory or two.  One anomaly later and Jean is all powerful and losing the run of herself, meanwhile aliens have come to earth to gain the said power – you get the picture.

The bulk of the story sits on Jean’s shoulders relegating everyone else to perfunctory supporting roles and character development that would be shameful in a Bugs Bunny cartoon. The whole thing is remnant of a seventies television show that knows it has a good formula that doesn’t need changing; that is until it does. The set pieces offer very little excitement or originality, except for the first scene in space, elsewhere it is a strong feeling of déjà vu featuring telepathic battles, upturned cars, an attack on a train and my favourite, trying to cross the road… not a word of a lie.

So many lost opportunities are apparent watching the hamster-wheel mentality unfold. The cinema sins on show are so obvious it seems surprising that no one saw any of the issues with the story at a much earlier stage. At the helm of this trainwreck – that also features a trainwreck – is writer, director Simon Kinberg,  a man who has been part of the franchises lesser works including co-writer on X-Men: Last Stand, the original attempt at adapting the Dark Phoenix storyline, the mind boggles.

Paul Farren

113 minutes
12A (see IFCO for details)
X-Men: Dark Phoenix is released 5th June 2019

X-Men: Dark Phoenix – Official Website

 

 

 

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‘Misty Button’ New York City Premiere

Misty Button will be making its New York City premiere at the Soho International Film Festival later this month. This is fresh off taking home an award for “Best Feature Film” at the San Luis Obispo International Film Festival in California last March.

 

The screening is on Saturday, June 22nd at 6:30 p.m at the Village East Cinemas on Second Avenue.

 

Misty Button was written and directed by Kerryman, Seanie Sugrue. A native of Tralee who currently resides in Los Angeles. The film was also produced by another Traleeman, Bertie Brosnan.

 

It stars Corkmen, Cillian O’Sullivan (Vikings, Taken Down) and Shaun Kennedy (American Ripper, Monsters Inside Me) and also stars John Keating (Boardwalk Empire, Ray Donovan) from Tipperary.

 

The film also co-stars Irish-Americans, Kevin Breznahan (Billions, Superbad), Gerard McNamee (The Following, The Get Down) and Julia Nightingale who can now be seen on Broadway’s The Ferryman, directed by Sam Mendes. Bret Lada, fresh off the set of Orange is the New Black also stars in the film.

 

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Screening Ireland in Rome: The Irish Film Festa, Twelfth Edition

Áine O’Healy reports from the Twelfth Edition of The Irish Film Festa in Rome, which ran from March 27th to 31st 2019.

In late March a cohort of Irish actors, directors and producers arrived in Rome as guests of the Irish Film Festa, which ran from March 27 to March 31.  Now in its twelfth iteration, the festival has expanded to a five-day programme of screenings, workshops, panels, and other events. Taking place annually at the prestigious Casa del Cinema—a stone’s throw from the Via Veneto and the resonances of the dolce vita that this location evokes—it showcases the best of recent filmmaking from both sides of Ireland’s north-south divide. Under the creative direction of Susanna Pellis since its inception, it has found increasing popularity with Roman filmgoers, drawing full houses over the entire course of the festival. The audience is for the most part Italian (the films are subtitled and all other events are facilitated through interpreters) with a sprinkling of Irish and other English-speaking expats also in attendance.

Although festivals of Irish cinema are beginning to proliferate across the planet—some of the invited guests at the Rome event had just attended the recently established Moscow Irish film festival—Rome’s Festa has distinctive characteristics that set it apart from the others thanks to the vision and acumen of Susanna Pellis, whose specialized knowledge, passion and dedication have shaped its unique profile since 2007. It remains a relatively intimate and remarkably dynamic event that offers multiple opportunities for Irish filmmakers (both well-established and up-and-coming) to interact with each other and with local audiences.

The programming is thus never simply an assortment of new releases from Ireland. Rather, it reveals Pellis’ keen awareness of ongoing developments in Irish filmmaking—not only with respect to mainstream releases, but also making room for more quirky, independent features, documentaries, shorts, and experimental productions. More importantly, it is shaped by her capacity to facilitate reflection on the larger implications of these developments through many opportunities for conversation and interaction. The screenings are accompanied by a stimulating range of presentations, interviews, workshops, and question and answer sessions, involving directors, actors and other industry professionals.

Short Film Winners Paul Horan & Mia Mullarkey 

Since 2010, the Festa has included a competition of short films. Sixteen of the films submitted this year were selected as finalists and screened at the 2019 festival, with the two winners announced and then re-screened on the closing night. With its incisive exposé of the events surrounding the discovery of the remains of almost 800 children in a sewer adjacent to the former Bon Secours Home in Tuam in 2017, Mia Mullarkey’s Mother & Baby won the documentary award. It includes archival material as well as interviews with several aging former residents of the notorious Mother and Baby Homes and with the self-trained historian, Catherine Corless, who spent years uncovering evidence of the horrific neglect and undocumented deaths of an astonishing number of children at the nearby convent. This is an impressive work that pays particular attention to the effects of traumatic memory and to the courage of the extraordinarily modest woman who singlehandedly unveiled the scandal and now quietly dedicates her life to supporting the survivors’ ongoing quest for justice.  

The film that won the Best Drama Short award, Paul Horan’s Bless me Father, also broaches the issue of the excessive power of the Catholic Church in Ireland. A two-hander set entirely within the confines of a confessional, the film dramatizes the revenge of a terminally ill man against a priest who had psychologically tyrannized his parishioners with a demoralizing rhetoric of fear and guilt. Like Mother & Baby, it portrays Irish society as an insular world paralyzed by secrets and shame, where Catholic clergy and other religious figures occupy a far too dominant role. Although the power of religious institutions is clearly on the wane in Irish society at present, filmmakers may be exercising a cathartic role in bringing to light the lingering effects of still unspoken wounds.

The festival’s opening feature this year was Nick Kelly’s well-received The Drummer and a Keeper, which reprises the well-worn trope of unlikely friendship between mismatched individuals. From the initial, explosive encounter between an institutionalized autistic teenager and a gifted, though temperamental drummer in his twenties who suffers psychotic episodes, it traces the ups and downs of a relationship that is fraught with pain and defensive cruelty. For the most part, the film is infused with psychological drama and suspense, yet it achieves a heart-warming resolution that seems as improbable as it is unexpected. Despite the upbeat ending, a sense of worry may linger for the viewer long after the film’s conclusion, as the storyline has so vividly exposed the fragility of human connections based on the recognition of mutual of pain and isolation. Yet Kelly’s film is more than just another iteration of the “odd couple” movie. Rather, it seems to be part of a growing trend in Irish filmmaking that broaches the pressing question of mental health in contemporary Irish society.

Moe Dunford & Frank Berry discuss Michael Inside  

Frank Berry’s Michael Inside also looks at a difficult social issue, in this case the limited prospects and ever-present risks for young people growing up in depressed urban areas, many of whom are almost inevitably destined for incarceration. The film is a prison drama that transcends the genre at many levels. Although the action unfolds for the large part “inside”, the violence it depicts is principally psychological. Dafhyd Flynn plays the vulnerable 18-year old Michael, who lives with his grandfather on a rough housing estate in Dublin. The old man hopes his grandson will escape the vicious circle of repeated convictions and incarcerations to which many youths in the neighborhood have succumbed, and Michael, too, seems intent on avoiding the routine drug dealing practiced by his circle of acquaintances. Pressured by a friend to hide a stash of drugs in his grandfather’s home, he ends up in prison. Though neither a buyer nor a dealer, he is too intimidated to reveal the source of the stash he was forced to hide. Little by little, Michael is acculturated to hierarchies of prison life and to the moral compromises that prisoners adopt to cope with the conditions of incarceration. The power plays in which he becomes entangled while in prison pursue him even after his release, so he ends up back inside, just like his father. Berry’s direction is assured, drawing fine performances from the cast, which include both professionals, such as Moe Dunford and Lalor Roddy, and non-professionals. Several minor roles are performed by former prisoners with real-life experience of the narrative context. The result is a splendid film of consistent psychological tension tempered by a persistent melancholy. The screening was followed by a panel discussion and question and answer session with Berry and Dunford, which helped to cast light on Berry’s creative process, careful research, and his history of creative collaboration with former prisoners and residents of the blighted social environments that the film evokes.

Every year the Festa includes the screening of at least one “classic” film of Irish cinema. This year’s selection was Colin Gregg’s Lamb (1985), featuring Liam Neeson as Michael Lamb, a novice on the staff of an industrial school run by a religious order, and Hugh O’Conor as Owen, the epileptic ten-year-old he takes under his wing and eventually whisks off to England in an attempt to spare the boy the everyday cruelties of the institution. Foreshadowing a critique that emerged with greater force in several subsequent Irish films, Lamb hints at the troubling underpinnings of the religious institutions that had shaped Irish identity since the creation of the state. As an oppositional figure, Michael seems at first sympathetic, even heroic, in his desire to save the boy from institutional brutality. Yet in the long run he reveals himself to be tragically immature and self-deluding. Neeson’s powerful performance gives coherence and credibility to a role that may have been a great deal less convincing in less capable hands.  

Hugh O’Conor in conversation

Following the screening of Lamb, Hugh O’Conor was invited to share his memories of working on the film with Neeson at the age of ten. A multi-talented artist, O’Conor is one of those rare individuals to have made a successful transition from child performer to adult actor (his most widely seen childhood role was as the young Christy Brown in Jim Sheridan’s My Left Foot in 1989).  This year O’Conor came to the Festa principally as a director. His debut feature—a particularly popular film with the Rome audience—was Metal Heart.  This upbeat coming of age comedy (the only film in the festival with a female lead) hinges on the rivalry between a pair of 17-year old twin sisters with contrasting interests and personalities. With their parents away on a long overseas holiday, tensions and conflicts flare up between the mismatched pair. Unfolding in the weeks leading up to the announcement of the Leaving Cert results, the story conveys the excitement, uncertainty and worry felt by a substantial cohort of Irish teenagers at a crucial moment of transition. Though the film favours the perspective of Emma, the “goth” sister (Jordanne Jones), over her more conventional and supposedly prettier twin, Chantal (Leah McNamara), both characters are drawn with sympathy and affection, making their eventual reconciliation less than a surprise. Playing Emma’s creative partner, Seán Doyle pulls off a strong performance as teenage musician struggling to withstand parental pressures to conform to middle-class expectations. Meanwhile, Moe Dunford exerts his seductive charm as the wayward son of an aging neighbor, who partly but not fully succeeds in breaking the protagonist’s heart. Despite the specificity of some of its social and cultural references and the limitations of its production budget, Metal Heart is obviously intended to speak to audiences not only in Ireland but also abroad, and the festival viewers responded with genuine enthusiasm to its appeal, as became evident in the discussion and subsequent question and answer session.

Dara Devaney, well known to Irish audiences for his early, recurring presence in the Irish language soap Ros na Rún and for many subsequent film roles, was one of the guests of the Festa this year. A native speaker of Irish, he is the star of the Irish-language docudrama, Murdair Mhám Trasna, which he presented at the Festa. Devaney plays the tragic figure of Myles Joyce (also known as Maolra Seoighe) who was hanged in a miscarriage of justice at Galway Gaol in 1882 for a crime he did not commit. This brilliantly executed film directed by Colm Bairéad and produced by ROSG for TG4 provides a dramatic reconstruction of the brutal murder of an extended family in remote Connemara, followed by the arrest, trial and execution of the suspects. The film underlines the fact that several of the accused, most notably the entirely innocent Myles Joyce, spoke Irish only, but the trial was conducted in Dublin entirely in English. Dramatic recreations of these well-documented historical events are interspersed with commentary by various contemporary personalities, including historian Gearóid Ó Tuathaigh of NUIG and President Michael D. Higgins, who granted Joyce a posthumous pardon around the time of the film’s release. Issues of colonial abuse and the silencing of subaltern subjects are vividly dramatized in this film, which, despite its remote historical context, has clear lessons for our neoliberal and neocolonial times.

One of the revelations of this year’s Festa was the increasingly creative and often hybrid use of the documentary form by Irish filmmakers. Apart from Murdair Mhám Trasna, three other powerful feature-length explorations of specific historical and contemporary realities of Irish life appeared on the programme. Feargal Ward’s The Lonely Passion of Thomas Reid offers a quirky combination of standard documentary approaches and dramatic reconstruction. The film tells the powerful story of one man’s battle against the forces of global neoliberalism. Reid, the man in question, is an independent-minded Co. Kildare farmer who refused to relinquish his ancestral land in the face of the IDA’s strong-arm efforts to force him to sell it with the aim of enabling the occupant of the adjacent property, the multinational corporation Intel, to expand its premises and, supposedly, create hundreds of new jobs. Reid’s story is a parable of the ongoing struggle between those lingering elements in Irish society that cling to values and traditions of the past and the indomitable advance of corporate modernity. The stakes of this struggle are beautifully captured by Ward’s patient, painstaking exposé.

Seán Murray

The Festa also offered two excellent documentaries from Northern Ireland, each of them focused in distinctive ways on the Troubles. The first was Seán Murray’s Unquiet Graves, detailing the collaboration between the RUC and the Ulster Defence Regiment in the murder of over 120 civilians in a campaign conducted across a broad swath of Co. Armagh and Co. Tyrone from July 1972 to the end of 1978, but also encompassing the bombings in Monaghan and Dublin in May 1974. Using archival material, reconstructions, and contemporary interviews—including a riveting conversation with whistleblower John Weir, a former member of the RUC and a convicted murderer–the film is a stunning indictment of state organized violence and startling abuses of power that are still unacknowledged at the official level.

Unquiet Graves was followed by Brendan Byrne’s Hear my Voice, which is structured as an audio-visual engagement with painter Colin Davidson’s large-scale portraits of eighteen victims and survivors of the Troubles. The film alternates between images of Davidson’s mute but haunting portraits (collectively titled ‘Silent Testimony’) and interviews with survivors and relatives of those killed in various attacks over a period of several years. Though sectarian issues are not mentioned in these testimonies, it becomes clear that Byrne’s interlocutors are living with the effects of atrocities committed by both Republican and Loyalist factions. With its quiet, poetic force, the film provides a searing reminder of the traumatic legacies of a violent conflict years after its purported conclusion.

Isle of Docs panel

In recognition of the recent flourishing of the documentary form among Irish filmmakers, a panel titled ‘Isle of Docs’ followed the screening of these films, featuring Frank Berry and Seán Murray in discussion with Susanna Pellis. Berry has made an award-winning documentary (Ballymun Lullaby) in addition to two feature films, all of which are grounded in social realities of the economically deprived communities around Dublin with which he is familiar. Murray, a self-described activist filmmaker, is based by contrast in Belfast. He has focused on making documentaries and shorts dedicated to issues specific to the people of Northern Ireland—particularly with regard to the legacy of the Troubles, and he sees his films as having the power to disturb and challenge the status quo. Since they each work in different jurisdictions and different production environments, some of the discussion concentrated precisely on the differences in funding opportunities and institutional support for documentary filmmaking north and south of the Border. The fact that both Berry and Murray have produced work of such conceptual rigour and professionalism augurs well for the future of the documentary on the island of Ireland.        

John Lynch Interview

The festival frequently offers masterclasses run by notable Irish actors. This year it was the turn of veteran actor John Lynch, guest of honour at the Festa, to take on the role of workshop leader. Lynch was in fact already a well-known face to audiences of the IFF, which over the years has screened several films in which he has played a prominent role. Pellis conducted a substantial, wide-ranging interview with Lynch on the day following the workshop, exploring the full arc of his acting career and his ancestral ties to Italy, or more specifically to his mother’s birthplace in the region of Molise. He discussed his early involvement in Irish language theatre while in school in Northern Ireland, his move to England and development in professional theatre, the many film roles he was offered that centred on the Troubles of Northern Ireland, and his more recent work in serial television. Although inevitably associated with Northern Ireland, Lynch is a truly transnational figure, as he now lives in southern France, has learned to speak French, and has even performed in French. He also discussed his development as a writer—a pursuit adopted in mid-life—and announced that he has completed his third novel. Following the interview, the festival audience had the opportunity to watch one of Lynch’s characteristically intense performances in the Australian feature Angel Baby (Michael Rymer, 1995), in which he plays a psychiatrically disturbed young man teetering on the edge of self-destruction.

The Dig‘s Lorcan Cranitch, RyanTohill and Moe Dunford with Susanna Pellis

A few years ago, the IFF screened Patrick’s Day (Terry McMahon, 2014), a film that introduced the festival audience to the considerable talent of Moe Dunford, then a rising star of Irish cinema and now an established presence. Dunford was one of the guests of this year’s Festa and appeared in no less than four of the films on the programme. Cast in supporting roles in Michael Inside, Metal Heart, and Black ’47, he plays the lead in The Dig, the first feature film directed by Ryan and Andy Tohill. Here Dunford gives an astonishing performance as Calahan, whom we first encounter as he arrives home to his boarded-up cottage in Co. Antrim after completing a fifteen-year sentence for killing his girlfriend. Since the body had never been found and Calahan has no recollection of the crime—admitting to state of drunken oblivion at the time of the murder—his conviction was based entirely on DNA evidence. Yet he does not claim to be innocent. Discovering that his neighbour, the girl’s father (Lorcan Cranitch), has been digging up the vast bogland on Calahan’s property for years in a still futile attempt to unearth the body, he tries to get the intruder off his land. When he fails to achieve this, Calahan begins to dig alongside the man who understandably hates him, while both of them are carefully observed by a threatening local policeman who dominates everyone and everything in the area as though he were the law itself.  With little dialogue, most of the film is shot outdoors in the eerie winter light, as both men struggle with the hard labor of digging and with the ups and downs of their psychological tug-of-war. The scenes set in this stark, elemental landscape are mostly without dialogue, with the actors relying on movement and facial expression to communicate acute pain, anger, and frustration. Eventually, however, the men’s relationship becomes more complex and complicit. This psychological drama is overlaid by resonances of the western, which mark the story as a familiar, intensely masculine contest played out between and among men—the returned convict, the farmer seeking justice or revenge, and the man of the law. Although the farmer’s surviving daughter has a more important role in the narrative resolution than we might have expected, the film’s conclusion affirms that the story belongs fundamentally to the men, as is true of the classic western. Despite a hurried, disappointingly underwritten third act, the powerful effects of the cinematography and performances remain with the viewer long after The Dig comes to an end. Clearly a film that struck the festival audience with particular force, it was followed by a lively discussion with co-director Ryan Tohill, Dunford, and Cranitch and elicited one of the most engaged question and answer sessions over the course of the Festa.

Black ’47 (Lance Daly, 2018) is the only feature film produced to date to take on the subject of the Great Famine. This is not, however, a conventional period drama. Instead, the filmmaker has given us a revenge thriller with strong influences of the western. These elements make for engrossing viewing, despite the predominant use of the Irish language (subtitled in English and, for the Festa, in Italian), the bleak colour palette, and the vision of a frozen Connemara landscape inhabited by a starving population. This desolate spectacle of famine and injustice is witnessed through the eyes of Connemara native, Martin Feeney (James Frecheville), upon his return from the war in Afghanistan where he had fought for the Crown as a member of the Connaught Rangers. Finding that his closest family members are either dead or homeless, Feeney realizes that he is witnessing a social order as depraved as that of any colonial outpost, and begins to seek revenge. What the film makes clear is that the Great Famine was no natural disaster. Though the potato crop has failed, food is not lacking even in remote Connemara. The local landlord (Jim Broadbent) is in possession of huge store of grain that he refuses to concede to the starving locals, and thus becomes one of the targets of Feeney’s avenging mission. The dramatic tension intensifies when Hannah, an IRC officer with whom Feeney had served in Afghanistan, is sent by Dublin Castle to track down and eliminate the avenging Irishman. What the authorities do not know is that Hannah owes Feeney a debt of honour, and the Englishman makes good that debt first by urging Feeney to escape with his life, and when he refuses, by aiding him in his final act of vengeance. Although the ultimate narrative resolution has elements of the formulaic, the film functions as a kind of popular history lesson. It certainly had this effect in Rome, where few of the viewers seemed aware of the events of that fatal year remembered in the collective consciousness of Irish people as ‘black ’47’.

Pellis generously includes in the Festa elements rarely seen at film festivals—usually literary and musical events—that connect filmmaking with other related art forms. In this way, she invites Italians to appreciate many dimensions of Ireland’s rich cultural output. This year we were treated to twenty brilliant photographic portraits of Irish artists captured beautifully by the Irish actor and director Hugh O’Conor.

Karl Geary with Simona Pellis

The literary spotlight of this year’s Festa was on Karl Geary’s novel, Montpelier Parade, recently translated into Italian. Geary—also an actor—was at the festival specifically to discuss his work as a fiction writer. Simona Pellis presented the novel to the assembled audience and conducted a thoughtful interview with the author. Predominantly a coming of age story, the novel is narrated in the second person, a detail that intrigued several of those who participated in the lively question and answer session that followed the interview. Geary expressed gratitude that so many of those present had read his work with close attention. Prior to writing the novel, Geary had been for the most part involved in screenwriting and performance, and some audience members may well have remembered his work in Ken Loach’s Jimmy’s Hall.  

Prof. Aine O’Healy with Dara Devaney

In addition to a literary event, almost every edition of the IFF has included at least one live musical performance. This year the musical spotlight fell on actor Dara Devaney, who performed two plaintive songs in the sean nós tradition as a prelude to the screening Black ’47. One of these, the mysteriously worded ‘Johnny Seoighe’, is the only known Irish song that refers explicitly to the Great Famine.

The Irish Film Festa thus underscores the multiplicity of talents that characterize many of those who are active in the Irish filmmaking community and it offers Italian audiences a general sense of the high level of contemporary cultural production in Ireland.  As an annual festival dedicated to Irish cinema, it is unparalleled in its scope and vision, providing much more than simply a selection of recent films that happen to be made in Ireland.

 

Áine O’Healy teaches film and Italian studies at Loyola Marymount University in Los Angeles. She is author of Migrant Anxieties: Italian Cinema in a Transnational Frame (Indiana University Press, 2019).

 

Visit www.irishfilmfesta.org

 

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Review of Irish Film @ DIFF 2019: Shooting the Mafia

Sarah Cullen takes a look at Kim Longinotto’s powerful documentary which strips back the glamorous image of the Sicilian Mafia, showing the harsh reality of life, death and business at the hands of those who wield it.

After being bowled over last year by Sicilian Ghost Story, Fabio Grassadonia and Antonio Piazza’s haunting fictional rendering of the real-life mafia kidnapping and murder of Giuseppe di Matteo, the son of a mafia informant, my interest was piqued when I heard about the Virgin Media Dublin International Film Festival’s showing of Shooting the Mafia. Kim Longinotto’s documentary examines the work of photographer Letizia Battaglia who has spent decades capturing the crimes of the Sicilian mafia. Guiseppe’s unimaginable ordeal is not mentioned, which says far more about the bloody history of the notorious crime syndicate than it does about the documentary: as demonstrated by Battaglia’s haunting photography, there have been countless Giuseppes since she began recording their violence since the 1970s.

The first female photographer to be employed by an Italian newspaper as well as the first Italian photojournalist to document the mafia’s violence, Battaglia’s life and work are both explored throughout. At the age of only sixteen she entered into a constricting marriage to escape from her controlling father. After her divorce she took up photojournalism. Using her camera she took over 600,000 photos recording the death and destruction wrought across Sicily by mob violence. Shooting the mafia, in Battaglia’s case, frequently meant recording the aftermath of their actions: inert bodies in their own blood, funerals, the destruction of vehicles. Inevitably, her life is part of the wider fabric of Sicily: she became a target of threats from the mafia and relates her own grief at the deaths of other resistors against the regime. Through it all the photographs she never took, she observes, are the ones that haunt her the most.

Longinotto’s ambitions to push at the boundaries of the documentary form are highlighted early on: as she highlighted in the Q&A afterwards, alongside photography and other archived recordings, Battaglia’s life is illustrated with footage from early Italian cinema. Drawing comparison between the men who attempted to prevent Battaglia’s creative freedom as a young woman and the mafia which circumscribed the freedoms of Sicily, Longinotto draws a line between the importance of personal creativity and the self-determination of an entire community. In its many uses of multimedia, Shooting the Mafia explores the possibilities of art as a tool for challenging violence.

Coming out of Shooting the Mafia, I felt like I had more questions than answers. In a certain sense, it’s difficult to know for sure what the focus of Longinotto’s chronicle is: Battaglia’s life, her photography, or the struggles of Sicily. But then again, this may be appropriate considering the multiple meanings of focus in a filmed recording of a rumination on the possibilities of photography. Like Battaglia’s own photography, which approaches its subject matter in an oblique manner, Shooting the Mafia approaches Battaglia in an oblique manner, through her romantic relationships, her photography, and her political career. One suspects there is much that Battaglia is keeping from the viewer: moreover, one suspects that is the intention of an individual who approaches the world from behind the camera.

 

Shooting the Mafia screened on 2nd March 2019 as part of the Dublin International Film Festival (20th February – 3rd March).

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Review: Godzilla: King of the Monsters

DIR: Michael Dougherty • WRI Michael Dougherty, Zach Shields • DOP: Lawrence Sher • ED: Roger Barton, Bob Ducsay, Richard Pearson • PRO: Alex Garcia, Jon Jashni, Mary Parent, Brian Rogers, Thomas Tull • DES: Katie Byron • MUS: Bear McCreary • CAST: Millie Bobby Brown, Lexi Rabe, Sally Hawkins

Warner brothers Monsterverse franchise is back in full swing with their third entry and second Godzilla movie, Godzilla: King of the Monsters. Things are heating up for the big bout expected next year: Godzilla Versus Kong.

Picking up from the end of Godzilla, in an oddly similar vein to Justice League, we find Monarch scientists (that secret group that have been monster-watching all this time), Emma, Mark and their daughter Madison searching the rubble of San Francisco for their lost son, Andrew, as Godzilla prepares for his final encounter with the rival monsters from that film.

Five years later,  daughter and mother are in Brazil where Emma is continuing her work with Monarch. Mark has retired, after finding it hard to work for an organisation that has involvement with the large creature that inadvertently killed his son. Emma is on the cusp of a breakthrough in communicating with the creatures thanks to a device known as Orca and, would you believe it, only one of these devices exists.

Enter Captain Jonah, an  eco-terrorist psychopath and his motley crew, just as Emma is putting the Orca device to good use on Mothra who has just emerged from her cocoon. One carnage of Monarch personnel, kidnapping and trip to yet another Monarch base in Antarctica and things are looking bad for humankind. The eco-terrorists plan is to awaken Titans (posh scientific term for monsters) all over the world in the name of saving the planet, give or take a few billion people I’m guessing. Things get out of hand, I kid you not, the idea of setting Titans loose wasn’t a bad idea to the perpetrators until Ghidorah, three-headed rival to the big G is let loose as part of this well thought-out master plan. It turns out Ghidorah ain’t from around here and has titanic plans of his own.

Godzilla: King of the Monsters has one of the most bonkers premises I’ve seen in a while. The slaughter-filled plan to save the planet is up there with the most abominable plans of past dictators give or take a titan or two. But because of this bonkers premise rather than despite it, the film flies along with its sincere bonkerness in the best possible way.

The actors do their best despite getting landed with the most God(zilla)-awful dialogue and spending most of the time having terrible ensemble chats, jammed to the cloisters with exposition and on-the-money plot information. At least some of them seem to know they are in a monster movie, which adds to the fun. Sally Hawkins and Ken Watanabe reprise their roles from the first film as well-meaning Monarch scientists. Ken fares the best of the two and finally gets to be up close and personal with Godzilla. Poor Sally does not fare as well. Hero duties fall mostly to Kyle Chandler who many will remember from Peter Jackson’s King Kong – pure coincidence I’m sure that he is back fighting monsters and looks to be around when Kong returns next year. Millie Bobby Brown fares well as Madison, the conflicted daughter of Emma and Mark. Underused and coming out the best of all is Charles Dance as Captain Jonah Alan, who  gets to be the real beast of the film; when not slaughtering innocents he pontificates about what terrible creatures humans are.

Despite the bonkers premise and stilted human moments, Godzilla is a blast. If like me you love a good old monster-bashing, city-trashing piece of action, then your in for a treat. The film does not let up once the action starts, the filmmakers have certainly taken the time to understand the kaiju gold mine they are excavating. It feels like a genuine nod to sixties and seventies Godzilla and is filled with easter eggs for die hard fans … I’m sure there must be others out there. But of course this is not going to get in the way of those who are just discovering kaiju in the last five years. The only possible danger with all these extra monsters is that it seems like too much of a good thing. Where can they go with the upcoming Godzilla, Kong bout when there are all these other titans vying for our attention…

Godzilla vs Jurassic Park anyone?

Paul Farren

131 minutes
12A (see IFCO for details)
Godzilla: King of the Monsters is released 31st May 2019

Godzilla: King of the Monsters– Official Website

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Review: Booksmart

DIR: Olivia Wilde • WRI Susanna Fogel, Emily Halpern, Sarah Haskins, Katie Silberman • DOP: Jason McCormick • ED: Jamie Gross • PRO: Chelsea Barnard, David Distenfeld, Jessica Elbaum, Megan Ellison Katie Silberman • DES: Katie Byron • MUS: Dan Nakamura • CAST: Kaitlyn Dever, Beanie Feldstein, Jessica Williams, Jason Sudeikis

What can one hope for from a female coming-of-age comedy 2019? I for one went into Olivia Wilde’s directorial debut Booksmart hoping that it would be this year’s Blockers (which was, in turn, the previous year’s Bad Neighbours 2). And reader, it did not disappoint.

Following the fortunes of two model students on their final day of high school, Amy (Kaitlyn Deever) and Molly (Beanie Feldstein) have avoided parties and general tomfoolery in favour of study and intellectual rigour throughout their school careers to ensure success later in life. This backfires when they discover that the rest of their graduating class has also been accepted to Harvard and Yale. Looking to make up for lost time, the two girls set off on an odyssey of graduation parties. Yes, it is in many ways the female version of Superbad. And while in one way it’s sad that we have had to wait over a decade for such a film to appear, it’s perhaps also a very good thing that no one attempted a female version of Superbad ten years ago.

While it’s undeniably satisfying to see new films flipping the script on the assumptions Hollywood has made about American high school since the ’80s, the film does occasionally overplay its hand. Almost every character turns out to be something they’re not, which at times can be exhausting, particularly for characters that had barely any screen time in the first place. However, this isn’t to take away from the impressive supporting cast and the good intentions behind it all: it’s nice to see a diverse array of high school characters wherein everyone is treated as an individual, and long may the dismantling of the Hollywood hierarchy continue.

And for many reasons, Booksmart feels worth the wait, bringing together as it does two fantastic leads who have deserved more screen time for quite a while now: Kaitlyn Deever managed to be a kick-ass kid in television’s adult-focused Justified while Beanie Feldstein was the infinitely likeable best friend in Lady Bird (and should have been the focus of the movie, in this reviewer’s humble opinion). Together they bring a wonderful combined energy to the film, with lots of the comedy coming from their offbeat exchanges. Despite seeing each other daily, they take plenty of time to send each other constant encouragement, which is as sweet as it is bizarre. As a spiritual sequel to Blockers it also follows in that film’s progressive steps: Amy is out and, aside from her Christian parents (Lisa Kudrow and Will Forte) who are stepping over themselves to demonstrate their acceptance of their daughter, her sexuality doesn’t raise any eyebrows.  And indeed, if Molly fails to understand the nuances of her best friend’s sexuality at times, it’s her own misunderstanding of female sexuality that is the butt of the joke. “I have a secret for you.” she tells Amy: “I once tried to masturbate with an electric toothbrush, but I got a horrible UTI.”

Hopefully we will see more directing from Wilde and her all-female writing team, as they have succeeded in creating a laugh-out-loud comedy which explores the nuances of female friendship and permits its characters to make mistakes. Booksmart graduates with top marks (but doesn’t forget to have fun along the way).

Sarah Cullen

102 minutes
16 (see IFCO for details)
Booksmart is released 27th May 2019

Booksmart – Official Website

 

 

 

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Review: The Miami Showband Massacre

June Butler checks out the Netflix doc The Miami Showband Massacre directed by Stuart Sender recounting a horrific attack on 31st July 1975 by the Ulster Volunteer Force.

Early one July morning in 1975, a group of musicians calling themselves The Miami Showband were returning to Dublin from a gig in Northern Ireland. In the distance, they could see the torches of soldiers flagging them down in what appeared to be an official forces checkpoint prior to crossing the border into Southern Ireland. Preoccupied by their earlier success and unaware of any danger, the driver pulled into a lay-by and the band members exited the van. They later recalled how the soldiers joked and bantered as their identification was verified. One member of the band murmured that they would be ‘away quickly’ because it was the British Army (Ulster Defence Regiment) who were conducting the check. Stephen Travers, the bass player with the Miami Showband, heard the van door slide open. Seconds later, a bomb exploded killing two of the soldiers. Travers was thrown into the adjoining field by the force of the blast. He and another surviving member, Des Lee, later recalled how the bantering soldiers turned on them and started firing indiscriminately into the thicket where both parties lay wounded. In the distance, Travers could hear Fran O’Toole, the lead singer with the band, begging for his life. Seconds later a shot rang out and O’Toole lay dead. When Des Lee, who was the only person still standing after the blast, returned to the roadside, all he could see was a river of blood and body parts strewn on the tarmac. Lee managed to raise the alarm and Travers was brought to hospital where he recovered physically but mental scars remained.  

In 2015, on the fortieth anniversary of the murders, and in the lead-up prior to this, Stephen Travers started investigating the events of that fateful night. Travers maintained that he owed it to the memory of his friends to properly examine the true nature of the affair. It transpired that the men who flagged them down were members of the Ulster Volunteer Force wearing uniforms representing the Ulster Defence Regiment. Two of the dead ‘soldiers’ from the bogus checkpoint were later confirmed as members of the illegal organisation. Both Travers and Lee have persistently argued that there was collusion between the armed forces and groups such as the UVF. Travers has always maintained that he heard a British accent from the commander of the checkpoint. Further investigation shows British Army personnel who agreed with Travers line of thinking and who also raised concerns with their commanding officers regarding complicity between the UVF and the British Army. It is clear that Stephen Travers is not a man to be thwarted and as he says himself, it takes a while for him to turn but when he does, he will not be deflected.

Stephen Travers is the central figure in this journey – Des Lee also plays a pivotal role but it is essentially Travers who relentlessly pursues the veracity of what really occurred. And while Travers is a haunted man, his passage to actuality has banished the darkness and allowed a life not authentically lived to bloom and flourish. The documentary is a must-see. It is horrific to hear the accounts of what happened but Travers accepts he is on a critical path – one that must not be diverted from regardless of what answers might come.

 

https://www.netflix.com/ie/title/80191046

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Screen Ireland Funding for First Quarter of 2019

Screen Ireland has announced the successful applicants for funding for the first quarter of 2019 for fiction, animation, and documentary. Projects are given funding at development, production and distribution stages.

1st Quarter

Development

Project Development

Project Director Writer Production Company Funding Award
Starlight Alan Brennan Alan Brennan Marcie Films/Cowtown Pictures €24,800
Bi Bi Baby John Butler John Butler Treasure Entertainment €37,000
L.O.L.A Andrew Legge Angeli MacFarlane, Andrew Legge Cowtown Pictures €17,500
Four Mothers Darren Thornton Darren Thornton, Colin Thornton Port Pictures Ltd. €35,950
Heron Island Carmel Winters Carmel Winters World 2000 €27,800
The Wurzburg Effect Alex Fegan Alex Fegan Kennedy Films €26,900
Famine Gerard Barrett Gerard Barrett Blank Page Productions €24,670
Young Skins Gavin Scott Whitfield Eugene O’Brien Blinder Films €23,800
The Sparrow Michael Kinirons Michael Kinirons Tiger Darling Films €23,600
The Smaller I Am Saela Davis, Anna Rose Holmer Shane Crowley Sixty Six Pictures €20,100
The Cancer Bus Kelly Warburton Savage Productions €19,300
In/Visible Fran Harris Vico Films €18,300
Monto David Turpin Tailored Films €15,300
Crooked Steve Kenny Steve Kenny Forty Foot Pictures €8,100

Animation Development

Project Director Writer Production Company Funding Award
Ghost Town Alan Foley Alan Foley Dear Will €20,000
Piece Alan Holly Alan Holly And Maps and Plans €25,000

Documentary Development

Project Director Writer Production Company Funding Award
The Blue Hole Laura McGann Motive Films €15,000

Screenplay Development

Project Director Writer Production Company Funding Award
Lambs Mike Cockayne Mike Cockayne, Vince Cleghorne Hardy Films €16,000
Haul Rebecca Daly Rebecca Daly €12,000
A High Place Rebecca Daly Rebecca Daly, Glenn Montgomery €16,000
My Refugee Leticia Agudo Leticia Agudo Whackala €12,000

New Writing Development

Project Director Writer Production Company Funding Award

International Development

Project Director Writer Production Company Funding Award

International Television Drama Development

Project Director Writer Production Company Funding Award
Caherduin Gary Duggan 925 Productions €27,400
The Year of the Beast Brian Kirk Matt Charman Parallel Films €50,000
Spartacus Rising Mary Kate O’Flanagan, Gavin Ryan Treasure Entertainment €38,000
Darkened Room Tamara Maloney, Maeve McQuillan Blinder Films €27,900
ZOM-B Robin Hill Fantastic Films €23,652

Distribution

  • Direct Distribution

    Project Director Writer Production Company Funding Award
    Cellar Door Viko Nikci Samson Films €12,500
    An Engineer Imagines Marcus Robinson Igloo Productions €12,500
    The Man Who Wanted to Fly Frank Shouldice Loosehorse Ltd. €15,000
    Don’t Go David Gleeson Wide Eye Films Ltd. €12,500
  • Distribution Support

    Project Director Writer Production Company Funding Award
    The Hole in the Ground Lee Cronin Wildcard Distribution €75,000

Production

  • Fiction Irish Production

    Project Director Writer Production Company Funding Award
    Herself Phyllida Lloyd Clare Dunne, Malcolm Campbell Element Pictures €750,000
    L.O.L.A Andrew Legge Angeli MacFarlane, Andrew Legge Cowtown Pictures €Unquantified Offer of Support
    The Restoration of Grayson Manor Glenn McQuaid Glenn McQuaid Fantastic Films €Unquantified Offer of Support
    The Night I got Shot by Santa Michael Lennox Ronan Blaney Calico Pictures €Unquantified Offer of Support
    TWIG Marian Quinn Marian Quinn Metropolitan Films International Ltd. €Unquantified Offer of Support
    Boys from County Hell Chris Baugh Chris Baugh Blinder Films €550,000
  • Fiction Creative Co-Production

    Project Director Writer Production Company Funding Award
    I Never Cry Piotrek Domalewski Piotrek Domalewski Mk1 Productions €125,000
    Kensuke’s Kingdom Kirk Hendry, Neil Boyle Frank Cottrell Boyce, Michael Morpurgo, Michael Morpurgo Brennus Film Productions €250,000
  • Animation Television Production

    Project Director Writer Production Company Funding Award
    Freddy Buttons Graham Holbrook Shane Perez, Fiona Dillon, Alan Keane Treehouse Republic €Unquantified Offer of Support
    Ollie Anton Setola Ink And Light €175,000
  • Documentary Production

    Project Director Writer Production Company Funding Award
    Stokely Kim Bartley Kim Bartley Underground Films Limited €Unquantified Offer of Support
    Screamers Ciaran Cassidy Ciaran Cassidy Cowtown Pictures €Unquantified Offer of Support
  • Completion

    Project Director Writer Production Company Funding Award
  • Fiction: Live Action International Production

    Project Director Writer Production Company Funding Award
  • Additional Production

    Project Director Writer Production Company Funding Award
  • Cine4

    Project Director Writer Production Company Funding Award
  • POV: Production & Training Scheme for Female Talent

    Project Director Writer Production Company Funding Award
Source: https://www.screenireland.ie/funding/funding-decisions
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Film Ireland Podcast: Episode 35 – Drop Kick a Puppy

 

Sarah Cullen and Richard Drumm address the nation and share their latest jibber jabber on some new films that people have made for you to see, including dream-chasing and drug-taking in Wild Rose,  spotting Dublin streets in Greta, and high-school yarns in 8th Grade and Book Smart.

Sarah takes a look at three Netflix films with women drinking in Wine Country, a lack of murders in Who Would you Take to a Desert Island, and alive ghosts in Suzzanna: Buried Alive.

Richard takes his seat at the High Table and discusses the endless shoot-outs of John Wick: Chapter 3 – Parabellum, nonsense in the cinema at Pokémon: Detective Pikachu, and the pointlessness of Vox Lux.

And finally there’s the glass cliff of Avengers: Endgame (were they tears Richard?)

Listen…

Film Ireland Podcasts

 

 

 

 

 

Land Without God screened on 28th February 2019 as part of theDublin International Film Festival (20th February – 3rd March).

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Review of Irish Film @ DIFF 2019: Land Without God

David Deignan takes a look at Land Without God,  an intimate portrait of a family coming to terms with decades of institutional abuse and the impact it has had and is still having on their lives.


Land Without God is a raw, emotional and unflinching investigation into the effect that decades of repeated institutional abuse has had, and continues to have, on Gerard Mannix Flynn and his family. Flynn, who co-directs alongside Maedhbh McMahon and Lotta Petronella, bravely steps in front of the camera to act as our guide through his own harrowing story.

He is our narrator, speaking to the audience in voice-over monologues, and our protagonist. While the film is framed around his family’s experiences (he conducts a host of raw, visceral interviews a host of them on camera – apparently the first time that they’ve truly opened up to each other about their shared childhood experiences), this is Flynn’s story first and foremost. We learn in great detail of the injustices inflicted upon him as he revisits the decaying sites of the reformatory schools and juvenile detention centres where he suffered in his youth. He remains staunch as he recounts his visceral stories for us, but there is a fierce emotion – a mix of sorrow, frustration and sheer anger – which underpins his every bitter word.

The documentary is broken into chapters, each one detailing a different, difficult period of Flynn’s upbringing and, through his and his family’s stories, it accounts to a shocking exposition of the extent to which Irish children have been grossly mistreated in institutions throughout the years.

The atmosphere at the film’s Dublin International Film Festival was noticeably charged, with many of Flynn’s family in attendance, which really highlighted the film’s nuanced balance of tone. It’s understandably heavy going for the most part, but it injects humour at smart intervals to break the tension.

Land Without God is no-frills, and pulls no punches. Flynn and his extended family have been torn about, both individually and collectively by cruelty, but they come across as intensely steadfast – and acutely aware that they’re far from the only ones to have been mistreated in similar circumstances. Their admissions are intensely moving, and their sheer honesty must be admired. They display such fragility onscreen, and deserve immense credit for their bravery.

The film isn’t without its issues, mind At 65 minutes it’s relatively short but the pacing is still uneven while it can be repetitive, especially at points during Flynn’s long monologues. But these are small complaints. This is powerful cinema, which tells a story which needs to be heard and deserves to find an audience.

The message at the centre is that, for the abused, justice has proved to be little more than a word in a dictionary. It would be foolish to think that forms of institutional abuse are consigned to Ireland’s history and in this sense, with an eye on contemporary prisons, care homes and the addiction and homeless sectors, Land Without God is an important attack on past injustices which still feel tragically and painfully present.

 

Land Without God screened on 28th February 2019 as part of the Dublin International Film Festival (20th February – 3rd March).

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Four Films Selected for the Next Stage of POV

POV Scheme

Screen Ireland has announced that four films have been selected to go forward into production from the POV scheme.  You Are Not My Mother, Knowl, It Is In Us All and Sunlight will be entering their next phase of production under this programme.

About POV

The aim of POV is to enable distinct Irish female voices with a passion to tell stories on the big screen through the development and production of feature films. Entries were open to live action fiction feature films that will be produced at the required budget level of €400,000.

Six projects were selected for an intensive development process which included mentorship, workshopping and story development. In this next phase, four projects, instead of the original three,  have been selected for production.

The four POV projects are: 

  • Knowl: written by Elisabeth Gooch (Nightbird, Finalist 2015 NYWIFT Writer’s Lab), directed by Lisa Mulcahy (‘The Legend of Longwood’), and produced by Ruth Carter (‘Damo and Ivor: The Movie’) for Blue Ink Films. Based on Sheridan Le Fanu’s Gothic thriller, Uncle Silas, Knowl is a period adaptation with a modern twist. Forced to fight her guardian for her inheritances — and her life — an orphaned heiress must embrace her family’s dark legacy to survive.
  • It Is In Us All: written and directed by Antonia Campbell-Hughes (‘Q4L (quest for love)’ – Screen Ireland Short Story) and produced by Conor Barry (‘Pilgrimage’) for Savage Productions. Hamish is a fast-living, successful media type from London. He has it all, yet he is deeply unsatisfied. After a near-fatal car crash, he is unable to shake off the mysterious pull of the boy racer who almost took his life.
  • Sunlight: written by Ailbhe Keogan (‘Take Me Swimming’ – Screen Ireland Focus Short), directed by Claire Dix (‘Take Me Swimming’) and produced by Roisín Geraghty (GAZE Film Festival) for Blinder Films. In this compassionate comedy, Leon, a recovering addict cares for Iver, his terminally ill sponsor with a bonded devotion. Leon interrupts Iver self-euthanizing with an exit-guide, Maria, in attendance. A betrayed Leon refuses to let his hero die until Iver sees the tribute show Leon has created in his honour.
  • You Are Not My Mother: written and directed by Kate Dolan (‘Catcalls’ – Screen Ireland Focus Short) and produced by Deirdre Levins (‘Nails’) for Fantastic Films. In a North Dublin house estate, Char’s mother goes missing. When she returns, Char is convinced something or someone has replaced her.

 

 

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Jon Hozier-Byrne

In this podcast, Natasha Waugh talks to Jon Hozier-Byrne, a filmmaker from Dublin, Ireland. John has a BA and an MA in Film Studies from University College Dublin, where he taught film until 2014, when he founded Stoneface Films. Since then, he’s had his directorial work featured in the Cannes Film Festival, and created music videos for the likes of We Cut Corners, Hozier, Mick Flannery, and Hometown.

 

 

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Ireland & Luxembourg Launch Women-Focused Development Fund

Ireland & Luxembourg Launch Women-Focused Development Fund

Film Fund Luxembourg and Fís Éireann/Screen Ireland have just announced a new Co-Development Fund for Female Filmmakers at the Cannes International Film Festival.

The signature of this new Fund will also be marked by the presentation of the Luxembourg “Order of the Oak Crown” badge by Luxembourg Prime Minister Xavier Bettel, to James Hickey, Chief Executive of Screen Ireland,  for his efforts to foster cultural and audiovisual relations between the Irish and Luxembourgish film industry.

This dedicated Co-Development Fund aims to co-develop a range of new feature film projects written and/or directed by women. The fund will support the careers of female writers and directors during the crucial development stage of a project.  It aims to reduce gender disparity in the film industry and marketplace and improve female representation in the screen industry. The fund is also intended to encourage further co-production opportunities between Ireland and Luxembourg.

Commenting on the new fund James Hickey, Chief Executive, Fís Éireann/Screen Ireland said “This new development partnership with Luxembourg is part of a wide range of programmes that reflect our commitment to addressing the issue of gender inequality in Irish filmmaking and screen content, in particular the roles of writers and directors. Luxembourg is a long term co-production partner of Ireland and we are very excited to be launching a new co-development fund with them.”

“It is no secret that women in the film industry are underrepresented, also in Luxembourg. This incentive is specifically designed to tackle this issue. I am looking forward to this collaboration with our Irish friends and to seeing exciting projects from our two countries”, said Guy Daleiden, CEO of Film Fund Luxembourg.

This new co-development fund will contribute €40.000 per project. The total value of the funding available is €120.000 for the pilot year (to be continued for two years if both parties agree) and will be allocated on a 50-50 basis from both funding bodies.

Projects must have producers attached from Ireland and Luxembourg to allow them to access development funding in both countries.

The first call of projects will be launched in May 2019. A selection committee composed of representatives of Film Fund Luxembourg and Screen Ireland, who may consult international experts, will assess the submitted projects.

Successful co-productions between Ireland and Luxembourg include the recent hit Black ’47, and the academy award nominated films The Breadwinner and Song of the Sea to name a few.

For more information on how to apply visit: www.screenireland.ie and http://www.filmfund.lu/

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Eilish Kent: Tips for Writing Short Films

Over her career, producer, script editor and story consultant Eilish Kent has commissioned (for RTÉ & BBC) over 100 live action and animated short films. She also ran clinics for Filmbase on short films and has sat on many selection panels for County Councils around the country. Eilish teaches screenwriting in the National Film School and assesses Film for the Arts Council. She can be hired as a story consultant and script editor through her website.

Eilish will hold a writing workshop to write/rewrite or polish your short film on Saturday, 15th June in Dublin.

Here Eilish gives her top tips for how to write a short film:

Small stories that turn on a single event work best.

Know what makes your central character interesting on screen, work out how to show this.

Change needs to happen but it can be very small.

Spend as little screen time as possible setting up the story.

Identify a key visual image that encapsulates the tone and feel of the world of the story.

Make sure you have a proper ending – this is the last impression you make on audience.

Consider sound and how it can carry story.

Know what makes your film stand apart from other short films.

Write the film without dialogue first.

Consider the location of each scene and how the choice of location tells the story. Try to vary the location from interior to exterior, etc. (if set in a single location look for distinctive areas within the location to create different atmospheres: intimate, anonymous, etc.)

Consider who, or what, should be in each scene to put the central character under pressure.

Don’t repeat a beat, every scene must move the story forward and/or reveal character.

When you have the story working without dialogue, write the dialogue to create conflict and reveal attitude/character.

Use themes as subject-matter of dialogue.

 

Join Eilish on a writing workshop to write/rewrite or polish your short film Saturday, 15th June, Dublin city centre.

https://www.eilishkent.com/events/write-a-short-film

 

 

https://www.linkedin.com/in/eilish-kent-producer/

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Review: High Life

DIR: Claire Denis WRI: Claire Denis, Jean-Pol Fargeau, Geoff Cox PRO: Laurence Clerc, Oliver Dungey, Christoph Friedel, D.J. Gugenheim, Andrew Lauren, Klaudia Smieja, Claudia Steffen, Olivier Thery Lapiney• DOP: Yorick La Seux, Tomasz Naumiuk   Ed: Guy Lecorne CAST: Robert Pattinson, Juliette Binoche, Andre Benjamin, Mia Goth, Agata Buzek.

 

Monte (Pattinson) is the lone passenger, along with his infant daughter, aboard a spaceship headed towards a black hole. Through flashbacks we see what brought this about: how he and a group of other death-row convicts were put on this suicide mission, dressed up as a shot at redemption. We find out what became of his former colleagues aboard the ship including the authoritative Dibs (Binoche), a fellow death-row convict, who also happened to be a doctor and who was intent on carrying out various sexual experiments on those on board.

The inimitable Claire Denis returns to our screens with this, her English-language debut. Any fears that a bigger budget and name cast would see Denis attempt something more mainstream are quickly dispelled in this elliptical, hypnotic and provocative picture. This being a seriously minded, contemplative science fiction film by an auteur director, it is inevitable that there will be some comparisons drawn to 2001, Solaris and Stalker. Some of the film’s body-horror elements also vaguely call to mind Cronenberg. However, while there are some nods to those, particularly some visual homages to the latter Tarkovsky film, this is a highly distinctive piece with a singular, pungent ambience and one that doesn’t play by anybody else’s rules. The structure of the film is often quite radical, the form deeply tactile.

In terms of Denis’ other films, the one it most resembles is Trouble Every Day. While this is Denis doing a sci-fi film, that was her riff on horror and the vampire sub-genre specifically. Similar to that film, Denis here doesn’t shy away from explicit depictions of sex and violence. Denis has no sense of middle-brow prudishness about her, a large reason why Trouble Every Day and her insidious, disturbing 2013 film Bastards got such hostile reviews from many critics. The often visceral imagery on show here, to go along with a plethora of bodily fluids, works in stark contrast to the tenderness depicted between Monte and his daughter, while also forcing us to confront humans animalistic nature and how this contrasts with our great accomplishments in the advancement of technology, not in a tasteful manner, but with blunt clarity.

This is a film that is rich in theme and texture, where contrasts and contradictions abound. The film lends itself to a vast array of interpretations, with the picture working as a series of snapshots from which the viewer can piece together their interpretation. At times the film seems like it’s a vicious, filthy satire of societal norms, other times it suggests it may be a Christian allegory. One can also just simply submerge themselves in the utterly tangible world of the film. Denis utilises Le Saux’s cinematography, Lecornu’s editing, and her regular collaborator Stuart A. Staple’s terrific score to create a trance-inducing spectacle. The film flits between the long corridors aboard the evocatively simple spaceship to darkly nostalgic 16mm flashbacks of her characters’ pre-space, past to extraordinarily odd and original scenes of eroticism, to scenes of harrowing brutality, to scenes of serene beauty. All the while, Denis exhibits a mastery of tone amidst a vast swathe of ideas, both formal and thematic.

The cast are all uniformly excellent. Goth carries on her recent string of strong supporting turns, while Benjamin brings a low-key warmth to his character. Binoche exhibits her typical charisma, throwing in a splash of dangerous malevolence for good measure. However, the standout out here is, of course, the reliably excellent Pattinson who spends much of the film on-screen on his own or acting opposite his character’s infant daughter. It’s a subtle, magnetic performance – the type that has become his trademark.

This is a wholly uncompromising, deeply evocative and highly intelligent piece of work.

David Prendeville

 

112 minutes
18 (see IFCO for details)
High Life is released 10th May 2019

 

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Cormac Fox, Ireland’s EFP’s Producer on the Move at Cannes 2019

This month at the Cannes Film Festival, 20 up and coming producers from 20 different countries from throughout Europe participate in ‘Producers on the Move’. The initiative is aimed at connecting young, enterprising European producers with potential co-production partners, strengthening their industry networks and, at the same time, providing a solid and visible platform for this next generation of European filmmakers. They take part in project pitching, 1:1 meetings and case studies, social events and an extensive press campaign, which includes online presentation and profiles in the international trades.

This year Cormac Fox of Vico Films  was selected as Ireland’s EFP Producer on the Move for 2019.

Cormac has produced several feature films for Vico Films, including Fiona Tan’s History’s Future, which premiered at the International Film Festival Rotterdam in 2015, Peter Foott’s 2016 local breakout hit The Young Offenders, and Sophie Hyde’s Animals which had its world premiere at the 2019 Sundance Film Festival and comes to Irish cinemas later this year. He is currently producing a TV series, Cold Courage, for Viaplay.

Gemma Creagh met Cormac to talk about his career to date as a producer and what to expect in Cannes.

 

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Watch Irish Short Film: Jelly Baby

Megan Bramble & Charleigh Bailey in Jelly Baby

In Jelly Baby, the hidden desperation of an outwardly tough single mother is revealed when she is forced to find the balance between her maternal duties and her own desires.

Writer / Director Naomi Fagan tells Film Ireland about making her short film.

Jelly Baby was my graduation film, produced during my final year at The National Film School at IADT in 2017.

The film is a naturalistic, social realist piece that gives a voice to those who often go unheard. The narrative interrogates the notion that mothers should either be demonised or idolised. The film explores the middle ground, the nuances of the grey area between what’s conventionally considered right or wrong.

My mam had me when she was a teenager, so I was drawn to discussing the complexities of what it entails to effectively be a child yourself, while being responsible for another. I wanted to look at the concept of maternal expectation, and what happens when a mother just wants to be a person too.

The film was shot in Tallaght; the area I grew up in. Location was incredibly important to me, I wanted to paint a realistic portrait of where I’m from without cliché or sentimentality, to simply reflect Tallaght and its inhabitants as they are.

Cast & Crew

Laura Horgan was our director of photography and we worked closely to develop a visual style that was both raw and poetic. Laura is incredibly talented and intuitive so her style really lent itself to the story.

Isabelle Blanche and I co-produced the film. Isabelle is a director too so she understood the importance of having a strong cast. I wanted the cast to be as authentic as possible with no pseudo working class accents, so it was a lengthy process. We did an open casting for the role of Lauren and were so lucky to find Megan Bramble. She’d never acted professionally before but had an amazing attitude and was a trained dancer, we completely struck gold with her. The first time we had Megan and Charleigh in a room together for rehearsal was magic. Charleigh is an absolute master of her craft so it was a great balance between her and Megan.

The script was essentially used as a blueprint from there, and was brought alive through workshops with the key players. An unpredictability and rawness became infused within the work because of this, and the project began to transform into more than just a fictional narrative.

We were super lucky to have our premiere at The Galway Film Fleadh in 2017. It was amazing to screen the film at such a renowned festival and get instant feedback. It’s been lovely to meet people along the way who’ve said the film resonated with them, it’s always nice to feel like you’re making something legitimate.

 

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8 Irish Film Festivals Sign Pledge for Gender Parity and Inclusion

Women in Film and Television Ireland (wft.ie) a chapter of Women in Film and Television International, has announced that to date 8 Irish Film festivals have accepted their invitation to sign up to the 5050×2020 Gender Parity and Inclusion Pledge which was launched by Cannes Festival chiefs at the 2018 Cannes Film Festival.

These are: Animation Dingle, Cork Film Festival, Dublin Feminist Film Festival, Galway Film Fleadh, GAZE LGBT Film Festival, Kerry Film Festival, Still Voices Short Film Festival and Virgin Media Dublin International Film Festival.
Founded in 2003, the Dublin International Film Festival sets the agenda of the year with its programme of outstanding Irish and international film.

The official Irish festival signing was held yesterday at The Lighthouse Cinema with John Rice (Co-Founder & Director Animation Dingle), Aoife O’Toole (Director Dublin Feminist Film Festival), Fiona Clark (Producer & CEO Cork Film Festival), Ronan O’ Toole (Director Still Voices Short Film Festival) and Gráinne Humphreys (Festival Director Dublin International Film Festival) in attendance alongside Dr. Susan Liddy, (Chair of Women in Film & Television Ireland).

 

Dr Susan Liddy Chair of Women in Film and Television Ireland, Fiona Clark Producer & CEO Cork Film Festival, Aoife O’ Toole Director Dublin Feminist Film Festival, Grainne Humphreys Festival Director Dublin International Film Festival, John Rice Founder Animation Dingle and Ronan O Toole Director Still Voices Short Film Festival. Photo: Leon Farrell/Photocall Ireland.

It’s heartening that so many Irish film festivals have joined forces with us to formally commit to the principle of gender parity and inclusion in festivals. We warmly welcome their enthusiasm and solidarity and we hope this initiative will mark the beginning of a supportive partnership between us. We need more women in the film industry at every level. While girls’ and women’s voices are not heard and their stories are not told, our culture is the poorer for it. Film festivals are a hugely important part of any conversation about equality. They are an important link in the journey of a film and filmmaker. This is why we need greater transparency about what films are submitted, what films are selected and who is making the decisions. As with anything, information must be the starting point and we commend these festivals for agreeing to track that. This is an initiative that WFT Ireland will be building on over the coming months and we call on other festivals to join with us and embrace the challenge.
Dr. Susan Liddy, Chair – Women in Film & Television Ireland

Initiated by the 5050 Pour 2020 Collective, a charter was signed in 2018 by Cannes’ festival chiefs to work towards gender parity and inclusion.

The charter invites film festivals across the world to make the following commitment to gender parity and inclusion:

  • To compile statistics of gender of the directors of all the films submitted to selection (and when possible, to also compile statistics of the cast and crew when mentioned in the registration process).
  • To make public the gender of the members of selection committees, programmers and programming consultants.
    To make public the gender of executive boards and/or boards of directors and/or to commit to a schedule to achieve parity in these bodies.
    All Irish festival signatories have committed to giving a full update to Women in Film & Television Ireland, who will make public their progress during their respective 2020 festivals.
  • Women in Film & Television Ireland will also update the 5050 Pour 2020 Collective about the new signatories in time for the 2019 Cannes Film Festival.

As Ireland’s first and largest film festival, Cork Film Festival (CFF) is pleased to join WFTV in partnering with the 5050×2020 Cannes Collective to pledge our commitment to the 5050×2020 Charter, alongside the first Irish signatories. CFF supports increased transparency and gender-focused change across the Irish film landscape. CFF actively advocates for equality and inclusion in our industry by creating opportunities for meaningful public and sector dialogue as part of the Festival and by monitoring gender parity across our programme, submissions, jurors, panelists, programmers, staff, Board and volunteers.

The 63rd edition of the Festival in 2018 demonstrated that the Festival is actively making steps towards achieving its gender parity commitment. For example, 42% of our Shorts Programme was directed, co-directed and/or produced by women and 72% of our award-winning films were directed, co-directed and/or produced by women, with 47% female awards jurors. While this demonstrates CFF’s commitment to achieving greater representation for women in our programme, we recognise the need to focus our collective energy on advocating for gender equality in the sector. We welcome the opportunity to participate in the 5050×2020 Cannes Collective to strive for equal representation for women’s voices in film.
Fiona Clark, Producer & CEO – Cork Film Festival

Virgin Media Dublin International Film Festival is proud to be part of the first group of signatories to the 5050×2020 Charter. The festival puts the films and filmmakers at its heart and understands the importance of nurturing new and experienced talent alike.

In 2019, of the over 100 feature length films screened at the festival, we are glad to say that 59% had women producers and 30% were produced by people of colour. However, the Festival is not complacent about its progress to date, and recognises that there is more work to be done to achieve diversity in all of its activities.

This partnership between the festival, WIFT and Cannes is another important step in proactively changing the power dynamics and creative output of the Irish film industry for the better.
Gráinne Humphreys, Festival Director – Dublin International Film Festival

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Carmel Winters, Writer/Director of ‘Float Like A Butterfly’

Float Like a Butterfly is a powerful and timely story of a girl’s fight for freedom and belonging.  Some people say it doesn’t matter whether you win or lose.  But for Frances losing is not an option – at stake is her own freedom, her mother’s honour and her father’s faith.  

In this podcast, Paul Farren talks to Carmel Winters about her film and the art and craft of filmmaking. 

Float Like A Butterfly is opening in the following sites from today:

  • Cinemax Bantry
  • Eye Galway
  • Gate Cork
  • IFI
  • IMC Dun Laoghaire
  • IMC Galway
  • IMC Savoy
  • Light House
  • Movies @ Dundrum
  • Odeon Coolock
  • Odeon Stillorgan
  • Stella Devlin
  • The Park Clonakilty
  • W Cinema Westport
  • And QFT confirmed for 17 May – the film will be touring the country afterwards

Film Ireland Podcasts

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Irish Film Review: Float Like a Butterfly 

DIR/WRI: Carmel Winters • DOP: Michael Lavelle • ED: Julian Ulrichs • PRO: David Collins, Martina Niland • CAST: Hazel Doupe, Dara Devaney, Johnny Collins

Frances is a girl with aspirations larger than her family, and a temper hotter than the fires that they warm themselves around in the evenings, entertaining each other by singing haunting renditions of traditional Irish songs. Her universe is small, contained, and safe, until one fateful afternoon when local law enforcement delivers a sharp uppercut to her childhood, shaking Frances’ life to the core.

Written and directed by Carmel Winters (Snap, 2011), Float Like a Butterfly packs a punch with an emotional sting more potent than a killer bee. Set in 1960’s Ireland, Frances is just about the most unlikely protagonist imaginable, being at a societal disadvantage as a woman, let alone a young traveller woman. Gender roles are entirely inflexible, and the worst insult given to young men is “Don’t be acting like a girl”, forcing them to fight their way through life, as well as to recognise women as the inferior sex, therefore breeding toxic masculinity into the fibers of their community.

Struggling to establish her domain in this world that already has pre-established domesticated plans for her, Frances finds a kindred spirit in the stories of Mohammed Ali, as her father Michael would wax lyrical about him before his incarceration.  Emulating Ali, she knows that she’s the greatest, even before she actually is. Unfortunately, her father returns home from prison a changed man. He no longer shows her how to box, and teaches her little brother that it’s not tolerable for women to hit, but instead acceptable for them to be on the receiving end of a punch. But Frances has an indomitable spirit in comparison to the layabouts that live in the village and the drunks in her family, one that only a beating from a husband will tame. And with this reason in mind, Michael takes her and her younger brother, Patrick, on the road, but as their travels progress and she leaves the relative safety of her extended family behind, her world becomes desaturated, a shadow of its former vibrancy.

Hazel Doupe shines in her performance as Frances. Her steely blue gaze, laden with emotional narrative is accompanied by Dara Devaney’s portrayal of Michael Joyce. With a brash charm that wears thinner with the correlation of whiskey sunk down the hatch; he’s conflicted between admiration for Frances, and the inverse positions of authority established in his absence between his children, one which he often chooses to resolve with a quick hand and a sharp word. The music and score are evocative, joyful, and empowering; female dominated in both presence and lyrics, and the haunting lilt of the tin instruments is synonymous with both Ireland and its travelling community.

Float Like a Butterfly has a rare fervour, whereby it emotes both gut-wrenching sadness and a fighting spirit in one fell swoop. She’s about to choose the path not taken, but “there’s no wrong way when you’re on the right road.” Even if Frances wins this round, the fight is still far from over. Her boxing ring is one of sand, and pride is the prize.

Jemma Strain

www.ruledlines.com

100 minutes
15A (see IFCO for details)
Float Like a Butterfly is released 10th May 2019

 

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