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Cinemagic Film & Television Festival

Cinemagic Film and Television Festival for Young People returns to Dublin this May and June with a programme jam packed full of diverse creative opportunities to inspire and motivate young people. This year will see a number of new exciting elements added to the programme and visits from representatives from Aardman Animations, Brown Bag Films and Cartoon Saloon! A new screening series entitled Talking Pictures will offer the chance to view Irish movies with talks from filmmakers and film professionals involved in the productions. Among the industry names who will take part will be Frank Berry, Carmel Winters, Lee Cronin, Aislinn Clarke, Paddy Breathnach and Andrew and Ryan Tohill. For an even more immersive experience, young people can be part of the first Cinemagic Talent Lab Boot Camp  for 16+yr olds and it will include masterclasses, seminars and Q&A’s with film professionals who will provide insight into the industry in a range of disciplines such as Production Management, Assistant Directing, Editing, Camera, Sound, Art Department & Costume, Hair and Makeup and Location Management.

Cinemagic Chief Executive, Joan Burney Keatings MBE said “We are thrilled to present our 12th Cinemagic Dublin Festival programme and we are really excited about this year’s line-up of diverse, creative film opportunities. We are looking forward to meeting lots of festival goers and celebrating film talent across a wide range of disciplines and in doing so helping to educate, inspire and motivate young people.”

For the full programme and how to book tickets go to: cinemagic.ie

OPENING FILM:

The opening film of the 2019 festival will be an Irish Premiere of Racetime, a wild adventure through the trials and tribulations, passions, joys and little victories of childhood. The premiere takes place on the 28th May at 7.00pm in ODEON Point Square.

 

BOOT CAMP

The Cinemagic Talent Lab Boot Camp is a one-day event in Liffey Trust Studios for new entrants to the film and television industry or those interested in entering. The Boot Camp programme is aimed at aged 16+ year olds and will include masterclasses, seminars and Q&A’s with film professionals who will provide insight into the industry in a range of disciplines. This is a great opportunity for new entrants to learn more about the film and television industry, gain insight from industry professionals, network with other new entrants and develop knowledge and key skills.

 

TALKING PICTURES:

A series of film screenings and talks with filmmakers and film professionals celebrating Irish filmmaking talent and offering advice and top tips for young people with an interest in a career in film.

Screenings include the winner of Best Irish Film at Galway’s Fleadh, Michael Inside plus Q&A with Frank Berry; Float Like A Butterfly plus Q&A with Carmel Winters, a gloriously unruly collision of vivid romanticism and tough, unsentimental truths about the hardscrabble lives and casual discrimination faced by Irish travellers; the suspense filled supernatural thriller, The Hole In The Ground plus Q&A with Lee Cronin; The Devil’s Doorway plus Q&A with Aislinn Clarke, a confident and timely chiller and the first feature horror film written and directed by an Irish woman; Rosieplus Q&A with Paddy Breathnach, an examination of how even in times of crises, the love and strength of a family can endure and The Dig plus Q&A with brothers Andrew Tohill and Ryan Tohill, a gripping debut feature from award-winning Irish directors Andrew and Ryan Tohill. Filmmakers Lee Cronin and Andrew and Ryan Tohill are success stories from Cinemagic Film Festival as winners of Cinemagic’s annual Young Filmmaker Competition.

 

SHORTS FOR SHORTIES:

A new addition to the programme this year will be a collection of new short animations designed to appeal to young children. They express colourful, exciting and easy to follow stories, either in English or with no dialogue.

These short movies packaged over 60 minutes take place in ODEON Point Square and include Sam’s Dream, about a small mouse who decides to make his dream come true; A Tiger With No Stripes; Matilda, a little girl who overcomes her fear and discovers magic of the night, Belly Flop, a story of persistence; Miriam By The Lake, the story of a restless chicken who makes the acquaintance of spooky night creatures; a beautiful story of inclusion in Coucouleurs; Cycle, where a young girl discovers that true adventure begins where the road ends; 6.1, a story with a girl and a cat that is full of surprises; To & Kym, two little creatures who chase each other around the busy streets of Toyko as they re-enact a game that has lasted hundreds of years and Lost & Found, about a clumsy crochet dinosaur must unravel itself to save the love of its life.

MOVIES FOR KIDS:

Young film buffs will be spoilt for choice as the festival invites them to immerse themselves in a myriad of movies all screening at the ODEON Point Square over the first weekend of the festival, the 1st and 2nd of June.

Choose from Revolting Rhymes, your favourite Nursery Rhymes retold by the master of story-telling, made complete with an ever-so wicked Roald Dahl twist; family favourites The Gruffalo’s Child and The Highway Rat, a fabulous, rollicking adventure inspired by the famous Alfred Noyes poem, and ‘Princess Emmy, animated entertainment aimed at fans of princesses and magic.

 

NEW FAMILY FILMS

Cinemagic will also bring a whole range of new films to the ODEON Point Square for the whole family to enjoy over the June bank holiday.

The fast paced, adventure packed titles include Dino King: Journey To Fire Mountain, an action-packed family adventure that combines the realism of ‘Walking with Dinosaurs’ with the heart of ‘Finding Nemo’; Alone In Space, a high concept, family sci-fi, bolstered by sharp production design and visual effects; the magical Ötzi And The Mystery Of Time; Belle And Sebastian, Friends For Life, the story of a loving grandfather and grandson set out on a quest to save their dog, set high in the French Alps and Captain Morten And The Spider Queen where viewers will follow Morten on his shrunken adventure!

 

WORLD CINEMA

Cinemagic will present a feast of films from all over the world for 12+ year olds focusing on themes of love, justice, friendship and family. A Colony, a film that sees young teenagers in search for a place where they can be themselves; Dilili In Paris, the latest offering from movie maestro, Michel Ocelot with an evocative animation that see a young girls fight for justice; The Runaways, an atmospheric and uplifting celebration of childhood and family; My Extraordinary Summer With Tess, a young boy learns the importance of family and friends during his adventures with his new friend, Tess; Fight Girl which explores real life issues around family and an acrimonious divorce; Funan, a thrilling story of love, loss and enduring hope in the most trying of times; the irresistible comedy Amateurs; The War Game, a thought-provoking and tense youth drama and Bruce Lee And The Outlaw, a modern-day Oliver Twist story set under the streets of Bucharest.

FILM JURIES

The Festival is recruiting three film juries for June to watch new films from around the world, take part in in film reviewing and critiquing workshops and meet like-minded young people.  For more information email juries@cinemagic.ie for details on sessions for 8—11 yr olds, 12-14yr olds and 15-18yr olds.

 

 

CREATIVITY CORNER

Highlights include Lego Animation workshops with Joel Simon and ‘Model Making’ with Aardman Animations, where participants will learn how to make their very own Feathers, Gromit or Shaun the Sheep character. Mårten Jönmark, Brown Bag Films (Doc McStuffins, Peter Rabbit) will host a storyboarding workshop sharing skills on telling stories visually and Caoimhe Ní Bhrádaigh, Cartoon Saloon (The Secret of Kells, Song of the Sea, The Breadwinner) will present a workshop exploring the science behind the magic of animation.

Young people can also learn how to tell a short story in a storyboard with David Bunting’s fun-filled workshop inspired by his 20 years’ experience working on projects such as Disney’s The Tigger Movie, Shaun The Sheep, Bob The Builder and Dennis & Gnasher.

 

FILM EDUCATION (Schools)

Secondary Schools and Colleges can avail of costume making, props making and creative writing workshops and unique film screenings accompanied with short talks from production crew members. The films include Keepers of the Flame and a Q&A with its Writer/Director, Nuala O’Connor and The Camino Voyage and a Q&A with Director Donal O’Ceilleachair and Zoo with a Q&A by Producer Katy Jackson and Director Colin McIvor.  These will provide an invaluable insight to the filmmaking process and the social issues around the stories. The highly acclaimed filmFree Solo will be introduced by Mountaineering Ireland, and a screening of Captain Marvel is accompanied with a workshop on film classification from IFCO.

Primary Schools have a feast of film events to choose from with How To Train Your Dragon: The Hidden World, The Gruffalo’s Child & The Highway Rat, The Lego Movie 2: The Second Part, Dumbo, Revolting Rhymes and a workshop ‘The Science of Roald Dahl’, Aladdin and Disney Ireland/Industry Trust Q&A, Peppa Pig: Festival of Fun and a Drama session, and Matilda andstorytelling with Jack Lynch.  Both Secondary Schools and Primary Schools can enjoy movie screenings of shorts packages in their classroom accompanied by review sessions with the Cinemagic team.

Nursery schools can get involved in drama workshops and screenings of short animations from around the world in their own nursery/pre-school and immerse themselves in a cinematic experience.

Cinemagic Chief Executive, Joan Burney Keatings MBE said “We are thrilled to present our 12th Cinemagic Dublin Festival programme and we are excited about this year’s line-up of diverse, creative film opportunities. We are looking forward to meeting lots of festival goers and celebrating film talent across a wide range of disciplines and in doing so helping to educate, inspire and motivate young people.”

Cinemagic Dublin is funded by the Department of Education and Skills.

 

Booking Details:

All public films and events www.eventbrite.ie or www.cinemagic.ie

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Irish Film Review: The Limit Of

 

DIR/WRI: Alan Mulligan • PRO: Taine King, Alan Mulligan, Anthony Mulligan, Tim Palmer • DOP: Daniel Sorin Balteanu • ED: Alan Mulligan, Tim Palmer, Daniel Sorin Balteanu • DES: Lilla Nurie • CAST: Laurence O’Fuarain, Joanne Brennan, Des Carney

 

In Alan Mulligan’s The Limit Of, we are introduced to our lead character James, a distant, meticulous figure, as he runs through Dublin at night, headphones in, ignoring all around him. Immediately, the film’s visuals work hard and effectively to situate James within the wider context of 21st century, modernizing Dublin as we see him run along the Samuel Beckett Bridge and by other recognizable modern landmarks and architecture. And soon, as we cut to the next day when James’ day job is revealed to us, we can see why. James is a banker and the film is, to a certain extent, a kind of state of the nation (or at least state of the city) piece.

James witnesses first-hand the cruelty of his employers to a stranger and then to a loved one. He sits through meetings whose participants could have been side characters in Glengarry Glen Ross, except that their seediness and vile intentions would have overshadowed that film’s main cast.

Indeed, characterization in this film can be somewhat lacking. The bankers in this film, with two exceptions, are just evil. Aside from James himself, characters are generally one-note and their motivations simplistic. In the case of the bankers though, their uncomplicated evil does make it clear the stance this film is taking on the state of 21st century Ireland: banks exert an inordinate amount of control on the lives of Irish people, especially on the sick, elderly, and otherwise vulnerable, and the manner in which control is exerted is entirely avaricious. It is not a nuanced take on the state of modern Ireland, but an admirably bitter diatribe against the impersonal state of modern financial institutions, though it is perhaps a bit undercut by the cartoony, villainous dialogue of characters who run those institutions.

Dialogue and the relationships among the film’s small cast of characters in general are often an issue in this film, which does not aid in the believability of these characters or their plight.  In particular, a sexual subplot involving James which features awkward dialogue with a co-worker and lingering shots of him staring at her groin feels stilted at best and a bit exploitative at worst. That’s not to say that these actors don’t give strong performances. Special praise must go to Sonya O’Donoghue who gives a wonderful performance in the brief time she is in the film. The issue is just that the relationships between characters are not compelling or heartfelt enough to carry the film.

To uncover the real strength of the film we must turn back to its visuals. There’s a coldness to them. We do not often see the Georgian centre of Dublin, but instead see rectangular architecture and cold fluorescent lights. Inside James’ work place, there’s a bleak impersonality to everything around him. Characters are framed against quasi-symmetrical backdrops, often with vertical lines and barriers like thin doorways or bland posters hanging between them, implying a forced distance between people as demanded by institutions that value impersonal control. Interestingly though, these barriers are almost never centred just right. Mulligan seems to subtly emphasize the “quasi” in “quasi-symmetrical” when it comes to his compositions. In these slightly off-kilter visuals, the movie at first appears to be displaying a clear narrative about control, and then appears, upon closer inspection, to subtly resist it. Even as we see overhead shots outside the office building, where we follow the Liffey past rows of impersonal, rectangular buildings, the staid sameness of these buildings actually serves to emphasize the subtle curvature of the river, which resists that sameness. It’s almost as if there is something inherently chaotic here that upsets this narrative of impersonality and control.

These visuals work well to elucidate the film’s themes. As the events of the film progress and James begins to viscerally encounter and resist the injustice of his employer, such visuals remain the most powerful weapon in Mulligan’s arsenal to make his examination of the limits of cold calculation and, eventually, the seeming impossibility of clear narratives of control and justice strike home. I’ll be thrilled to see when Mulligan’s keen visual eye gets married to a script and characters that complement this skill.

Sean O’Rourke

92 minutes
15A (see IFCO for details)
The Limit of is released 5th April 2019

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The Loopline Collection

 

The Irish Film Institute has unveiled the first volume of The Loopline Collection, showcasing materials from Loopline Film, one of Ireland’s most influential production companies. Founded in 1992 by filmmaker Sé Merry Doyle, this pioneering company specialised in documentary and TV series, producing a number of hugely important films including significant portraits of prominent cultural figures and work highlighting pressing social issues. Among the material is previously unreleased footage of U2 playing live on Sheriff Street in 1982.

The material is accompanied online by never-before-seen outtakes, interviews and additional material, giving unparalleled access not only to the subjects themselves, but to Merry Doyle’s immersive, detailed and committed filmmaking approach.

This first volume of the collection documents fascinating moments in recent Irish social history: most timely is Liam McGrath’s Essie’s Last Stand, a look at an elderly woman’s fight to stay in her home as developers look to take over her apartment block for redevelopment. Alive Alive O: A Requiem for Dublin features original poetry from Paula Meehan, and examines a time when the livelihoods of Dublin’s iconic street traders were under threat and when drugs became a scourge of the inner city; the film, directed by Merry Doyle, includes footage shot by cinematographer Robbie Ryan, Oscar-nominated this year for his work on The Favourite. Looking On focuses on a vibrant inner city festival in 1982, spearheaded by activist Mick Rafferty and the late politician Tony Gregory, and features the early rooftop appearance by U2.
Other titles to feature as part of the collection include the intimate portrait Patrick Scott: Golden Boy, produced by Andrea Pitt and Maria Doyle Kennedy of Mermaid Films as part of RTÉ Arts Lives, which gives an unparalleled insight into the work of one of Ireland’s foremost abstract painters; the film includes footage shot by Seámus McGarvey, the Oscar-nominated cinematographer of Atonement and Anna Karenina. Patrick Kavanagh: No Man’s Fool is a focus on the life of the renowned poet, with contributions from poets John Montague and Macdara Woods, writer Dermot Healy, and singer Jimmy Kelly.

The Imprint series, hosted by Theo Dorgan and first broadcast on RTÉ between 1999 and 2001, features in-depth and revealing interviews with some of the literary world’s most notable figures such as Margaret Atwood, Richard Ford, Gore Vidal, Eavan Boland and Colm Tóibín, while the six-part series The Good Age, originally broadcast in 1997, is an intriguing look at the issues facing older people, with candid personal testimonies about intimacy, self-care and ageism.

The Loopline Collection Volume 1 is available now on the IFI Player.

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Review of Irish Film @ DIFF 2019: Greta

Anthony Kirby gets trapped in Neil Jordan’s latest film, Greta, which screened at this year’s Dublin Film Festival.

After a six year hiatus auteur/director Neil Jordan makes a brilliant return to cinema with this suspenseful gothic chiller.

Boston-born Frances McCullen (Chloë Grace Moretz)  finds a designer handbag on the subway while returning from work as a waitress in a five-star restaurant. She’s anxious to return it and tracks down the owner, Greta Hideg, (Isabelle Huppert). Greta is a French-born piano teacher who lives in a beautiful brownstone apartment and  loves Liszt, especially his haunting Liebestraum . Visiting her for afternoon tea, Frances is troubled by a loud banging which even Greta’s piano virtuosity can’t drown out. “ Oh they’re remodelling the next apartment,” says Greta offhandedly.

Frances is mourning the recent death of her mother and immersing herself in work. Greta still mourns the death of her daughter some years earlier. The younger and older women seem to find succour in each other.

Frances shares a sumptuous apartment with streetwise New York native Erica ( Malika Monroe , Widows).  Erica is cautious about Frances’s new friendship and says so . Then on a subsequent visit while looking for condiments while about to enjoy dinner with Greta, Frances opens a wrong drawer and finds ten bags identical to the designer bag she returned to Greta. Alarmed, she makes a lame excuse and a quick exit. It is then that things take a turn for the worse as Frances realises she has been lured into Greta’s web.

Great actors such as Christopher Plummer in All the Money in the World , Fay Dunaway in  Mommie Dearest  and Glenn Close in Fatal Attraction enjoy the challenge of playing demented characters.  Isabelle Huppert is no exception and relishes giving a no holds barred performance. Kudos again to Jordan for his encouragement. What follows is a masterful tale of obsession and suspense, co-written by Jordan alongside Ray Wright.

It’s hard to say who’s having more fun Hubbert or Jordan . Of course neither have anything to prove at this point in their careers. Seamus McGarvey’s camera work is excellent without being obtrusive especially in the final scenes. The only sad thing about this thriller is that Jordan stalwart Stephen Rea and Irish Canadian Colm Fiore are so underused.

Ultimately the film is a triumph on the part of Jordan and Huppert and certainly a feather in young Chloe Grace Morentz’s cap.  Perhaps like Fatal Attraction  it will become something of a classic.

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

 

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Irish Film Review: Out of Innocence

DIR/WRI: Danny Hiller • PRO: Paul Cummins • DOP: Seamus Deasy • ED: Geraint Huw Reynolds • DES: Ray Ball • MUS: Colm Mac Con Iomaire, Gary Lightbody • CAST: Fiona Shaw, Alun Armstrong, Judith Roddy, Nick Dunning. Fiona Shaw

 

Sometimes a film will require suspension of disbelief because the fiction is too fantastical, but in this case the truth is undoubtedly more bizarre. Out of Innocence focuses on preconceptions, prejudices, and misogyny, as one woman is about to become infamous throughout the nation when both Church and State combine forces to pillory a family in crisis, forcing an elastic band around your diaphragm as you struggle to draw a breath due to the heavy tension.

Written and directed by Danny Hiller, Out of Innocence is the dramatised story of The Kerry Babies Case in 1984, and therefore understandably emotive viewing. The opening images are of a beach so picturesque that it could only be the West of Ireland, as the waves loll in, laden with tranquility. But everything is about to change, as the body of a newborn baby washes up in a fertilizer bag. Such an unnatural event, powerfully juxtaposed against the beauty of the scenery. This kind of incident simply doesn’t happen in these parts of Ireland, and the local Gardaí are flummoxed by the arrival of the Murder Squad from Dublin. Meanwhile, 80 kilometers away, Sarah, our protagonist, is having an affair with a married man, Paudi, a vacillating excuse for a boyfriend or husband. They already have one child as a result of their affair, and unknown to anyone but him, another is on the way. Blood will simmer as the plot evolves into a case of vilification, when Detective Callaghan (Alun Armstrong) goes above and beyond rational measures in order to prove Sarah Flynn guilty, but instead, all he demonstrates is his unfettered misogyny to the audience. Unshakeable in his resolve and distaste for what he deems to be iniquitous women, his face turns acetous at even the suggestion of women and premarital sex. He not only casts a blind eye to blood evidence, but he manufactures the most unlikely versions of a possible truth, as he’s as fond of fabricating theories as Tom Walsh is of tagging furniture.

In contrast to Callaghan’s bullish-ness, we have the meekness of Catherine Flynn, Sarah’s mother. Fiona Shaw was perfectly cast in the role and provides a measured and terse performance. As a god-fearing countrywoman, she lives for religion and family in the wake of her husband’s death, and all that she believes in is crumbling around her shoulders as she struggles to keep a stiff upper lip. Her desire to return to normality is effectively shown as she persists in routinely tucking hot water bottles into absent beds, despite having just confessed to being a conspirator to murder. But the standout performance is Fionnuala Flaherty (Sarah Flynn), who in her tribulation represents all the women of Ireland in an emotional and reflective manner. Hillen captures a moment of genuine poignancy as the camera focuses deliberately on the Harp that presides over the courtroom. Being synonymous with Ireland, due in part to The Society of United Irishmen, the irony here is that the society’s seal depicts a harp with the mottos “It is now strung and shall be heard”, as well as “Equality”, both of which were completely flouted in Sarah Flynn’s case. Recognition must also be given to Colm Mac Con Iomaire’s score, which pensively and effectively encapsulates the beauty and sorrow of this country, as its history is so inextricably entrenched within the duality of these descriptives.

In this age of documentaries about confessions made under police duress, Out of Innocence puts its own harrowing spin on false truths. Women are persecuted from all aspects; from when Sarah was termed to have an “empty womb” (a negative perspective on simply not being pregnant), to the witch hunt for a woman with a child out of wedlock, and god forbid, one that was involved in an affair with a recreant married man, and eventually to evolve into a murder trial without parameters. Yet there are moments of hope, as the trial gathers an indomitable crowd of both female and male supporters, infuriating the prosecuting side, but also unfortunately the judge. As Detective Armstrong combs the strand in the hopes of finding another dead baby at the hands of our protagonist, we realise that although progression has been made, it doesn’t necessarily mean that we are completely through the other side. There is a long road ahead of us yet, one for which the foundations have been laid, but we must also continue to persevere with forging the path. Otherwise there but for the grace of Church and State go we.

Jemma Strain

www.ruledlines.com 

108 minutes

15A 

Out of Innocence is released 12th April 2019

 

 

 

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Key Changes Introduced to Section 481 Including a New Requirement For a Skills Development Plan

The Department of Culture, Heritage and the Gaeltacht has issued new guidelines on Section 481, the Irish tax incentive for the film, television and animation industry. There are a number of key changes in how to apply for the incentive, together with a new requirement for producers to submit a Skills Development Plan for approval by Fís Éireann/Screen Ireland (Screen Ireland) for all projects with eligible expenditure in excess of €2 million.

Producers will now need to set out the estimated number of employees on set likely to be upskilled in the course of the film and submit a Proposed Skills Development Plan to Screen Ireland, which must be agreed in advance with the agency.

The Production Company is responsible for submitting their approved Skills Development Plan to Screen Ireland. Applications will be reviewed by Screen Ireland and Screen Skills Ireland (SSI) and amendments may be requested to the application, especially where specific skills deficits have been identified by the skills audit and industry engagement.

Applications will also require details on gender equality initiatives, diversity and inclusion initiatives together with a sustainability plan. The production company will be required to furnish a full compliance report in order to receive a final compliance certificate to accompany an application for the final 10% of the Tax Credit.

Applications must be made 20 working days prior to making an application to the Department of Culture, Heritage and the Gaeltacht for certification under Section 481 Taxes Consolidated Act 1997. Applications should be emailed directly to section481@screenireland.ie

Other changes to the incentive are as follows:

  • The Department of Culture, Heritage and the Gaeltacht will now be administering the incentive, with payments still made by the Revenue
  • The producer company must apply to the Minister for Culture, Heritage and the Gaeltacht for a certificate stating that the project is to be treated as a ‘qualifying film’ for the purpose of Section 481
  • This application must be made to the Minister at least 21 working days prior to the commencement of Irish production
  • Where the Minister issues a certificate in relation to a qualifying film and all other provisions of Section 481 are complied with, a producer company may then make a claim for the film corporation tax credit.
  • The system will work on a self-assessment model in which Revenue will no longer issue a certificate indicating the amount of tax credit the production should be entitled to.

Commenting on the changes James Hickey, Chief Executive, Screen Ireland said: “We welcome the new changes to the administration of Section 481. The new skills development requirement linked to the tax credit will provide a strong structured basis for the sector to grow and develop in the coming years, focusing on the skills of the individuals working within the industry. The new skills development requirement is wide-ranging and inclusive, covering skills development across all levels of production, focusing on quality over quantity in terms of the outcomes it delivers.

“We look forward to working with the Department of Culture, Heritage and the Gaeltacht, who will now be administering the incentive with the Revenue. We also look forward to the expected publication of guidelines on eligible expenditure and PAYE/Schedule D employees from the Revenue, which will help ensure the incentive works more efficiently.”

For more information visit https://www.screenireland.ie/filming/section-481

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Call For: Expression of Interest: Irish Delegation to BANFF World Media Festival and Vancouver Trade Mission

Fís Éireann/Screen Ireland has partnered with the Canadian Embassy Dublin, Creative BC and CMPA (Vancouver) to bring a delegation of Irish producers to the Banff World Media Festival (9th – 12th June 2019) and Vancouver, BC (13th & 14th June 2019) with a particular emphasis on TV Drama.

BANFF WORLD MEDIA FESTIVAL (9th – 12th June)
The Banff World Media Festival (http://www.banffmediafestival.com/) takes place in Banff, Alberta, Canada from 9-12 June 2019.

Screen Ireland will provide support to up to 8 Irish production companies to participate at this networking event. Screen Ireland will cover the cost of accreditation to the festival in Banff and provide subsidy to alleviate the cost of travel and accommodation for the trip. This offer is available to one producer applicant per company, and we can sponsor a maximum of eight companies.

Celebrating its 40th year in 2019, BANFF has grown into a must-attend annual conference attracting over 250 international buyers and a wide-ranging cross-section of television and digital media professionals from around the world, BANFF delivers a comprehensive examination of the most critical issues facing the television and digital media industries through keynotes from industry leaders, contentious panel discussions, pre-booked Face-to-Face Meetings with industry decision-makers, expert forecasts, celebrity Master Classes, networking opportunities, critical case studies, key strategy sessions and more.

The 2019 program and speaker list will be announced soon and updates can be found here

VANCOUVER TRADE MISSION (13th – 14th June)
The eight producers will then travel to Vancouver, BC to attend B2B meetings and networking events. The trade mission will provide producers the opportunity to explore co-production possibilities with Canadian producers though events and meetings organised in collaboration with Creative BC and CMPA.

ELIGIBILITY CRITERIA
As places are strictly limited, in applying you are engaging in a competitive process. Screen Ireland will access applications with regard to criteria 1 – 3 below.

  1. An applicant company should have an active slate of TV projects with significant interest from an Irish/international broadcaster or SVOD operators pointing to commercial engagement.
  2. The company should have active relationships with Canadian co-producers and ideally have a track record of at least one official Irish/Canadian Co-Production.
  3. The company representative joining the delegation should be a senior producer, production executive or development executive.

HOW TO APPLY
If you believe you meet the criteria, please email markets@screenireland.ie by Friday 12th April 2019 with your expression of interest. Emails received after this deadline will not be considered.

Please include “Irish Delegation – Canada” in the subject line, along with the following information in the body of your email:

  1. Your company name.
  2. The name of the participant from your company – maximum is 1.
  3. The job title of the participant.
  4. The applicant company should set out its rationale for participating in the Trade Mission and a detailed explanation of why participation in the delegation will be of benefit to your company, addressing in detail each eligibility criteria 1-3 above. Ensure you supply details of any official Irish/Canadian co-productions that you have structured in the past.
Submissions & Funding Deadlines
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‘Locus of Control’ Released On Amazon Prime

The award winning debut feature film from writer/director Sean Clancy is now available to buy or rent on Amazon Prime. The film is described as a dark comedy about decision and control as a floundering stand-up comedian reluctantly takes a teaching job and struggles to make sense of his slowly unravelling life.

Locus of Control recently finished its festival screenings where it won the Jury Special Recognition Award at the Silk Road International Film Festival 2018. Dublin Sci-Fi Film Festival Director, David Desmond was also impressed by the film and said “Sean Clancy’s outstanding debut feature is a surreal and unnerving mixture of dark comedy and disquieting tension. Featuring top class performances from its main cast, Locus of Control is a fine example of budget filmmaking reaching far beyond its economic strictures.”

The cast includes John Morton, Seamus O’Rourke, Peter McGann and Gus McDonagh with original music composed by Callum Condron.L

Stuck repeating the same pattern of mistakes again and again, Andrew Egan reluctantly accepts a teaching job to support his floundering, stand-up comedy career. As an increasingly anxious Andrew grows accustomed to the droll institution and its occupants he suspects that one of the students may be his downfall and that the previous teacher may not have left of his own accord. His life slowly unravelling, Andrew’s lessons fall on deaf ears and he soon becomes part of a larger cosmic joke.

Link to Amazon: https://www.amazon.co.uk/Locus-Control-John-Morton/dp/B07Q5MTS2R

Sean Clancy. Writer / Director of ‘Locus of Control’


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‘The Man Who Wanted To Fly’ Festival Screening & Nomination

After a fantastic opening weekend at the Irish box-office with further expansion this week, The Man Who Wanted To Fly has been officially selected for Newport Beach Film Festival and also nominated in the Single Documentary category of the Celtic Media Festival.

The largest international cinema event in South California, the 20th Newport Beach Film Festival will take place from April 25th to May 2nd. The Celtic Media Festival, which is held in a different Celtic heartland each year, will be situated in Aviemore in the Scottish Highlands this time round, and will run from June 4th to 6th.


“The reactions we’re getting from audiences are astounding,” said Trisha Canning, producer of The Man Who Wanted To Fly.

“What’s been really pleasing for us is the large cross section of audience with which the film is striking a chord. People of all ages seem to be really enjoying it, with one of the film’s core themes of never giving up on a dream, particularly resonating.”

Frank Shouldice, Director of ‘The Man Who Wanted To Fly’
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Take Part in the European Film Academy’s Young Audience Award

The Galway Film Fleadh and Galway 2020 are looking for young film fans to take part in the European Film Academy (EFA)’s Young Audience Award. The EFA Young Audience Award is a simultaneous, Europe-wide, film viewing event for young people aged between 12 – 14 years. Participation is free.

On Sunday 5th May, three nominated films are screened in 56 different cities, in 35 different European countries. Each participating city has an audience of young people, who act as a jury and vote for their favourite film. And all participating cities interact with each other via video conference and social media.

In between screenings, film educators lead the audience in discussions about the films they’ve seen.

The entire day culminates with the audience transmitting the results of the national vote – a bit like the Eurovision Song Contest.

Being on the jury for the Young Audience Award offers a unique opportunity to discover great films, that don’t normally play in the your local multiplex. It presents films which reflect the realities of young people all over Europe and raises interest in European stories, people, cultures and societies, building bridges to exchange different points of view and increasing awareness of important social issues.

The three nominated films are: Fight Girl, about a headstrong 12 year old named Bo whose parents’ divorce is distracting her from the Dutch national kickboxing championship; Los Bando,a crazy road movie about a young band from Norway who journey across the country to attend the National Championship of Rock in a race against time, the police and their parents; and Old Boys, set in an all-boys boarding school in England, where social misfit Amberson finds himself playing matchmaker for the school hero Winchester, who has a crush on the French teacher’s fiery daughter Agnes. 

To join the Galway jury of the Young Audience Award, you must be aged 12 to 14, be attending school in Galway City or County and have an active interest in films. The EFA Young Audience Award will take place on Sunday May 5that Pálás Galway, from 9:30a.m. – 6p.m.

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Call For: Submissions for Kerry Short Film Bursary

Kerry Short Film Bursary 2019 is now open.


The Film Bursary Award aims to foster talent, creativity and activity in film making in County Kerry. The Bursary is for a short drama film of 10 to 12 minute in duration & is set as a grant and valued at €10,000 for 2019.

Guidelines & applications forms are available on: http://www1.kerrycoco.ie/home3/kerry-film-bursary/ …

Closing date 5pm Tuesday 30th April

Submissions & Funding Deadlines
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Review: Shazam

Shazam review

DIR: David F. Sandberg • WRI: Henry Gayden • PRO: Peter Safran • DOP: Maxime Alexandre • ED: Michel Aller • DES: Todd Cherniawsky • MUS :Benjamin Wallfisch • CAST: Zachary Levi, Marta Milans, Michelle Borth

After the hard-earned lessons of the Zack Snyder movies, DC have been keeping their films less brooding and a lot lighter; as witnessed in their recent fare, such as the much fiddled with, Justice League and the cheesy “I can’t believe it made over a billion” Aquaman. Not so much cheese is on display with Shazam (formerly known as ‘Captain Marvel’ back in the golden age of comics), whose self-deprecating tone and comedy muscle make it one of the most accessible of the recent wave of films from the DC stable.

Our hero this time round is fourteen-year-old Billy Batson, who finds himself the recipient of magic powers, given to him by the wizard Shazam. When Billy says the wizard’s name he is transformed into an adult version of himself, wearing the requisite spandex and endowed with super powers to equal Superman himself. The wizard has of late been chasing down potential, worthy, pure souls to carry on his mantle and prevent the living incarnations of the seven deadly sins from escaping into the world. Unfortunately the wizard has also inadvertently inspired Dr Thaddeus Sivana, an unsuccessful applicant for the role of hero to go the route of all-out evil and help the seven deadly sins do their thing. In the midst of planning an escape from his latest foster home, Billy becomes the recipient of Shazam’s powers and with the help of his new foster family he must save the day and learn the value of family and other things typical of this type of blockbuster film.

Known for horror films up until now (Lights Out, Annabelle-Creation), director David F. Sandberg leans a little heavy on the horror tropes in the earlier stages. Fortunately things get funnier when Billy starts dealing with his new-found powers with the help of Freddy, one of his fellow foster siblings. The cast are all on top form. Asher Angel as Billy Batson is a nice mix of cocky and fragile and Zachary Levi manages to pull off the adult version of Billy in tights with just the right sense of naivety even if his persona feels a little younger than Billy’s. Mark Strong does bad-guy duties as well as ever in the shape of Dr Sivana – he must have some kind of record at playing villains at this stage.

The mood is distinctly nostalgic. It riffs mightily off Tom Hanks’ Big – Big in spandex if you will, and has a giddy joy in its superpowered hero akin to that of the earlier Superman films. Whilst there is nothing significantly new here in terms of the main thrust of the plot. The charm and sweet nature of the family-oriented scenes and the Billy Batson character’s empowerment will keep the younger members of the audience entranced; he is after all an even more direct embodiment of the hero wish fulfilment for kids – having super powers and trashing super villains. If only real life were as simple.

Paul Farren

131 minutes

12A (see IFCO for details)

Shazam! is released 5th April 2019

Shazam!– Official Website

 

 

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Reel Horror Show: Episode 11

Our possessed podcast posse return after a hiatus in the netherworld. Summoned back to earth, Conor McMahon, Mark Sheridan, Ali Doyle and Conor Dowling cast a darkened eye over the likes of Suspiria, The Hole in the Ground, Halloween, The House that Jack Built, Anna and the Apocalypse, The Guilty, One Cut of the Dead, Overlord, Castle Rock, Horror Noire: A History of Black Horror, He’s Out There and The Monster.

Caution. This podcast may contain thigh-slapping.

Oo welcome, ahhh oo magu welcome to the Reel Horror Show.

 

 

 

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Review: Pet Sematary

Pet Sematary

 

DIR: Kevin Kolsch, Dennis Widmyer • WRI: Matt Greenberg, Jeff Buhler • PRO: Lorenzo di Bonaventura, Steven Schneider, Mark Vahradian • DOP: Laurie Rose • ED: Sarah Broshar • DES: Todd Cherniawsky • CAST: Jason Clarke, Amy Seimetz, Jete Laurence, John Lithgow

Doctor Louis (Clarke), his wife Rachel (Seimetz), and their two children, Ellie (Jete Laurence) and Gage, move from Boston to rural Maine. It doesn’t take long for Ellie to discover the local, paganistic ‘pet sematary’, befriending elderly local Jud (Lithgow) in the process. While Louis finds work at his new practice boring, Rachel is still suffering with memories of a childhood tragedy involving the death of her sister. When Ellie’s beloved cat Churchill gets killed, Jud gets Louis to bury the cat in the strange cemetery, suggesting it may have hitherto unseen powers. Sure enough, Churchill returns from the dead the next day, though there is something quite different about his behaviour.  Louis and Rachel’s’ differing engagements with mortality are pushed considerably further when Ellie dies in a horrific road accident.

This adaptation of Stephen King’s 1983 novel, previously brought to the screen by Mary Lambert in 1989, is a lean, entertaining and effective horror film. Kolsch and Widmyer do a fine job of balancing an absurdist sense of the macabre with resonant and eerie undercurrents and some impressive scenes of body-horror. The film has plenty of cliches and some incredulous moments. It’s never very well established as to why this family would move to a rural area in the first place. Rachel’s’ reaction to seeing to children adorned in Wicker Man-esque masks as they wheelbarrow animal bodies to the ‘sematary’ seems a bit too blasé. The flashbacks to Rachel’s sister’s death are also an occasion where it feels like the film is trying too hard to elicit jumps from the audience. For the most part, however, this is a film that works decidedly well on the terms it sets out.

The directing-duo are helped in no small part by fine performances from the cast. Clarke and Seimetz bring an earthy believability to their performances. Lithgow is superb, seeming alternately sympathetic and untrustworthy, wise and foolish. Laurence plays the dual roles of both her character’s normal and un-dead self excellently. The scene that sees her zombie-self, processing, as she talks to her father, that she is in fact dead, is terrifically eerie and nuanced. For a film with its fair share of jump scares, what stands out most about the film is an insidious sense of dread at our own mortality and an unmistakable streak of humour surrounding the very same thing.

David Prendeville

100 minutes

16 (see IFCO for details)

Pet Sematary is released 5th April 2019

 

Pet Sematary– Official Website

https://www.youtube.com/watch?v=VllcgXSIJkE

 

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Review: Five Feet Apart

DIR: Justin Baldoni • WRI: Mikki Daughtry Tobias Iaconis • DOP: Frank G DeMarco • ED: Angela M. Catanzaro • PRO: Justin Baldoni, Cathy Schulman • DES: Tony Fanning • MUS: Alan Silvestri • CAST: Haley Lu Richardson, Cole Sprouse, Moises Arias, Kimberly Herbert Gregory

Five Feet Apart is essentially a teenage romance between Will and Stella (both 17), but it is a romance with unusually high stakes. Both have Cystic Fibrosis (CF) and have to remain at least six feet apart from each other to avoid cross infection. In the world of Cystic Fibrosis, infection can prove fatal and infection from a fellow “CFer” is particularly risky .  [To find out why the film is not called ‘six feet apart’, you have to go see the movie.]

An early scene in the film sets the tone. Three teenage girls are joking as they discuss an event which one of them cannot attend. It only becomes apparent when two of them leave Stella on her own, that we are in a hospital room and that she is struggling to breath.

Will already has an infection which has ruled him out of a lung transplant. If the new trial drug he is on not does not clear the infection, he has no remaining options.

The initial contact between Will and Stella is anything both cordial. Stella has OCD issues and cannot abide Will’s casual approach to his “regimen” (his meds programme). After one of many arguments, Will leaves abruptly, dismissing Stella’s concerns with: “It’s just life Stella – it’ll be over before you know it”.

But there is a strong mutual attraction. Will agrees to embrace his ‘regimen’ if Stella will allow him to draw her. Will is an artist and animator of some talent. After initially refusing, Stella agrees and the relationship develops, despite some rocky patches. However, they can never kiss or hold hands. We sense early on that Will’s cavalier approach to his health and the rules may have serious consequences for both, especially as Stella gradually begins to embrace Will’s less regimented approach to his health.

They learn from the ever vigilant Nurse Barb (Kimberly Hebert Gregory) that two previous teenage patients who became romantically involved died because they did not observe the six feet rule. Though only 17, both Stella and Will – and their mutual friend Po (Moises Arias), are well aware that their time may be short. This acts as a powerful drive in their desire to live for whatever time they have left.

Perhaps the main strength of this film is the performances from Haley Lu Richardson as Stella and Cole Sprouse as Will in roles that are layered and very well cast. This is the first leading role for Haley Lu Richardson and more will likely follow after this performance.

This is an impressive debut feature from director Justin Baldoni (35) who has worked mainly as an actor. He also made My Last Days, a series of documentaries featuring first-hand accounts of people on their final journey. He has clearly mined that experience in developing the script for Five Feet Apart.

Five Feet Apart is not a grim film. There are plenty of comic moments as it follows the developing romance of our two heroes –  and the word hero is appropriate. But the theme of mortality is ever present.

The story is not without its faults. The absence of parents or relatives of the main protagonists until half way through the film is puzzling given the gravity of their illness. And when they do arrive, they do not add much to the narrative of the film. The plot occasionally veers down the route of sentimentality.

But for the most part, the story is gripping and very moving. It is also educational. Given that the film has already grossed a multiple of its budget in the US., it is difficult to understand why it has not secured a wider release here.

Brian Ó Tiomáin

116 minutes
12A (see IFCO for details)
Five Feet Apart is released 5th April 2019

 

 

 

 

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Registration Open for the Irish Pavilion at Cannes Film Festival 2019

Screen Ireland has announced that registration for the Irish Pavilion at the 2019 Cannes Film Festival is now open.

The Irish Pavilion is located at No. 131, in the International Village.


Register online here.

Online registration will close on Thursday 18 April 2019 at 5 pm.


Screening or Selling at Cannes?
If you have a Screen Ireland-supported film or co-production screening or selling in the market, please let the Screen Ireland know so that they can list the details in their marketing materials. You can inform us of films screening and/or selling by filling out the online form.

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Moe Dunford to receive Breakthrough Artist Award at Newport Beach Film Festival

The 20th annual Newport Beach Film Festival will present the largest celebration of Irish Cinema in North America during its eight-day run (April 25 – May 2, 2019) in Southern California. Highlights include an Irish Showcase event, red carpet premieres, Breakthrough Artist Award presentation to Moe Dunford, eleven Irish feature length films, twenty Irish short films, the participation of Irish filmmakers and talent.

On Saturday, April 27th, the Festival will honour Irish Actor Moe Dunford with the Breakthrough Artist Award at the 2019 Festival Honors reception co-hosted by Variety Magazine at the Balboa Bay Resort. Dunford, who stars in three of the Festival’s Irish films (Metal Heart, Rosie, The Dig) and is best known for Vikings, Patrick’s Day and Michael Inside (a 2018 NBFF official selection), has emerged as one of Ireland’s most talented and versatile actors with a robust slate of films in the works, on the festival circuit and in theatrical release. On Sunday, April 28th, 2019, the Festival will present its Irish Showcase, an evening celebration of Celtic cinema and culture. The event will feature the premiere of the three highly anticipated Irish films, Metal Heart, The Belly of the Whale and Rosie followed by a festive post-screening reception. 

Other Irish feature length narrative films screening at the Newport Beach Film Festival include the international premiere of acclaimed Irish director Alexandra McGuinness’ film, She’s Missingas well as John Butler’s, Papi Chulo and Carmel Winters’ Float Like A Butterfly (US Premiere). The Irish animated feature Captain Morten and the Spider Queen (US Premiere) will screen in the Festival’s Family Film Series. The Irish short film Breastfriends will screen as part of the Festival’s Growing Up Shortly program. Irish feature length documentary films in the line-up include Loopers: The Caddie’s Long Walk and The Man Who Wanted to Fly (US Premiere). Two Irish feature length documentaries An Engineer Imagines (US Premiere), Citizen Lane (US Premiere) and the short Irish documentary Bordalo II: A Life of Waste will screen as part of the Festival’s Art, Architecture + Design Film Series. 

For further information see: www.NewportBeachFilmFest.com. 

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‘Taking Stock’ Screens at Newport Beach Festival


WAward winning film Taking Stock, will have its US premiere at the prestige’s Newport Beach Festival . This Irish drama short film was written and directed by Siobhán McMahon and produced by Galway native Emma Owen from Galway based production company Babyjane Productions. 

This ambitious project was funded by Kildare Short Grass Films; an initiative of Kildare County Councilheaded by Lucina Russell Arts Officer. Lucina brings together both professional and aspiring film makers in Kildare to create a film cultural legacy that will hopefully continue for many years to come.

Starring Kelly Gough, Michael O’Kelly and Rachel Lynch, the film tells the story of a farmer who battles through the aftermath of a cattle raid. It explores the affect this has on him and his family and how one copes in tough circumstances.

This story is not unique to Ireland. It happens all around the world. Thieves never think of the consequences their actions have on the farmer and their families. 

The project has been challenging and an absolute pleasure collaborating with all the cast and crew involved. There has been huge enthusiasm from all, which shows the necessity for schemes like Short Grass Films to continue.

‘We couldn’t have done it without the support of all the cast, crew and the locals – they are the ones who deserve all the credit’ says Emma Owen from Babyjane Productions. ‘The significant grant-aid awarded from Kildare County Council was further enhanced by sponsorship fromCreans Restaurant Killculllen, Ashover Lodge Killcullen, Cine Electric Ardmore Studios and Element Post Production. We owe them our sincerest gratitude’. 

‘We also want to thank our relentless crew who worked tirelessly throughout the project. We were extremely lucky to have IFTA winning Burschi Wojnar, award winning sound designer Paul Rowland and two-time Emmy nominated composer Joseph Conlan on our team’. 

We are excited to see how the film performs on the festival circuit both nationally and internationally. It’s a story that will resonate with all audiences throughout the world as it’s a real human story. 

Siobhán McMahon, director & writer, commented that ‘It was a privilege to work with such an amazing cast and crew on Taking Stock and I am thrilled to be launching the film onto the festival circuit’.

Producer Emma Owen commented ‘We are excited to take the next step with Taking Stock. Siobhan’s stunning directorial is a beautiful, poignant and a searingly honest portrayal of marriage and human emotions in a difficult time. ‘

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Foyle Film Festival’s Light In Motion Competition Open for Entries

Northern Ireland’s only Oscar® affiliated film festival has launched its 2019 Light In Motion (LIM) competition, open to filmmakers and animators across the world. Based in Derry~Londonderry, the Foyle Film Festival competition will remain open for entries until September 23, 2019.

The three competition categories under Light In Motion 2019 are:

·       Best Irish Short

·       Best International Short

·       Best Animation

The category winners will be announced at the closing evening Light in Motion Awards Ceremony, sponsored by City of Derry Crystal, on Sunday 24 November 2019.

Recipients of the LIM Awards qualify for consideration in the Short Film category of the Academy Awards® without needing the standard theatrical run. Foyle Film Festival is also an IMDb Qualifying Festival, granting all eligible film submissions a fast-tracked title page on IMDb.com.

Previous festival winners and competitors who have proceeded to win the Oscar® include: Terry George for The Shore (2012), Martin McDonagh for Six Shooter (2006), Andrea Arnold for Wasp (2004), Adam Elliot for Harvie Krumpet (2003), and Eric Armstrong for Chubbchubbs (2002).

The success continues with 2018 Oscar® nominations for LIM Award finalist The Silent Child directed by Chris Overton and 2018 BAFTA award in Short Animation for LIM Award finalist Poles Apart directed by Paloma Baeza and Ser En Low.

Funded by the Department for Communities through Northern Ireland Screen, by Derry City and Strabane District Council and Tourism NI, Foyle Film Festival delivers a comprehensive programme of documentaries, short films and feature films from all over the world.

Now in its 32nd year, it continues to be a platform for filmmakers, animators and artists to screen their films, network with industry professionals and gain access to the international market.

For more information on how to enter visit www.foylefilmfestival.org.

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Japanese Film Festival

The Japanese Film Festival returns for its 11th outing this April, with a packed programme that will bring the best of Japanese cinema to screens across Ireland.

This year the schedule includes 46 screenings of 16 feature films across Dublin, Galway, Tipperary, Cork, Limerick, Sligo, Waterford and Dundalk.

The festival kicks off this year on the weekend of Saturday April 6th and Sunday April 7th with screenings in Dublin and Galway, and will continue until Saturday April 20th with the final screenings in Dundalk and Waterford.

This year’s programme includes the brilliant yakuza thriller The Blood of Wolves, which recently picked up four Japan Academy Prizes. Born Bone Born is a crowd-pleasing family drama focused around the Okinawan custom of senkotsu (bone washing ceremony). Jesus is a true original from first-time director Hiroshi Okuyama, focusing on one lonely boy’s experiences when a miniature, dancing Jesus Christ shows up unexpectedly. Quirky rom-com Tremble All You Want boasts an extraordinary central performance from Mayu Matsuoka. Meanwhile, acclaimed director Shinya Tsukamoto (best-known for the Tetsuo series) returns with his latest film – the brutal but thoughtful samurai thriller Killing. Elsewhere, The Chrysanthemum and the Guillotineis an epic and intelligent drama in which the worlds of female sumo wrestling and anarchist violence collide.

The festival will host extra cinema screenings of the smash hit zombie comedy One Cut of the Dead plus an opportunity to discover a neglected one with the outrageous 1980s musical gem The Legend of the Stardust Brothers.

This year’s anime selection includes Irish premieres of two new films. The charming Penguin Highway marks the first full-length feature from Studio Colorido, and is a delight for all ages. Elsewhere, there will be few dry eyes in the cinema during the moving romantic drama I Want to Eat Your Pancreas.

Ticket sales information for screenings are available from each participating venue.

Ticketing links and listings are also available at www.jff.ie

Film Festivals 2019 – Here & Abroad


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JFF 2019 Screening Schedule:
Dublin – Chester Beatty Library: Saturday April 6th
Galway – Eye Cinema: Sunday April 7th to Thursday April 11th
Tipperary – LIT Clonmel: Monday April 8th
Limerick – University of Limerick: Tuesday April 9th
Cork – Cork Institute of Technology:  Wednesday April 10th
Sligo – The Model Sligo: Wednesday April 10th
Cork – Gate Cinema: Thursday April 11th to Saturday April 13th
Dublin – Light House Cinema: Thursday April 11th to Sunday April 14th
Galway – Pálás: Friday April 12th to Monday April 15th
Tipperary – Tipperary Excel: Saturday April 13th to Sunday April 14th
Cork – Triskel Christchurch: Sunday April 14th to Thursday April 18th
Waterford – Garter Lane Arts Centre: Thursday April 18th to Saturday April 20th
Dundalk – An Táin Arts Centre: Saturday April 20th  

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Anti film Piracy Ad ‘The Movie Thieves’

The Movie Thieves

The Movie Thieves is a 40-second advert about film piracy. Its message is presented in the form of a heist sequence where a gang of professional thieves break into a cinema to steal a rare film print. Directed by Irish filmmaker Gerard Lough, the ad’s anti piracy message was one he felt passionate about as not only was his first feature film Night People illegally uploaded online, he sees it as a still viable threat to cinemas and the industry as a whole. As the narrator (played by Michael Parle) in the ad says, “What seems like a harmless vice would close down every cinema tomorrow if everyone did it.”

Lough: “Its too idealistic to expect a commercial to change people’s minds but hopefully this one will seed the idea that if you truly love movies then you should resist a dodgy download that will hurt the very people who make and exhibit them.”

The ad also served as an opportunity for Lough to work with up and coming actors Aidan O’Sullivan, Bobby Calloway and Kaireht Yovera who will also be in his next feature film, a thriller called Spears. The location used was Century Cinemas in Letterkenny, Co Donegal. The ad is now online and will be shown at selected cinemas across the country. 


Anti piracy organization The Federation Against Copyright Theft,  say that, “Making quality films and TV programmes is an expensive business and it is vitally important that people pay for the legitimate product. Accessing illegal content, whether it’s free or for payment, means that the very heart of the film and TV industries is at risk. Future films will not get made leading to a very rapid downward spiral of a lack of content for film and TV fans, job losses, damage to the local and wider economy, and an increase in criminal activity.This is not scaremongering – it’s a fact.”

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Irish Box Office Smash Hit ‘Black 47’ Launches on Netflix


The Irish box-office smash hit Black 47 directed by Lance Daly is available to view on Netflix from Sunday 31st March.

Set during the Great Irish Famine the film stars Hugo Weaving (Hacksaw Ridge, The Lord of the Rings, The Matrix), Jim Broadbent (Oscar®winner for Iris) and the prolific Irish screen and stage actor Stephen Rea (The Crying Game, Michael Collins).  Joining them are rising international actors James Frecheville (Animal Kingdom, The Drop) and Freddie Fox (King Arthur: Legend of the Sword) along with a strong young Irish cast including Barry Keoghan (Dunkirk, The Killing of a Sacred Deer), Moe Dunford (Michael Inside, Patrick’s Day) and Sarah Greene (Rosie, Noble).

It’s 1847 and Ireland is in the grip of the Great Famine that has ravaged the country for two long years. Feeney, a hardened Irish Ranger who has been fighting for the British Army abroad, abandons his post to return home and reunite with his family.  He’s seen more than his share of horrors, but nothing prepares him for the famine’s hopeless destruction of his homeland that has brutalised his people and where there seems to be no law and order. He discovers his mother starved to death and his brother hanged by the brutal hand of the English. With little else to live for, he sets a destructive path to avenge his family.

The screenplay was written by PJ Dillon (Rewind), Pierce Ryan (Standby), Eugene O’Brien (Eden) and Lance Daly (Life’s a Breeze, Kisses).  Produced by Macdara Kelleher for Fastnet Films with Tim O’Hair, Arcadiy Golubovich and Jonathan Loughran, Black 47 was financed by Primemeridian Entertainment, the Irish Film Board, the Luxembourg Film Fund, Wildcard Distribution, Altitude, BAI, TV3, Eurimages, Umedia, Samsa Films and Fastnet Films.

Watch the Trailer here

https://www.black47film.com
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Submissions & Funding Deadlines

Print

Looking for funding for your film? Want to submit your work to festivals? Keep an eye on upcoming deadlines here.

If you have a deadline you’d like us to include, please contact filmireland@gmail.com

Click on the link for further information:

TV Drama Production Funding 13th December 2019

Project Development Loans 13th December 2019

Documentary Development  13th December 2019

Screenplay Development  13th December 2019

Fiction: Irish Production 13th December 2019

TV Drama Development  31st October 2019

Project Development Loans 31st October 2019

Documentary Development  31st October 2019

Screenplay Development  31st October 2019

Eurimages Co-production Deadlines 22nd October 2019

TV Drama Production Funding 18th October 2019

Fiction: Irish Production 18th October 2019

NFF+HBF Co-production scheme 9th October 2019

Script + Project Development: Voices 1st September 2019

Project Development Loans 30th August 2019

Documentary Development  30th August 2019

Screenplay Development  30th August 2019

Eurimages Co-production Deadlines 22nd August 2019

TV Drama Production Funding 16th August 2019

Fiction: Irish Production  16th August 2019

Authored Works Funding Scheme 15th August 2019

Script + Project Development: Bright Future 1st August 2019

TV Drama Development  28th June 2019 

Project Development Loans 28th June 2019 

Documentary Development  28th June 2019

Screenplay Development  28th June 2019

TV Drama Production Funding 14th June 2019

Fiction: Irish Production 14th June 2019

Dublin Feminist Film Festival Submissions  14th June 2019

TFL World Co-Production Fund 12th June 2019

ACE 29 Production Training Programme 12th June 2019

​IBF Project Development  10th June 2019

IBF Production & Post Production  10th June  

Selective Distribution 7th June 2019

Cinema Distribution Selective Scheme  4th June 2019

TFL Audience Design Fund 3rd June

Galway Film Fleadh Pitching Competition 31st May 2019

Television Programming 28th May 2019

48 Hour Challenge 24th May 2019

NI Screen Craft and Technical Skills Scheme 10th May 2019

Reel Art Funding Scheme 9th May 2019

Support To Film Festivals  7th May 2019

Kerry Short Film Bursary 30th April

WRAP Development Support 30th April 2019

Project Development Loans 30th April 2019

Documentary Development  30th April 2019

Screenplay Development   30th April 2019

Creative Europe MEDIA Single Project Development 24th April 2019

Screen Leaders 19th April 2019

TV Drama Production Funding 16th April 2019

Fiction: Irish Production 16th April 2019

Irish Delegation to BANFF World Media Festival and Vancouver Trade Mission 12th April 2019

Promotion of European Works Online 5th April 2019

True North Shorts  3rd April 2019

IDFA Bertha Fund 1st April 2019

Shot by the Sea Submissions 31st March 2019

Young Irish Film Makers Screenwriting competition 31st March 2019

FilmOffaly Short Film Award  22nd March 2019

Newport Beach Film Festival Submissions 21st March 2019

Harp Media Student Short Film and Screenplay Competition 15th March 2019

Northern Ireland Screen’s Feature Documentary Development Funding 15th March 2019

Arts Grant Funding 14th March 2019

EFP Producers on the Move 2019 12 March 2019

Doc Fest Ireland Film Submissions 9th March 2019

Film Education 7th March 2019

Project Development Loans 28th February 2019 

TV Drama Development  28th February 2019

TV Drama Production Funding 28th February 2019

Documentary Development  28th February 2019

Screenplay Development  28th February 2019

Pitch Pilot Workshop Galway 22nd February 2019

Slate Funding Development  20th February 2019

WFT Members’ Short Film Showcase Submissions 20th February 2019

St. Patrick’s Film Festival London Short Film Submission – 15th February 2019

Fiction: Irish Production 15th February 2019

Access to Markets  7th February 2019

Beara Film Fest    31st January 2019

Arts Council Film bursary award  31st January 2019

First Cut! Youth Film Festival 14th January

Submissions for Writers Conference 11th January

SDGI Arri Alexa Take 11th January 2019

Galway Film Fleadh Feature Film Submissions 18th January 2019

Irish Film Festa Short Film Submissions 10th January 2019

Artist Residencies and Bursaries  @ Centre Culturel Irlandais 10th January 2019

Cinema Distribution Selective Scheme  8th January 

Newport Beach Film Festival 21st December 2018

Junior Entertainment Talent Slate 20th December 2018

Support To Film Festivals  20th December 2018 

Television Programming 18th December 2018 

Creative Europe MEDIA Single Project Development 18th December 2018

Irish Animation Awards Submissions 10th December 2018

Dingle International Film Festival  Submissions – 3rd December 2018

Dublin Smartphone Film Festival Submissions – 1st December 2018

Cartoon Movie 21st November 2018

BAI Sound & Vision Round 3 TV & Radio – 8th November 2018

BAI Sponsorship Scheme 2019 29th November

Shebeen Flick Submissions Late Deadline – 1st October 2018

Celtic Media Festival Submissions – 31st October 2018

Dingle International Film Festival  Físín Submissions  – 26th October

Festivals Investment Scheme – 25th October 2018

Celtic International Fund – 24th October 2018

Reel Art and Authored Works  –11 October 2018

BAI Archiving Funding Scheme  –4th October 2018

Shebeen Flick Submissions – 1st October 2018

International Co-Production Development Fund – 30th September 2018

BAI Canada-Ireland Co-development Incentive  – 28th September 2018

IMRO | RTÉ Scoring For Film Programme 28th September 2018

EWA Network Scriptwriter’s Residency 24th September

RTÉ | BAI Round 32  21st September 2018

Irish Screen America New York  Submissions Extended Deadline 14th September 2018

Irish Film Festival London Submissions 14th September 2018

Dublin Port Short Film Prize 13th September 2018

Annual Directors’ Finders Series Showcase 7th September 2018

Cinemagic Young Filmmaker 31st August 2018

Waterford Film Festival Late Deadline 31st August

Richard Harris International Film Festival Submissions Late Deadline 18th August 2018

Screen Ireland Film Project Award – 16th July 2018

Wexford Stories Short Film Funding 31st July 2018

ADIFF  Submissions 31st July 2018

Richard Harris International Film Festival Submissions 31st July 2018

Wicklow Screendance Laboratory 27th July 2018

Waterford Film Festival Short Films & Short Scripts 27th July 2018

Writing Mentorship Scheme 23rd July 2018. 

Film Mayo Creative Ireland Residency Award 18th July 2018

Underground Cinema Film Festival Submissions 14th July  2018

Spook Screen Submissions 30th June 2018

ilDÁNA Documentary Funding 21st June

IFI Documentary Festival Submissions 20th June 2018

Pitching Competition Galway Film Fleadh 8th June 2018

Galway Film Fair Marketplace 1st June 2018

Irish Film Board Production Funding 31st May 2018 

TV Programming Support Scheme 24th May 2018

Galway Film Fleadh Short Film Submissions 12th May 2018

Cork Film Festival  Feature Film Submissions 4th May 2018

Film Bursary Award 2018 27th April 2018

dlr First Frames Scheme Short Film Funding 27th April 2018

Arts and Disability Connect Funding Scheme 26th April 2018

Light Moves Festival of Screendance Submissions 20th April 2018

Support for Development of Audiovisual Content – Single Project 2018 19th April 2018

Screen Training Ireland Screen Leaders 13th April 2018

POV Training Scheme for female writers & directors  13th April 2018

Northern Ireland Screen’s Feature Doc Development 6th April 2018

Film In Cork 2018 Short Film Award Submissions 6th April 2018

OFFline Film Festival Animation Residency 30th March 2018

Artist in the community scheme Arts Council Funding 26th March

Film Offaly & Filmbase 2018 Short Film Award  23rd March 2018

EFP Producers on the Move 22nd March 2018

SHORT STORIES IFB Funding 23rd March 2018

Student Media Production Awards Funding 20th March 2018

Youth Music Video Competition 28th February 2018

IFB New Writing Development 28th February 2018

First Cut! Youth Film Festival Short Film Submissions 28th February 2018

IFTA Film & Drama Awards 15th February 2018

Arts Council Film Project Award  15th February 2018

Galway Film Centre & RTÉ Short Film Commission Scheme 14th February 2018

Hope: 1998 All Ireland Referendum Funding 9th February 2018

Creative Europe Slate Funding – Support for Development of Audiovisual Content 6th February 2018

Frameworks Scheme – 2nd February 2018

Irish Film Board Screenplay Development 31st January 2018

 Irelands Young Filmmaker of the Year 2018  26th January

Arts Council Film Bursary Award  25th January 2018

Bursary Information Day for Documentary Filmmakers 18th January 2018

Irish Film Festa Submissions 10th January 2018

BAI Sponsorship Scheme 4th January 2018 

Storyland Submissions 15th December 2017

Junior Entertainment Talent Slate 14th December 2017

IMRO Music for Screen Seminar 6th Dec 2017 

Dublin Smartphone Film Festival 1st December 2017

Sound and Vision 1st December 2017

BAI Sound & Vision Scheme Round 30 1st December 2017

Irish Film Festival, Boston 30th November, 2017

RTÉ ECommissioning – Irish Scripted Comedy 29th November 2017

Support for Development of Audiovisual Content – Single Project 2018 23th November 2017 

ilDÁNA 20th October 2017

IFTA Awards 2018 Submissions Deadline for Film & Drama 17th November 2017

TV Programming Support Scheme 16th November 2017

Reel Art 13th October 2017

Cine4 Development Scheme 6th October

Shebeen Flick 1st October 

Audi Dublin International Film Festival 1st October 2017

Irish Filmmaker Competition 27th August 2017

Foyle Film Festival 29th September 2017

TV3 Spring 2018 31st July 2017

Cork Film Festival  15th July 2017

Kerry Film Festival  14th July 2017

The One Minute Film Festival 30th June 2017

Light Moves Symposium 30th June 2017

Cine4 Development Scheme 22nd June 2017

Wexford Documentary Film Festival 19th June 2017

Galway Film Fleadh Pitching Competition 7th June 2017

Close Up – Filmbase Talent Development Scheme 5th June 2017

Jameson First Shot 1st June 2017

Film 48 Hour Challenge 31st May 2017

TV Programming Scheme 30th May 2017

Guth Gafa International Documentary Film Festival 29th May 2017

GAZE International LGBT Film Festival 12th  May 2017

Still Voices Short Film Festival 14th May 2017

Arts and Disability Connect 4th May 2017

TV3 Single Documentary Call Out 2017 31st April 2017

TV3 Autumn 2017 30th April 2017

dlr First Frames Scheme 28th April 2017

Support for Film Festivals 27th April 2017

Support for Content Development of a Single Project  20th April 2017

Science on Screen 19th April 2017

Galway Film Fleadh 31st March 2017

TV3 Studio Call Out 2017 22nd March 2017

The Short Film Festival of Ireland 17th March 2017

Sci-Fi Film Festival 15th March 2017

ilDÁNA 10th March 2017

Frameworks Short Film Scheme 10th March 2017

Support for Film Education 2nd March 2017

Arts Council Film Project Award 2nd March 2017

First Cut! Youth Film Festival  28th February 

Young Animator Of The Year Awards 28th February 2017

RTÉ Factual 20th February 20 17

SHORT SHOTS Filmbase/RTÉ Short Film Scheme 16th February 2017

Fastnet Film Festival 14th February 2017

Support for Development – Slate Funding  2nd February 2017

Short Film Commission Scheme 31st January 2017

Close Up – Development Scheme for Actors 26th January 2017

RTÉ Young Peoples Animated Shorts Scheme 18th January 2017

Factual Entertainment Series for RTÉ2 16th January 2017

Eurimages Co-production  12th January 2017

RTÉ  Comedy, Talent Development and Music proposals 5th January 2017

Irish Film Festa (short films) 20th December 2016

Film In Cork – Short Script Award 9th December 2016

Distribution – Selective Scheme  1st December 2016

Chicago Irish Film Festival 1st December 2016

Irish Film Board Development  30th November 2016

Irish Film Board Distribution 30th November 2016

Support for Film Festivals 24th November 2016 

TV Programming Scheme 24th November 2016 

Irish Film Festival London 23 – 27 November 2016

Support for Content Development of a Single Project – 17th November 2016

Irish Film Board Development 31st October 2016

Irish Film Board  Production & Distribution 28th October 2016

Audi Dublin International Film Festival  1st October 2016

IFB Production and Distribution Funding  30th September 2016

Canada-Ireland Co-development Incentive 28th September 2016

Northern Ireland Screen Short Film Funding 23rd September 2016

Radharc Awards 2016 23rd September 2016

Clones Film Festival Short Film Submissions 31st August 2016

Submissions for 10th Waterford Film Festival 26th August 2016

IFTA Gala Television Awards 22nd August 2016

IFB Focus Shorts  5th August 2016

IFB Real Shorts  5th August 2016

Underground Cinema Film Festival 31st July 2016

Cinemagic Belfast 25th July, 2016

Waterford Film Festival 15th July 2016

IFB Short Stories 15th July 2016

Kerry Film Festival 11th July 2016

Audi Dublin International Film Festival 11th July 2016

Galway Film Fleadh Pitching Competition 9th July 2016

Cork Film Festival 2nd July 2016

Fingal Film Festival 30th June 2016

IFI Documentary Festival 20th  June 2016

Galway Film Fleadh  The One Minute Film Festival June 23rd 2016 

IFB Production and Distribution Funding 17th June 2016

Distribution Selective Scheme 14th June 2016

Kerry Film Festival Short Film Submission 11th July 2016

Film on the Edge 10th June 2016

Galway Film Fleadh Pitching Competition 9th June 2016

Galway Film Fleadh 2016 Marketplace Applications 27th May 2016 

Light Moves 27th May 2016

Television Programming   26th May 2016  

Guth Gafa International Documentary Film Festival 15th May

Directors’ Finders Series Showcase 29th April 2016

Support for Film Festivals   28th April 2016

Single Project Development  21st April 2016

Eurimages Co-Production 15th April, 2016

Pitching Forum for Co-Production Projects April 15th 2016

March on Film 31st March, 2016

Feel Good Lost Filmmakers Competition  29th February 2016

Galway Film Fleadh  Feature Films 25th March 2016

Northern Ireland Screen’s Irish Language Broadcast Fund 18th March 2016

Frameworks 11th March 2016

Limerick Film Festival  4th March 2016

FilmOffaly Award 4th March 2016

Co-Production Funds 25 February 2016

IFB Production and Distribution Funding 19th February 2016

Jameson Gone in 60 Seconds 14th February 2016

Fastnet Film Festival 14th February 2016

March On Film 14th February 2016

First Cut! Youth Film Festival 12th February

Slate Funding 4th February 2016

Live Life National Film Competition 1st February

ASSET programme 30th January 2016

Short Shots @ Filmbase 28th January 2016

Access to Markets   28th January 2016

National Youth Media Awards 22nd January 2016

Fresh Film Festival 22nd January 2016

Arts Council Bursary Awards 21st January 2016

Young Directors Awards 2016 15th January 2016

Artists in Residence @ Centre Culturel Irlandais 11th January 2016

Jameson First Shot Film Competition 4th January 

Irish Film Festa (short film) 20th December

Belfast Film Festival Short Film Competition 18th December

Animation Dingle  December 4th 2015

Dingle International Film Festival 11th December 2015

Dublin Doc Fest 11th December 2015

EU Commission TV Programming Funding 3rd December, 2015 / May 26, 2016

Chicago Irish Film Festival 1st December 2015

Clermont-Ferrand International Short Film Festival 20th November 2015

EU Commission Single Project Development Funding 19th November 2015 / 21st April 2016

Splanc! Irish language Arts Documentary Scheme 16th November 2015

Boston Irish Film Festival 15th November 2015

Feature Documentary Development 6th November 2015

Animation Dingle Early Deadline 6th November 2015

Dublin International Film Festival Short Film Submissions  31st October 2015

Junior Galway Film Fleadh Story Pitching Competition 30th October 2015

Celtic Media Festival  30th October 2015

Short Film Proposal in the Irish Language 19th October 2015

Reel Art  16th October 2015

OFFline Filmmaking Challenge 8 – 10 October 2015

Clones 48 Hour Short Film Challenge 5th October 2015

Ronan Phelan Euroconnection Pitching Award 2015 4 – 11 October 2015

Cinemagic Young Filmmaker Competition 30th September

Capital Irish Film Festival  30th September

Irish Film Festival London  28th September

Feminist Film Festival Short Film Submissions  25th September

Foyle Film Festival 25th September

BBC Writersroom Script Room 24th September

Pitch 25-minute doc for TG4 18th September

Richard Harris International Film Festival  4th September

Clones Film Festival  30th August

Guth Gafa ‘Next Generation’ Short Documentary Student Competition  28th August

Creative Proposals for RTE 26th August

Documentaries for Guth Gafa International Documentary Film Festival 22nd August

Indie Cork 1st August

Irish Screen America  1st August

GAZE International LGBT Film Festival  30th July

Sky Road TV & Film Festival 17th July  [Early Bird]

The One Minute Film Festival  30th June

Fingal Film Festival  30th June

Underground Cinema Film Festival  30th June

IFI Documentary Festival  24th  June

Shortfilm48 12 – 14 June

Light Moves  10th June

Charlie Chaplin Film Festival  1st June

Arts and Disability Connect  21st May

Lady’s First International Film Festival 20th May

Short Films for Galway Film Fleadh 2015  15th May

Frameworks  15th April

FilmOffaly/Filmbase 2015 Short Film Award  20th March

Secrets of Offaly – Public Art Commission  13th February

 AFTER ’16  6th February

Jameson First Shot 2015 1st February

Dublin Doc Fest Short Documentary Film  30th January

Irish Animation Awards  23rd January

Youth Film Festival  9th January

 

 

 

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Maureen O’Connell, Writer/Director of ‘Proclaim!’

Maureen O’Connell takes us behind the scenes of her short film Proclaim!, which is now available to watch online.

Behind the Scenes Images: Marta Gomez Seanz and Joby Redmond

I came home from London in late 2015. I had trained at RADA for 3 years and had tried living in London as a poor actor for 2 years afterwards. It was punishing. When I returned, I wanted to be involved in any production that was about 1916. Everything was cast or in production already. So, I started about my own project.

Initially, I wanted to make a short film about Cumann na mBan as my grandmother, “Nell O’Sullivan”, had been an active member. I began research in October 2015 and found that it was difficult to shoot a simple story about the Cumann na mBan but I stumbled upon the story of how the proclamation was printed. It was a great story:

Three Dublin printers summoned by Connolly to print 2000 copies of the proclamation in one night and in secret to be proclaimed by Pearse in the morning and their struggles to achieve this. They didn’t have enough type, wax or paper but with ingenuity, they did it.

It was just too good a story that had never really been told or indeed, dramatized before.

Although, my Granny would have been in Limerick at the time of the Easter Rising, I decided to insert her into the story just as a hat tip to her. I make a cameo appearance in the film as my Granny.

I shot Proclaim! over 5 and a half days in February 2016. I was the producer as well as the director so I had to be super organized. I had wonderful support from the cast and crew, though. They were a really patient and easy-going bunch. This made things a lot easier for me.

I had done some of my research at the National Print Museum and they informed me that if I had wanted to film there that they would let me use the old printing press and they’d print off proclamations for me for the film. I don’t think they thought I’d take them up on the offer but I contacted them and they were so helpful and friendly. I featured the two printing volunteers from the National Print Museum in the film itself as a thank you to them, Freddie Snowe and Alfred McCormack.

On the first day we shot for just a few hours at Mary’s Pub in Wicklow Street. It was a good idea to begin lightly as it settled the nerves and got the creative juices flowing. It was a great location and the owners were absolute legends to us for allowing us to shoot there.

AT SWENY'S PHARMACY, THE "CO-OP"

The next day, I shot in the wonderful Joyce Pharmacy, Sweny’s; off Pearse Street. They were so good to us. Initially, I had asked for only a half day to film in their shop but we ended up needing the full day and they let us have it! This was an incredible kindness as, it was, like every other location we shot at, free of charge. Sweny’s became the famous Co-Operative Baby Clothes Store from which Connolly printed his subversive socialist newspapers – and the very first Irish Proclamations. Thanks to the staff at Sweny’s and to our brilliant production designer, Joby Redmond who did an outstanding job.

Shooting outside the GPO was the best day, for me. I had contacted MovieExtras.ie and asked if they had any extras who wanted to be a part of the film to play people listening to Padraig Pearse proclaiming. I said it was unpaid but they’d get coffee and tea, etc. I sent a picture of the type of costume they’d have to wear if they wanted to be in it. I didn’t expect any of them to turn up, to be honest. But all of a sudden, I started getting emails from them individually. I emailed everyone back and told them the schedule and what time to be there at – Café Kylemore, O’Connell Street, 9am – and thanked them… a lot!

Again, I didn’t expect them to turn up.

Forty people in 1916 costume turned up at Café Kylemore at 9am. I couldn’t believe it! I had a 14-foot jib crane with our camera on the end on a remote head, Michael O’Kelly in full Pearse military regalia proclaiming the proclamation and 40 costumed extras… and I didn’t even have a permit. I’d only asked the Garda Sergeant at the local Garda Station for permission and had told him, I’d have a tripod and 10 extras. It was awesome!

In fairness, the Gardai who were there helped us out so much. We only had enough crew to do specific jobs but no one to look after our bags and equipment under the GPO pillars. But the Gardai looked out for our bags and so we shot the whole proclamation scene in 3 hours in front of the GPO on a very early rainy February morning in 2016.

When I conceived the script, I knew how I wanted to shoot it. Lots of shallow depth of field, quick and sudden pans and sharp edits to give the feeling of tension and pace but also to get right into our characters’ faces and feel the emotions with them and to go on their journey.

I also wanted to track and move the camera as much as possible to give a sense of urgency; the printers had to get their mammoth task done fast with no time to spare. I also used lots of racking of focus back and forth between characters, but I racked focus very fast back and forth, again, to bring a sense of urgency.

I shot it to be black and white and had it graded. I wanted to bring out the lines in the printers’ faces, to be able to see the ink and dirt in the crevices of their expressions.

I really enjoyed working with Cian Moynan the DOP. He is a painter and really understood what I wanted from the outset. He did an amazing job especially considering he and I had never worked with a 14-foot jib crane before and our only practise of it was taking it out and assembling it the night before in my sitting-room trying to make sure we knew how it worked!

I had written the Street Urchin character into the film so that I could use her songs that she sings as a way of linking scenes and also as a kind of natural soundtrack at points during the film. In pre-production, I selected the songs I wanted Laura Murphy (Street Urchin) to sing, with ‘The Parting Glass’ being the most important. I also sent this song to the other actors in the cast as I wanted them to sing it with her in the final part of the film.

We recorded these songs separately at my house in my sitting-room. Laura sang them herself and then, the rest of the cast joined her for the final chorus of ‘The Parting Glass’. I was delighted with what they did with the song and how it brings us through the film to the final scene of the proclamation being proclaimed.

I was initially going to use a heartbeat running throughout the film again to raise tension, but when I tried this in post-production, it didn’t work as well as I had imagined. So, I decided on the use of bodhrans to give a rhythmic sense of a heartbeat throughout the film. I worked with the amazing composer Joseph Conlan and he created the beautiful instrumental soundtrack.

I cast the actors mainly from the website Film Network Ireland – it has since become a Facebook Group. All of the actors were outstandingly brilliant and so lovely to work with. I was blessed! I rehearsed them all at different times at my own home and did a rehearsed reading with all cast and crew. It was exciting to see and hear it come alive.

I played the part of my own Granny, “Nell O’Sullivan” and I remember standing on set in Sweny’s Pharmacy, in costume, and getting ready to act and at the same time giving directions, thinking quietly to myself, “What am I doing?!” My legs were shaking but I was wearing a long skirt and no one could see that – if only they knew!

I had a tiny budget of €1200.00 starting out. I then used my rent money to pay my way through the shoot. After editing it, I set up an indiegogo crowdfund to finish it as professionally as possible with a sound-design and grade. I’d no idea what I was doing and had never done a crowdfund before. I needed money fast though to try to finish it in time for the Galway Film Fleadh submission deadline, so I took the shortest campaign one can choose; 15 days. If you hit your target, it takes another week to go into your bank account. I asked for €2000.00.

I pushed it as hard as I could on social media and emailed everyone I knew and had ever worked with. I knocked on the doors of every local business. We managed to raise €2836.00 to my utter surprise!

I got it finished but regardless, the Fleadh did not select it in the end. However, it went on to win many awards and got selected for festivals both national and international securing many nominations along the way.

I’m really pleased with Proclaim! and I think everyone who worked on it is too which is great. We worked so hard and I think it shows. No one was paid. It was all voluntary. Like the printers who printed the proclamation are legends, so too, the cast and crew who made Proclaim! are legends.

And I salute my cast and crew and thank them from the bottom of my heart. I hope anyone who watches it hereafter enjoys what we all worked so hard to make!


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Frank Shouldice, Director of ‘The Man Who Wanted To Fly’

Bobby Coote left school at 13 and spends most of his time in his back shed fixing clocks and making violins, but he has never lost sight of a lifelong dream to fly. He has cut a runway in a neighbour’s field and even built a hangar. And now he’s using his life savings to buy a plane! He gets no encouragement from his brother Ernie – another octogenarian in the Coote household, who thinks the whole thing is mad. But Bobby is determined to get airborne, even if it’s the last thing he does.

Director Frank Shouldice spoke to Film Ireland about his film, which is released in cinemas 29th March.

Dave Perry, the cinematographer, and myself have worked on a number of current affairs related programmes and we were looking for something outside of current affairs as a project of our own. Dave is very much into flying. He lives up near Bailieborough in County Cavan and was out flying one day in his paramotor. When he was flying he noticed this white dot in a couple of places underneath him. Later that same day, at home there was a ring of the doorbell. When he opened it,  there was an elderly man with a baseball cap standing there. He saw behind the man was this Suzuki IQ, a white one and he figures that’s the white dot. It turns out this man was Bobby and he said “was that you up there in the sky?” and he said yes and asked why. Bobby said “I want to do that”. That was his answer and that was the introduction to Bobby Coote.

The idea that this man in his late 70s at that point was having harbouring this ambition to do something that most people would deem was too late for him – it was something that got us thinking… could this be the story that we’re looking for. The premise was strong, the pursuit of a dream is always a romance in itself. But what really turned it for me was when I learnt that Bobby lived at home with his older brother, Ernie, and that the two were unmarried lads who lived in the same family house but had completely separate lives and separate front doors. That to me, if Ernie would come aboard and if Bobby was aboard, would open up a much richer vein that would be beyond the story of pursuing the flight, which would come off for not come off. It would open up into a lot of other more profound themes about isolation, ageing, love, family.

It was very much a generosity of spirit on their part that they were open to this and shared so much with us over such a long time. We ended up on a journey that from the first day of filming to the last day of the edit was five and a half years. It was inspiring getting to know these men now in their 80s – they have a full lived life experience. There’s a kind of wisdom and humour in the experience they’ve had of life. I think it is really key to the film that’s what’s there is real. It’s absolutely real. Some things just happened as they happened. When Bobby gets a very devastating phone call that brings home to him that his dream is finished… that literally happened as it happened. There was no rehearsal or preparation. It happened and actually it was quite difficult for myself and Dave to witness and almost not intervene – to throw an arm over shoulder and say don’t worry we’ll find a way around this or something. That was hard. We were literally watching someone’s dreams evaporating in front of their eyes. We had to remind ourselves we were there to make a film and not just simply to be friend.  

Five and a half years is a long time and before we showed the final cut to anybody, we showed it to Bobby and Ernie. We were a little bit apprehensive that they’d be comfortable in what they shared. Thankfully they were. They felt it represented them. If it hadn’t it would have been very uncomfortable for us because as true and close to the bone as it was, you’d like them to feel that that it does represent them rather than me exposing themselves emotionally in a way that they wouldn’t be happy with. It’s a credit to them for being so generous and it takes a lot of courage to open up and reveal the things that matter to them.

The film hangs on it being real, being genuine. We’ve just been in festivals so far but people are engaging with us. They feel that they get to know the brothers. From the outset, the ambition for me was that the audience would enter into their world for the next hour and a half. Let’s go into that world and stay in the world at that tempo, their tempo, their pace of life. It means slowing down, things don’t happen in a hurry. I hope that we have achieved this with the film. So far it seems to be happening. People accept the life and the community they see and they go with them and engage with it and support it. Maybe it’s an antidote to what else is on offer. This is the world we actually live in. It’s not a make-believe world. It’s out there… maybe we just didn’t notice it before.

 

The Man Who Wanted to Fly has a preview screening at the Odeon Cinema in Cavan Town on 26th March and opens in cinemas in Dublin, Galway, Cork and Cavan on the 29th March.

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European Parliament Vote in favour of the Directive on Copyright

The Federation of European Film Directors (FERA), the Federation of Screenwriters in Europe (FSE) and the Society of Audiovisual Authors (SAA) have welcomed the European Parliament’s final vote on the Copyright Directive in the Digital Single Market.

After many months of negotiations, the EU institutions have reached a compromise on the Directive on Copyright in the Digital Single Market that establishes a much-needed level playing field for the cultural and creative sectors, in particular the audiovisual industry, to adapt to the 21th century online environment and integrate the global online players in the European copyright ecosystem.

As demonstrated by the recent survey on European audiovisual authors’ remuneration, audiovisual authors are struggling to make ends meet and to maintain sustainable careers; they are in urgent need for action to improve their situation. The Directive on Copyright in the digital Single Market features essential provisions in chapter 3 on fair remuneration for authors and performers, which represent an important achievement in EU legislation.

It sets out a general principle of proportionate remuneration allowing authors to share in the economic success of their works (Art 18), and unwaivable provisions strengthening authors’ right to information on the exploitation of their works (Art 19), reinforcing their bargaining power (Art 20 and 21) and establishing a right for revocation (Art 22).

Once the Directive will be confirmed by the Council, FERA, FSE and SAA will continue working with their members to make the most of the Directive at the implementation stage. They will in particular focus on ensuring that the implementation laws provide appropriate mechanisms to guarantee audiovisual authors receive the proportional remuneration they deserve for the exploitation of their works.

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Review: Vox Lux

Tom Crowley takes a look at Brady Corbet’s musical drama, which screened at the Dublin International Film Festival.

Actor-turned-director Brady Corbet is interested in what makes a person a leader. What makes one individual special to other people? His debut film, The Childhood of a Leader (2016), adapted from a short story by Jean-Paul Sartre, attempts to depict the early formative years of a future fascist dictator. In his new film, Brady explores the idea of someone born to be famous; this fact is clearly derived from the film’s philosophical voice-over, provided by Willem Dafoe, who delivers his dialogue as if narrating a fairy-tale.

Celeste (played by Raffey Cassidy in her teenage years and Natalie Portman as an adult), is a victim of a horrific and violent attack during her school years. Occurring early in the film, it is a genuinely heart-pounding cinematic moment. In a room full of people, she is the only one to try and take control of the situation. Many years later, she will make the Lennon faux-pas and compare herself to Christ.

Portman gives her best performance since her Black Swan Oscar win in 2010. Is there anybody better at playing a tortured performer? She gives Celeste an assuredness and a vicious streak in her public life, and a manipulative uncertainty in her private life, surely symptoms of megalomania which comes from being a worshiped celebrity most of your life.

Divided (as Leader was) into four stages, indicated by minimalist black titles cards with white text, which seemed perfect in the context of his first film and is brilliantly at odds with this one, Prologue, Genesis, Re-genesis and Finale, adds to the religious undertones (also present in Leader), which Celeste’s name suggests. Corbet has carefully structured a sometimes shocking, sometimes funny and always stimulating film about the modern world, a ‘21st Century Portrait’ the final tie-dyed title card proclaims. The film blends celebrity and terrorism on a wider scale while also creating an ambitious psychological character study which culminates in a Bohemian Rhapsody (2018) still comeback concert. The two films could not be more different. While Rhapsody insists on trying to shoe-horn in every heavily sanitised detail on Mercury and Queen’s careers, Vox Lux wants us to fill in the gaps for ourselves as we take a decade long leap from the inception of Celeste’s career to her ‘comeback’ concert in her home town. Corbet is earnest about his character study but mocks the ‘pop’ genre his character is associated with, in the same way Bradley Cooper does in A Star is Born (2018).

Corbet’s talents are not only in content but also in style. The piercing, unsettling soundscapes of The Childhood of a Leader return, with Corbet again teaming with composer Scott Walker. The soundtrack forces the viewer to feel that something of a significant magnitude is happening (even if it might not be). Corbet presents us with two sequences in fast-forward, a liberating if hedonistic trip to Stockholm by two sisters and a troubled stars hotel room drug binge with her manager. Both sequences are carefully staged by Corbet and shot by Lol Crawley, to speed them up is an indicator of vision. The hotel room sequence is reminiscent of Alex’s bedroom romp in Kubrick’s A Clockwork Orange (1971). At 30 years of age Corbet is already a unique cinematic voice and a director for the future.

Vox Lux screened on 28th February 2019 as part of the Dublin International Film Festival (20th February – 3rd March)

In cinemas 3rd May 2019

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Paper Panther Productions Wins at Irish Animation Awards

The Bird and The Whale

The 2019 Irish Animation Awards ceremony was held in Dingle last night  and the big winner was Paper Panther Productions, who scooped up three awards, including Best Animation and Best Design & Art Direction for the stunning The Bird and The Whale. They also won the Best Newcomer Award, a new category introduced this year.

Among the other major winners on the night were Cartoon Saloon for The Breadwinner (Best Feature) and Brown Bag Films for Vampirina, which won Best Animated Preschool Series (up to 6 years) and Best Writer for an Animated Series.

Boulder Media and Windmill Lane’s Danger Mouse was another outstanding success, bringing home three awards for Best Director, Best Music and Best Sound Design. Nora Twomey, the Oscar nominated director of Cartoon Saloon’s The Breadwinner also came home with the prestigious Murakami Award.

The awards this year was the biggest yet for animation Ireland, with four new awards categories and a huge increase in the number of entrants. There are 16 categories in total, up from 12 in 2017 and one of our new awards is the Kids’ Choice Award, with the winner being chosen by primary school children across the country. Another new category is Best Newcomer, which according to , Animation Ireland Chairperson Moe Honan ‘’shows the continuing increase in the amount of new studios being set up. The new award categories and the sheer volume of entries reflect the substantial growth in the sector over the past two years.’’

Winners of each category received a statuette designed by animator, film maker and teacher Eimhin McNamara. The statuette resembles a Phenakistoscope which was an early animation device used to create an illusion of motion.

 

Full List of Winners:

Best Animated Preschool Series (up to 6 years)

Vampirina: Going Batty – Brown Bag Films

Best Animated Short Film

The Wiremen: Jessica Patterson/ JAM Media

Best International Short Film

All the Things- Chris Guyot & Paul McMahon (USA/IRL)

Best Writer for Preschool Animation (up to 6 years)

Becca’s Bunch: Acorn King- Shane Langan & Amy Stephenson

Best Writer for an Animated Series

Vampirina: Home Scream Home -Chris Nee/ Brown Bag Films

Best VFX as part of Animated TV Series or Film

Space Chickens in Space – Paul Rutledge/ Gingerbread Animation

Best Animation for Apps, Gaming and Interactive

Aurora- Pink Kong Studios

Best Design and Art Direction

The Bird and the Whale- Carol Freeman/ Paper Panther Productions

Best Director of an Animated TV Series

Danger Mouse- Aidan McAteer/ Boulder Media

Best Animation

The Bird and the Whale- Eimhin McNamara & Carol Freeman/ Paper Panther

Best Music

Danger Mouse: Melted- Sanj Sen and Dominic Lawrence /Boulder Media

Best Sound Design

Danger Mouse- Dominic Lawrence and Sol O’Carroll/ Windmill Lane

Best Irish Feature Film or Special

The Breadwinner- Nora Twomey/ Cartoon Saloon

Best Newcomer

Paper Panther Productions

Kid’s Choice Award For Best  Pre-School Animated Series (up to 6 years)

The Doc Mc Stuffins Christmas Special-Brown Bag Films

 Kid’s Choice Award For Best  Animated Series (6-12 years)

Space Chickens in Space- Gingerbread Animation

Murakami Award

Nora Twomey

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Review of Irish Film @ DIFF 2019: Dirty God

June Butler was at the Dublin International Film Festival for a screening of Sacha Polak’s Irish co-production Dirty God.

 

In her first feature length role, newcomer Vicky Knight elicits a mesmerising performance as Jade in Dirty God, a moving film about inner beauty and societal burdens placed on those who are deemed to fall outside accepted images of physical attractiveness. The initial introduction to Jade is pitiless and unflinching. Jade has been the victim of an acid attack with her controlling ex-boyfriend Eli (Karl Jackson), and father of her daughter, to blame for the assault. Opening scenes are tense with close-up images showing the cauterized landscape of Jade’s face and neck contorted in whorls of brutalised body tissue. A heart-beat tempo accompanies Jade through underground raves with strobe lighting casting shadows on her facial scars as she makes her way through crowds of gyrating dancers. A previous romantic interest is dating Jade’s friend but the attraction between Jade and Naz (Bluey Robinson) is undeniable. Naz is able to see beyond the adage and realises that beauty may be considered skin deep but what lies further beneath is beyond compare.  

Various scenes show Eli prowling through nightclubs within sight of Jade – almost appearing to know her every move. When the case goes to court, Jade appears alone and vulnerable locked into a staring match with the ubiquitous steely-eyed Eli. Jade briefly finds freedom when she dons a burqa and dances her way along the balconies of the housing complex she lives in. Invisibility is the currency Jade craves in her search for acceptance.

Jade attempts to kindle online relationships but soon learns that she is vilified for her disfigurement and slowly starts to withdraw. Her shoplifting mother, Lisa (Katherine Kelly), is unable to fully grasp the mental anguish Jade is experiencing as she is rejected at every turn. Ultimately, Jade’s journey begins when she embraces the love of her young daughter and realises that she alone holds the key to becoming a survivor and living life on her own terms.

Sacha Polack, as director and producer of this truly beautiful film has wrought a stunning piece of cinematic mastery. By exploring the tragedy of those who have suffered a similar fate and who find themselves locked in a world where every witness recoils in horror or stares transfixed, Polack has raised the spectre of an apocalyptic post-acid life. What happens after the burns heal as best they can? How do relentless visual presentations of human perfection hold up against a body that seems to be broken beyond repair? The deliberate dehumanisation of another living being is troubling and disconcerting as Jade encounters casual brutality carelessly doled out by co-workers. Moreover, Polack touches upon a system of barbaric annihilation – one that is endured whilst passively existing as an object of love. When rejection occurs, a visceral all-consuming rage follows suit provoking ultimate obliteration.  

Postscript by the reviewer:

I went to see this film in Dublin’s Lighthouse Cinema and encountered Sacha Polack and Vicky Knight at the viewing. Knight briefly related how she, at the age of eight, was the victim of an arson attack and was badly burned as a result. Knight outlined her initial reluctance in becoming involved with the project but was persuaded by the extremely convincing Sacha Polack. For both Polack and Knight, this was a perfect encounter and the relationship has engendered a film that exudes authenticity. This reviewer is very much looking forward to the prospect of future offerings from both.   

 

Dirty God screened on 3rd March 2019 as part of the Dublin International Film Festival (20th February – 3rd March).

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Review: Us

DIR/WRI: Jordan Peele• PRO: Jason Blum, Ian Cooper, Sean McKittrick, Jordan Peele • DOP: Mike Gioulakis • ED: Nicholas Monsour• DES: Ruth De Jong • MUS: Michael Abels • CAST: Lupita Nyong’o, Winston Duke, Elisabeth Moss

I’m still a bit miffed that Jordan Peele didn’t run with my super-cool idea for his film. Picture this: the movie opens with the title card for Us, except it’s obscured by some sort of spooky fog. Then, as the fog clears, the title card comes into sharper focus and – what’s that? Two dots have appeared! It’s not Us as we imagined, but instead U.S.! The United States! On the big screen! Who’d have imagined?! Aaaand, fade to black, the end. But Peele had his own ideas, just not quite as nuanced as my own, and I can respect that. And since Us turned out to be well paced, tense, and genuinely scary, I have to hand it to him: he did not need my help this time.

In Peele’s new horror, Adelaide Wilson (Lupita Nyong’o) is haunted by a trauma that has remained with her for over thirty years: as a young girl, she was briefly separated from her parents while at a beach-front carnival and only vaguely remembers what she endured while exploring an abandoned hall of mirrors. Returning to the same beach three decades later with her family in toe, Adelaide fears that whatever she has been trying to avoid all that time is about to catch up with her. It appears that her fears are not unfounded when four enigmatic figures, all dressed in red, appear outside their holiday home one night. When they break in and come face-to-face with the Wilson family, the Wilson family discover their doubles staring back.

While Us might not be quite as good as Peele’s breakout debut Get Out, it’s certainly the most immediately scary of the two (whereas the Sunken Place in Get Out had me feeling sick to my stomach, the cat-and-mouse games throughout Us had me watching through my fingers), and surely that is one reasonable metric by which to measure your horror. Starting off evocative of other terrifying home invasion narratives such as The Strangers and The Invitation, Peele’s second film, like Get Out, reveals its machinations originate in a landscape located somewhere between the realms of science fiction and fantasy. Not unlike the work of Ursula K. Le Guin, this enables Peele to explore the implications of the surface of society in comparison to what remains unseen.

Lupita Nyong’o is fantastic as both versions of Adelaide: both the socially awkward loner and over-protective mother protagonist, and the terrifying crack-voiced double who appears to be spearheading the doppelgänger attack. Winston Duke plays Adelaide’s husband, Gabe, a likeable if somewhat bumbling boat enthusiast. What with his square glasses, beard and comic relief, he comes across as something of a Peele-a-like. If I were to fault the casting in any way it would be a criminal under-use of the incredibly funny Tim Heidecker as the father of a fellow vacationing family and frenemy of Gabe (that’s right, I’m taking no prisoners here).

While Us couldn’t really be said to be a sequel to Get Out it does still tackle many of the same ideas, particularly in relation to the commodification of the (both African and non-African) American body. I am already anticipating plenty of discussion regarding the significance of the doppelgängers’ red costumes, for starters. Beyond the immediate nail-biting horror there is plenty to mull over, and indeed it feels like a movie that will reward repeat viewings. All I can say for now is that, after one viewing, Us feels like a puzzle that disconcertingly doesn’t seem to quite fit together: maybe you’re not looking at it the right way up, maybe there’s a piece missing, or maybe you’ve just realised your double is hiding under the table and is really putting you off. Whatever the reason, Us remains disturbingly oblique and is probably all the better for it.

Sarah Cullen

116 minutes
16 (see IFCO for details)
Us is released 22nd March 2019

 

 

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