DIR: Paddy Breathnach • WRI: Roddy Doyle • DOP: Cathal Watters • ED: Úna Ní Dhonghaíle • DES: Mark Kelly • PRO: Juliette Bonass, Rory Gilmartin, Emma Norton • MUS: Stephen Rennicks • CAST: Sarah Greene, Moe Dunford, Ellie O’Halloran
Paddy Breathnach’s Rosie, directed from a script by Roddy Doyle, is difficult to try and pigeonhole. It’s at once an authentic family drama, a heart-wrenchingly intimate character study and a warped sort of road film, with a tight focus on displacement, space and identity which is reminiscent of the French cinematic tradition. Crucially, though, with Irish people currently suffering in the midst of an ever-worsening housing crisis, Rosie is timely, well executed and – more than anything else – important.
The narrative follows Rosie (Sarah Greene) and her partner John Paul (Moe Dunford) as they suddenly find themselves homeless and in a desperate struggle to secure somewhere safe for themselves and their four children to stay. We’re introduced to the characters as they try to go about their daily lives while living out of their car. John Paul is under immense pressure at work and it falls to Rosie to juggle looking after the kids during the day with simultaneously trying to locate beds for the night.
Greene is magnetic in the titular role, carrying a huge amount of the film’s emotional weight on her shoulders. The intensity of Rosie’s living situation, crammed into close quarters with her family, means that she’s barely able to find a private moment for herself. She’s constantly wearing a brave face, trying to remain steadfast and optimistic in front of the children, while a wave of quiet desperation rides right beneath the surface. Greene’s performance is subtle but greatly affecting – a slow sigh or gentle curl of a lip can speak volumes about Rosie’s condition and her character. She shares a crackling chemistry with the steadfast John Paul, who Dunford deftly imbues with a tenderness and fragility which belie his unflinching exterior.
The film challenges the stereotypical images surrounding homelessness and explores the extent to which the havoc wreaked by this housing crisis is crossing social class borders. Open houses are thronged with prospective buyers while spare hotel vacancies are quickly filled with displaced families seeking shelter. It is painfully evident that these hotels, generous as they are, can’t be homes, with children shushed and confined to their rooms for fear of disturbing regular guests. It is quietly moving to see the family’s belongings – regular household items from teddy bears to fairy liquid bottles – crammed into black refuse sacks in the back of their car. Doyle’s screenplay squares up to the stigma that comes hand in hand with the label ‘rough sleeper’. “We’re not rough anything” insists the eponym at the mere mention of the term.
Rosie and John Paul are both desperate to hide the harsh realities of their situation from the people around them, terrified of what they’ll think, and their need to remain unseen comes into conflict with their desire to do what’s best for their family.
Doyle began to write the film after hearing an interview with a woman in a similar situation. He recalls being particularly struck by her admission that her partner worked a 9-5 job during the day and was still forced to sleep rough at night. This dichotomy is one that he purposely keeps in focus throughout the story.
The script neatly side-steps convention and embraces a healthy amount of ambiguity, which really works in the film’s favour. The witty, minimalistic dialogue is recognisably Doyle’s and helps to inject great warmth into Rosie’s otherwise cold world. Particular praise must be reserved for his handling of the film’s minor characters, whom he smartly steers away from cliché territory.
Breathnach’s direction is confident and assured. He has a masterful handle on the story and capably guides the audience through the use of careful framing. Scenes inside the car feel suitably cramped and help to convey the growing unrest of its inhabitants. In contrast, exterior shots are often wide and empty, crafting a tangible sense of hopelessness. Rosie is the film’s focus and the camera intimately hones in on her face in a way that may have been invasive in the hands of a less accomplished filmmaker. Visually Breathnach has a firm command of imagery and symbolism, using repetition to stirring effect.
He has also coaxed strong performances from his younger cast members, most of whom are first-time actors. Darragh McKenzie shines as Rosie’s son Alfie, with one particularly turbulent scene in the final third leaving a lasting impression.
The film is steeped in realism and the world on-screen feels absolutely authentic. Shot on the streets of Dublin, its no-frills approach helps to make the drama feel like a documentary at times. We open with the sound of news broadcasters describing the severity of the housing crisis, blurring the lines between fact and fiction right off the bat. The score is minimalistic but used to great effect.
Rosie is a beautiful film which is bound to make audiences angry. Hiding just behind its lovable characters is a palatable undercurrent of rage, a pent-up anger at the very real plight that good people – men, women and children – are being put through on a daily basis in this country. This is a poignant story that feels intensely personal. Sadly, it’s also urgently political.
Dee O’Donoghue takes a look at Ciarín Scott’s documentary which follows the Irish humanitarian and children’s rights activist, Christina Noble.
A musical tale of tragic proportions, when Christina Noble was dubbed ‘The real Miss Saigon’ by The Sunday People newspaper in 1990, the world’s media decisively took note and the children’s rights activist finally received the media exposure she desperately sought to accentuate the plight of indigent children in Vietnam. Ciarín Scott’s affecting film, In A House That Ceased To Be, documents Noble’s astonishingly complex biography, from the slums of Dublin’s inner city to the establishment of over one hundred child rescue projects through her Christina Noble Children’s Foundation, via her own traumatic journey of physical and emotional abuse. Borne from a dream, Noble’s unwavering determination to penetrate the cycle of child poverty, victimization and sexual exploitation in far-flung countries such as Vietnam and Mongolia through healthcare, education and community development, achieved the impossible for the Irish crusader whose own horrifying childhood mirrored those she sought to rescue, locating her as one of the most important global children’s charity campaigners of recent times.
Tracing Noble on the ground in Vietnam and Mongolia, Scott’s portrait of Christina at work exposes the sheer desperation of its innumerable forgotten children, where thousands upon thousands bed down in city sewers and manholes in up to minus 40 degree conditions, many deformed with irremediable illness or many simply needing comfort and love, owing to a culture of child invisibility in the world’s developing countries. Although a haunting reflection upon humanity’s shame in its treatment of those it should be safeguarding, the most compelling aspect of Scott’s documentary lies in a narrative that becomes greater than an appraisal of Noble’s steely commitment to expunge child oppression in remote Asian countries, demonstrating that suffering is not exclusive to adventitious lands. The film equally becomes a staunch polemic on the Irish State and Catholic Church, as Noble and her siblings became some of the untold victims of institutional abuse prevalent in 1950s Ireland.
Although Noble’s activism was inspired by a dream on the Vietnam War, it becomes evident that her indelible motivation is her own fraught biography, deluged with fear since her mother’s death at the age of ten and the ensuing separation from her siblings and detached, alcoholic father into disparate orphanages around the country, each informed the other was dead. As with many Irish narratives of the era, Noble’s experience was written into the scaffolding of a culture of abuse at the hands of those in systematic power, her only means of solace to sing pop songs to herself, fuelling her spirit, compelling her to survive against those who profoundly failed her. The unavoidable probing into Noble’s own personal trauma becomes a trauma in itself as she struggles to articulate the level of abuse she experienced in a West of Ireland orphanage. Compassion and warmth sit alongside explosive anger and scathing vitriol at the supposed beacons of Irish light and hope, who repeatedly failed countless of children in their care, a stain all too familiar in Ireland’s relationship with its historic institutions, asylums and orphanages.
It is the unspoken narrative that lies beneath Noble’s unresolved rage that becomes as equally distressing as the graphic images of child torment in foreign lands. As with the ever-familiar tactic of Ireland’s ability to sweep its shameful stains under the carpet, so too does Noble’s censor her own profile, her anger speaking volumes, her vivid recollections refusing to fade with time. A passionate, gregarious and outspoken woman rendered speechless, unable to give voice to her adversities, her adulthood clearly shaped and steered by anxieties she is unable or unwilling to release, surmised by her sister as a ‘demolition of our life, a demotion of our home, a dismantling of our togetherness’.
While Noble, the child saviour, finds great catharsis in rescuing the destitute from perilous conditions and infusing their young lives with hope, it is the tacit reflection of her own scarred history, including gang-rape and enforced adoption of her baby son by the Church that becomes more vivid as it unfolds through her charitable actions towards those who endured similar fates. It is what is seen rather than what is said that is most illustrative in Scott’s film, achieving a highly emotive balance between the comfort and deep empathy Noble radiates for her Asian children and the outrage and torment she endures at her own violated self, not only compelling Asian countries to inwardly reflect on its reprehensible neglect but also confronting Ireland with its own ignominious history and the treatment of its young, necessitous citizens.
Taking the film’s title from the popular Dublin song, ‘The Rare Ould Times’, Ciarín Scott’s portrait of Christina Noble fuses a past with a present that is both contemptible and hopeful. It is not only a compelling, heart-wrenching and contradictory account of a forceful, yet fragile woman’s biography but equally of the nation she was born into and its disturbing legacy of child institutional abuse. Christina Noble may have all the love, songs and words in the world for children in need but her anger, emotional fragility and silence towards her own unresolved past becomes just as torturous as the suffering of the underprivileged children she is saving. It is an extremely important account, not only in its recognition and celebration of a lowly Dublin girl from the slums who achieved global acclaim for her charitable activism but also in its highly significant reflection upon Ireland’s unsettling history and those in power who helped shape its trajectory and maintained the cycle of child oppression.
Available for rent or purchase now and is also available to stream or download in Ireland from Volta.ie
Director: Ciarín Scott
Producers: Rex Bloomstein, Paul Duane, Ciarín Scott
A pair of professional but badly mismatched criminals break into a vacant house to carry out an insurance scam. Awkwardly thrown together with an hour to kill, they reluctantly start telling each other tall tales.
Set in the early 1950s, Brooklyn is the story of a young woman, Eilis (Saoirse Ronan) who moves from small town Ireland to Brooklyn, NY where, unlike home, she has the opportunity for work and for a future – and love, in the shape of Italian-American Tony (Emory Cohen). When a family tragedy brings her back to Ireland, she finds herself absorbed into her old community, but now with eligible Jim (Domhnall Gleeson) courting her. As she repeatedly postpones her return to America, Eilis finds herself confronting a terrible dilemma – a heart-breaking choice between two men and two countries.
Brooklyn is adapted from Colm Tóibín’s New York Times Bestseller by Nick Hornby and directed by John Crowley.
When 12-year-old Mickey Miller moves with her family from New York to Ireland, she soon discovers a mysterious link between herself and the 300-year-old legend of the mysterious Black Knight, who regularly haunts the sleepy Irish village of Longwood. With her new best friend in tow, Mickey sets out to redeem the knight while saving a precious herd of white horses and thwarting the evil plans of a greedy, ambitious woman – a mighty handful even for the bravest girl.
Conor Horgan’s documentary follows Rory O’Neill’s journey from the small Mayo town of Ballinrobe to striding the world stage. The film takes us behind the scenes with his alter ego Panti in the year she became the symbol of Ireland’s march towards marriage equality.
A struggling movie producer in search of an investor reluctantly follows the promise of money into Dublin’s drug underworld where she witnesses a botched murder attempt.
The Lobster (Yorgos Lanthimos)
The Lobsteris a love story set in the near future where single people, according to the rules of The City, are arrested and transferred to The Hotel. There they are obliged to find a matching mate in 45 days. If they fail, they are transformed into an animal of their choosing and released into The Woods. A desperate Man escapes from The Hotel to The Woods where The Loners live and falls in love, although it is against their rules.
Talking to my Father features two voices from two eras each concerned with how we as a nation understand the architecture that surrounds our lives. Modern architecture in Ireland reached a high point in the early sixties and one of its most celebrated and influential figures was Robin Walker.
Based on the bestselling novel “Ghosthunters and the Incredibly Revolting Ghost” by Cornelia Funke, Ghosthunters – On Icy Trails, which features Amy Huberman, follows a young boy Tom who discovers an ASG, an Averagely Spooky Ghost called Hugo in his cellar. He soon realizes that Hugo is not only completely harmless, but also desperately needs his help. Hugo cannot go back to his haunted house, because a dangerous AIG, an Ancient Ice Ghost, has moved in and is spreading an arctic cold over the entire town in the middle of summer. Tom and Hugo go to professional ghost-hunter Hetty Cuminseed, who doesn’t like children or ghosts very much, and who just lost her job at the CGI, the Central Ghosthunting Institute. Hetty teaches Tom and Hugo the basics of ghost-hunting and the three become an unusual team: only with friendship, courage and self-confidence can they overcome their adversary and save the town from the AIG.
Older Than Ireland features thirty men and women aged 100 years and over. Often funny and at times poignant, the film explores each centenarian’s journey, from their birth at the dawn of Irish independence to their life as a centenarian in modern day Ireland. Older Than Ireland ‘s observational style offers a rare insight into the personal lives of these remarkable individuals.
In the cut-throat London film industry a vivacious actress chasing her big break struggles to maintain her integrity in the face of the director’s advances
The GreatWall( Tadhg O’Sullivan)
This bold new documentary, an adaptation of a Kafka story, looks at the enclosure of Europe by a complex system of walls and fences. Mysterious and visually dazzling, the film journeys across a range of European landscapes, and encounters those whose lives are defined by these walls – detainees within European migrant camps. [IFI Programme Notes]
Tells the incredible story of Aidan MacCarthy, a young doctor from West Cork who survived some of the most harrowing episodes of World War II (including the atomic bombing of Nagasaki) and his family’s search to uncover the origin of the Japanese Samurai sword, which now resides in MacCarthy’s Bar in Castletownbere.
You’re Ugly Too (Mark Noonan)
Will (Aidan Gillen) is released from prison on compassionate leave to care for his niece Stacey after the death of her mother. As they both head into the sleepy Irish midlands and attempt to be a family, they suffer a series of setbacks; Stacey is refused admission to the local school because of her recently developed narcolepsy; Will repeatedly comes close to breaking his prison-ordered curfew; and his attempts at being a father figure to her prove disastrous…As their future hangs in the balance they must search for a new way forward together.
Tomm Moore’s Oscar-nominated animated feature tells the story of the last Seal Child’s journey home. After their mother’s disappearance, Ben and Saoirse are sent to live with Granny in the city. When they resolve to return to their home by the sea, their journey becomes a race against time as they are drawn into a world Ben knows only from his mother’s folktales. But this is no bedtime story; these fairy folk have been in our world far too long. It soon becomes clear to Ben that Saoirse is the key to their survival.
Rachel, a rookie cop, is about to begin her first nightshift in a neglected police station in a Scottish, backwater town. The kind of place where the tide has gone out and stranded a motley bunch of the aimless, the forgotten, the bitter-and-twisted who all think that, really, they deserve to be somewhere else. They all think they’re there by accident and that, with a little luck, life is going to get better. Wrong, on both counts. Six is about to arrive – and All Hell Will Break Loose!
The sequel to Boorman’s 1987 Academy Award®-nominated picture, Queen and Country takes place in 1952. Bill Rohan is eighteen years old, dreaming his life away at the family’s riverside home, waiting to be called up for two years’ conscription in the British Army. His idyll is shattered by the harsh realities of boot camp. He meets Percy, an amoral prankster; they are rivals and antagonists, but they gradually forge a deep friendship in the claustrophobic environment of a closed, prison-like training camp. The pressure is briefly relieved by excursions into the outside world, where they both fall in love. Finally, Bill is confronted with the shattered lives of wounded boys returning from Korea.
Fortune’s Wheel is a documentary feature film about Bill Stephens, an ordinary young man in 1950s Ireland with an extraordinary ambition: to become an international circus star. It is also a love story about Bill and his young and beautiful wife May, from East Wall. Their double act, Jungle Capers, Bill Stephens and Lovely Partner, was a series of death-defying feats with a troupe of lions and dogs designed to thrill audiences in the circus tent and on the stage. With this act they hoped to break free from the suffocating reality of Irish life, but things went terribly wrong when, in November 1951, one of their animals escaped.
The story gained national and international attention at the time, but it is only now – after 60 years of silence – that two families and a community have come together to tell the story in full.
Set in rural Ireland, The Canal stars Rupert Evans as David, a film archivist with a morbid fascination for old films in which the subjects have since died. Right after learning that his wife may be cheating on him, she mysteriously disappears at the same time that his assistant Claire finds an old reel of film that points to a murder that took place in his house a hundred years ago. David starts to suspect her disappearance may involve some form of the supernatural but he also quickly becomes the prime suspect.
A slacker comedy which chronicles a hectic 24 hours in the life of would-be comedian Coilin (Killian Scott) and frustrated musician Alex (Peter Coonan). When Alex’s girlfriend tells him she’s pregnant, he refuses to allow her to derail his long-held plan to escape to London. Meanwhile the hapless Coilin is striking out on stage and off, as he attempts to get his faltering comedy career off the ground and win the heart of his dream girl. With time ticking down to Alex’s departure, the mismatched pair will be forced to confront the reality of their childhood dreams of artistic greatness while their lifelong friendship is tested to the limit.
It’s the end of the world. A flood is coming. Luckily for Finny and his dad Dave, a couple of clumsy Nestrians, an Ark has been built and all animals are welcome… well almost all. Unfortunately for them, Nestrians are not on the list! But Dave has a plan, and Finny and he manage to sneak onto the Ark disguised as Grymps – much to the horror of real Grymps, Hazel and her daughter Leah.
However their troubles are just beginning as the two curious youngsters end up falling over board. Now Finny and Leah have to brave the elements in their quest to find higher ground while fighting off hungry predators and making unlikely friends. Meanwhile on board the Ark the parents must set aside their differences and hatch a plan to turn the boat around and make it back in time to rescue their kids.
In in a desperate bid to save his mother from addiction and unite his broken family, a young taxi driver on the fringes of the criminal underworld is forced to take a job which will see him pushed further into its underbelly. But will John be prepared to act when the time comes knowing that whatever he decides to do, his and his family’s lives will be changed forever.
I Used To Live Here follows Amy Keane, a 13-year-old trying to cope with the death of her mother and the reappearance of her father’s ex-girlfriend, who experiences the temptation of suicide after witnessing the outpouring of love for a local suicide victim. The film takes a fictional look at how the idea of suicide can spread in communities, particularly among young people.
A documentary that focuses on Irish humanitarian and children’s rights activist Christina Noble, whose unwavering commitment and selfless efforts have seen her change the lives of countless children and families for the better since 1989. Her drive stems from a childhood in Ireland fraught with poverty, loss and institutional abuse. However, despite achieving so much in the face of adversity and the success of her global children’s foundation, Christina remains scarred by the memory of the three children she was unable to save, namely her own brother and two sisters, from whom she was separated at a very young age. Hundreds of thousands have benefitted as a result of her courage, daring and steadfast dedication to protecting the vulnerable from the evils of the world, but is it possible for Christina to put her own family back together after being separated for fifty-three years?
Patrick’s Day (Terry McMahon)
A young man with mental health issues becomes intimate with a suicidal air hostess, but his obsessive mother enlists a dysfunctional cop to separate them.
Apples of the Golan (Keith Walsh & Jill Beardsworth)
The epic story of one village in the Israeli occupied Golan Heights. Before the Six Day War, Majdal Shams was one of 139 villages in the Golan Heights region. Only five remain. Over 130,000 Syrian Arabs were forced from their homes never to return. Amongst those who remain a stoic pragmatism prevails, Israel their home, Syria their homeland. Neither is paradise. They are too few to fight. The apples are the people’s bombs.
Twenty-something Alan (Gleeson) is down on his luck. Stood up at the altar and recently fired from his banking job, he finds himself working with his mother as a part-time tourist advisor at Dublin Airport. It’s there he comes face to face with first love Alice (Paré), stuck on standby for a flight home to New York. Their summer romance ended eight years previously with Alan promising to return to the US one day. He never did, and they haven’t spoken since.
Seizing his chance, Alan convinces a reluctant Alice to stay one more night in Dublin. Over the course of an unforgettable evening, they may just realise that they are more compatible than ever. But time is running out on this brief encounter. When does an unexpected second chance, become the one you’ve always been looking for?
Directed by brothers Rob and Ronan Burke, in their feature debut, and written by Pierce Ryan, Standby is about what happens when your 20s don’t go how you planned. It’s about falling in love, with a girl and a city again.
Unbreakable: The Mark Pollack Story – 3rd October 2014
Unbreakable tells the inspirational story of Mark Pollock’s amazing strength and positivity in the face of incredible obstacles throughout his life. Ten years after losing his sight at 22, Mark Pollock became the first blind person to race to the South Pole. The psychological impact of that success put blindness behind him and he moved on with his life and became engaged to his girlfriend Simone. But three weeks before the wedding, an accident left Mark paralysed from the waist down and threw his life into turmoil once again.
Gold – 10th October 2014
A wandering loner, Ray, tries to track down his estranged ex-partner (Condon) and teenage daughter (played by Maisie Williams) so that his dying father can see his grand-daughter one last time.
Showrunners – 17th October 2014
The first ever feature length documentary film to explore the fascinating world of US television showrunners and the creative forces aligned around them. These people are responsible for creating, writing and overseeing every element of production on one of the United State’s biggest exports – television drama and comedy series. The film intends to show audiences the huge amount of work that goes into making sure their favorite TV series airs on time as well as the many challenges that showrunners have to overcome to make sure a new series makes it onto the schedules at all.
The Guarantee – 31st October 2014
A drama surrounding the most significant political decision in modern Irish history when the Irish government decided to guarantee the entire domestic banking system. It’s the first time the story has been told on the big screen and charts the origins of that pivotal decision (four years before that fateful night), and follows developments through the peak of the boom to the beginning of the bust.
One Million Dubliners – 31st Oct 2014
Glasnevin Cemetery is the final resting place of 1.5 million souls; it is Ireland’s national necropolis. One Million Dubliners reveals the often unspoken stories of ritual, loss, redemption, emotion, history – and the business of death.
But this is really a film about life: the Saint Valentine’s Day rush in the florists; the American visitors eagerly searching for Irish ancestors; lost and longed for love; discovery and bereavement; earthy gravediggers and musicians in celebration. Above all, it’s the story of an immensely engaging Tour Guide shepherding his charges – and us – through the headstones and monuments, through opinions and beliefs. Filled with the familiar and the fascinating, this is a documentary that offers a glimpse into the unknown, into a world we will all come to share.
A Nightingale Falling – 9th September 2014
A feature film set in war – torn Ireland in the early 1920s which was filmed in Daingean and surrounding areas in July 2013. Set against a backdrop of a turbulent, war-torn Ireland in the early 1920s, this is a story of three people and the unfolding events from a crucial time in their extradionary and tragic lives.
An Bronntanas/The Gift– 12th September 2014
A contemporary thriller set against the background of a local independent lifeboat crew working off the coast of Conamara, in the West of Ireland.
The rescue crew receives a distress call on a stormy night to discover a fishing boat, its only passenger a dead woman and its cargo is over a million Euros worth of drugs. The crew is challenged with a moral dilemma — bring the woman on shore and hand the drugs to the authorities or, leave the body, sell the drugs and save their struggling village. It’s a decision that will change their lives forever.
Noble – 19th September 2014
The extraordinary true story of a feisty and adventurous woman called Christina Noble who overcomes the harsh difficulties of her childhood in Ireland to discover her destiny on the streets of Saigon.