Ludo Is Fantastic, a portrait of the Belgian artist Ludo Mich, screens in Dublin at A4 Sounds on Wednesday the 12th of December. The screening will be introduced by director Willie Stewart.
Since the early 1960s, wildman Ludo Mich has been actively operating on the fringes and the fringes of the fringes of the Antwerp underground art scene. Ludo exists inside the ‘M Dimension’ the world of his own creation in which he has produced a significant body of work across visual art, holographic sculpture, fluxus film, performance, Avant Garde science and philosophy. The core of his work is always the same: a need to stay pure to his own beliefs, regardless of the consequence. His family and friends know Ludo to be full of love and generosity. Devoted fans know him as a performer who continues to surprise and astonish. But despite 50 plus years of production, Ludo remains practically unknown outside of Belgium. ‘It is his curse to be an outlaw, always,’ remarks his housemate Frank. Ludo has been banned from numerous bars and cafes in his home town due to arousals of raucous happenings and incidents of nudity. In 2014, the Royal Academy of Fine Arts threatened to sue Ludo over a claim that a performance of his instigated the audience to mishandle works from the Academy’s collection. The police have been called to his home/studio on numerous occasions by neighbours complaining that Ludo’s loud barbarous joyful laughter had been going on for just too long. Now in his 70’s, Ludo’s work continues to gain integrity as he ignores conformity, financial gain and stays one step ahead of conventional and conservative art. Through a mix of archival footage, interviews with family and friends and fly on the wall footage, Ludo Is Fantastic immerses us in the world of the ‘Mich Dimension.’
30th Oct DE STUDIO Antwerp, BE
31st Oct OFF OFF CINEMA Ghent, BE
15th Nov THE ROOT CELLAR Greenfield, MA, USA, In collaboration with the Northampton Film Festival
25th Nov DE PLAYER Rotterdam, NL
26th Nov OT301 Amsterdam, NL
11th Dec CARRICK CINEPLEX Carrick on Shannon, IE
12th Dec A4 SOUNDS Dublin, IE
13th Dec THE GUESTHOUSE PROJECT Cork, IE
24th Jan COAXIAL Los Angeles, CA, USA
26th Jan HANOVER COMMUNITY CENTRE Brighton, UK
27th Jan CENTRALA Birmingham, UK
29th Jan KINGS ARMS Manchester, UK
30th Jan THE MAGIC CITY Todmorden, UK
31st Jan REGATHER CO-OPERATIVE Sheffield, UK
1st Feb STAR AND SHADOW Newcastle, UK
CÚRAM, the Science Foundation Ireland Centre for Research in Medical Devices based at NUI Galway and Galway Film Centre’s 2018 ‘Science on Screen’ documentary, A Tiny Spark will have its world premiere at Pálás Cinema in Galway on Saturday, 1 December at 1pm.
Directed by Niamh Heery and produced by Caroline Kealy of Swansong Films, A Tiny Spark examines the effect of cerebrovascular illness and stroke on people’s lives and specifically looks at research into the blood clots that cause stroke. With a mixture of dramatic first person accounts and beautiful animation sequences highlighting the functions of the various parts of the brain, A Tiny Spark is a film about science’s ability to affect real change for human life.
A Tiny Spark focuses on stroke and cerebrovascular research being led by Neuroscientist, Dr Karen Doyle from CÚRAM and Galway Neuroscience Centre in NUI Galway, which involves analysis of removed blood clots to see what information they may yield. This is the first study of its kind in the world and is an international collaborative study between NUI Galway, hospital partners in Beaumont Hospital and throughout Europe, and the Mayo Clinic in the US. The research is carried out in partnership with Cerenovus.
This documentary highlights the groundbreaking research being carried out by Dr Doyle and her research team at NUI Galway. For the first time ever they are analysing thousands of stroke-causing blood clots collected from patients around the world. These little bundles of cells could carry a wealth of information, which could point to big improvements to people’s lives by improving stroke prevention and treatment. In the film we meet three incredibly brave stroke survivors who show us that it is sometimes the little things that people miss in life after a stroke, or the small victories during recovery that mean so much.
Contributors to the documentary feature individuals who have had a stroke: Rebecca Slattery from Limerick who had a stroke shortly after she turned 30 and became a new Mum; Trevor Neville from Limerick, a father of two who had a stroke aged 31; and Helen Liddy from Clare who suffered a stroke aged 63 in 2016. Dr John Thornton, Consultant Neuroradiologist, Beaumont Hospital, and Helena Heffernan, Stroke Group Coordinator, Irish Heart Foundation also feature in the documentary.
Professor Abhay Pandit, Scientific Director of CÚRAM at NUI Galway, said: “This year’s film will focus on stroke and clot research which is yet another area of research which will have a significant impact on audiences all over the country. These stories, narrated through our Science on Screen documentaries, show the real challenges that people face when living with chronic illness but also how we are trying to address them here at CÚRAM, to improve quality of life for all.”
Galway Film Centre Manager, Alan Duggan, said: “The Science on Screen commission scheme shows the real human side of the application of science. We are delighted to continue working with CÚRAM on this scheme and we will be supporting Niamh, Caroline and the filmmaking team in bringing ‘A Tiny Spark’ to the screen this year.”
The 2018 ReelLife Science primary school winning videos will be screened before the world premiere of A Tiny Spark, followed by a Q&A with Dr Karen Doyle and her research team, and with documentary producer, Caroline Kealy and director, Niamh Heery.
The Science on Screen scheme has been running since 2016 and has awarded €35,000 each to three previous documentaries on topics such as Parkinson’s disease (Feats of Modest Valour), tendon injury (Mending Legends) and diabetes (Bittersweet: The Rise of Diabetes). The films have reached audiences of over half a million people and have received success at festivals internationally. Full details on all previous Science on Screen films can be found here: www.galwayfilmcentre.ie/category/science-on-screen andhttp://curamdevices.ie/curam/public-engagement/science-on-screen/.
Join Instituto Cervantes Dublin on 15th November for a screening of the comedy Cousinhood at 5.30pm.In order to introduce the public to Cantabria region, the venue will treat the audience to some wine and tapas. The entertainment during the reception will be provided by the Cantabrian bagpipe folkloric band Traslarroza. Eva Bartolomé Arciniega, Director at the Regional Society for the Touristic Promotion of Cantabria will present this activity and movie screening.
Written and directed by Daniel Sánchez Arévalo, Cousinhood tells the story of Diego, a man abandoned by his girlfriend a day before their wedding who decides to go with his two cousins to the village where they used to go on vacation when they were kids to rekindle Diego’s first love: Martina. Book your place and enjoy food and Spanish humour.
Date: from 15/11/2018 at 17:30 to at 19:45
Details: The film was shot in Comillas (Cantabria) and will be screened in Spanish with English subtitles. Event sponsored by Cantabria Tourism Board & the Spanish Tourism Office in Ireland. Booking required firstname.lastname@example.org or 01 631 1533
Venue: Instituto Cervantes (Dublin) – Auditórium. Lincoln House, Lincoln Place
Are you going to the Cork Film Festival later this month? Here are a few important dates for your calendar.
On top of a fantastic line-up, the Cork Film Festival’s designated ‘Industry Days’ really knocks it out of the park when it comes to getting the top names from the Irish film scene. Their First Take and Doc Day will be extended to include a new event, Focus: Filmmaker Forum. These Industry Days provide invaluable opportunities for established and emerging filmmakers to connect, and to explore all aspects of the film industry.
First Take – Thursday 15th November
First Take is a training and development event aimed specifically at newly established film professionals, emerging filmmakers, and film and media students. Case studies and panel discussions will promote fresh thinking amongst attendees and to inspire them to be proactive in promoting their own film work.
Doc Day, In Partnership with Screen Ireland – Friday 16th November
Cork Film Festival’s annual documentary-focused Industry Day, Doc Day is a major event that engages and connects Irish and international documentary filmmakers and industry leaders, it provides a vital platform to promote Irish documentary film and filmmaking talent.
This new event compliments the Screen Ireland-supported Focus Shorts World Premiere programme at The Everyman. It will provide attending filmmakers with the opportunity to take part in informal networking and a series of roundtable sessions, which will help guide participants through the process of developing their first feature; from development and financing, through production, festival strategy and distribution.
Participants will sign up to partake in five 20 minute sessions, where key Irish and international film sector professionals will take their questions and advise on the vital components of making the transition from short to feature filmmaking, and explore strategies to efficiently produce and exploit their film.
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.
(The Ballad of Oppenheimer Park) (La balada del Oppenheimer Park)
Where: Pearse Street Library. 138-144 Pearse Street. 2 Dublin
When: 11th August.
Times: From 2pm to at 3:15pm.
Price: Free admission and no booking is required. Screening in Spanish with English subtitles.
Director Juan Manuel Sepúlveda captures the detached existence of the Native Americans living within the Oppenheimer Park at the Downtown Eastside in Vancouver. Harley Prosper, Janet Brown and Bear Raweater, exiled from Canadian reserves, talk and share their lives transforming their drinking ritual in a daily defiance to the status quo.
Where: Pearse Street Library. 138-144 Pearse Street. 2 Dublin
When: 15th August.
Times: From 5:30pm to at 7:15pm.
Price: Free admission and no booking is required. Screening in Spanish with English subtitles
At the beginning of the 80s, two teenage girls are murdered in a small Andalusian town. Two policemen, ideologically opposed, are sent from Madrid to investigate the disappearance. In a community anchored in the past, they will have to face not only a cruel murderer, but also their own ghosts.
Winner of numerous awards, including the Goya for Best Film, this suffocating police thriller with sociopolitical subplot, has been considered by critics as one of the best Spanish films of recent years.
The Second International Film Conference: “Hitchcock’s Vertigo: 60th Anniversary 1958-2018” is to be held on 20-21 September 2018 in Trinity College Dublin. Six years ago Hitchcock’s Vertigo ousted Orson Welles’s Citizen Kane from the top ranking position of the British Film Institute’s industry respected Sight & Sound poll conducted every 10 years. Previously Citizen Kane monopolised the top billing every decade since 1962 but, after 50 years, Citizen Kane was finally de-throned by Vertigo when it was proclaimed as the “Greatest Film Ever Made“.
This coming September in Dublin, we are delighted to celebrate Hitchcock’s masterpiece Vertigo on its 60th anniversary as the “Greatest Film Ever Made” in this Second International Film Conference in Ireland. This exclusive 2-day film conference in Trinity College Dublin will feature the presentations of many international scholars on Hitchcock participating in the conference from across the globe: USA, Canada, UK, Hong Kong, Belgium and Switzerland. In particular we are delighted to welcome the British film historian Charles Barr and the renowned British feminist film theorist Laura Mulvey as key note speakers at the conference in September. Laura Mulvey’s seminal essay “Visual Pleasure and Narrative Cinema” was one of the first film theory publications to apply a political and psychoanalytic interpretation to the cinematic apparatus of classical Hollywood cinema. Mulvey coined the notion of the “male gaze” to the power asymmetry in representation and assigned gender roles that emphasised the patriarchal ideological agenda of the American film industry at the time. The conference includes a special screening of the 1958 classic film Vertigo starring James Stewart and Kim Novak in the Lighthouse Cinema in Dublin.
Presentations at Conference Vertigo: 60th Anniversary
Prof. Charles Barr (UK): ” Vertigo: French Connections ” Prof. Laura Mulvey (UK):” The Metaphor of the Beautiful Automaton Reanimated: Artifice and Illusion in Vertigo “
Prof. Sidney Gottlieb (USA): ” The Variety of Gazes in Vertigo, Part Deux “
Prof. Richard William Allen (Hong Kong): ” Love and Death: Vertigo, Dil Se, and the Circle of Influence “ Prof. Janet Bergstrom (USA): ” Forced Perspective in Vertigo: Art, Technology and Hitchcock’s German Silent Film Heritage ”
Prof. Barbara Straumann (Switzerland): “Fatal Resemblances: Cross-mapping Hitchcock’s Vertigo with Nabokov’s Lolita “
Prof. Kriss Ravetto-Biagioli (USA): ” Vertiginous Hauntings “
Prof. Robert Belton(Canada): ” Triviality and Meaning in Vertigo: How the Incidental Amplifies Interpretive Excess “
Dr. Christine Sprengler (Canada): ” “The Broom that Sweeps the Cobwebs Away “: Vertigo’s Soundtrack as Sound Art “
Prof. Ned Schantz(Canada): ” The Hospitality of Scottie Ferguson in Vertigo “
Prof. Steven Jacobs(Belgium): ” The Tourist Guide Who Knew Too Much: Vertigo and the Monuments of San Francisco ” Prof. Mark Osteen(USA): ” Versions of Vertigo: They Wake Up Screaming ” Dr. Kevin Donnelly(UK): ” The Ascent of Vertigo “ Prof. Dona Kercher (USA): “Dressing to Be Different: Almodóvar and Martel Refashion Vertigo“
Prof. Mark Padilla (USA): ” Mapping the Mythical Terrain of Vertigo ” Dr. Richard Blennerhassett (Ireland): “The Dark Side of Romance: ‘Shadow’ in Vertigo” Dr. Stephane Duckett (UK): “Post-War Gender Politics in Vertigo”
Filmbase and Screen Training Ireland have launched a unique course aimed at introducing the current state of the US TV market and what writers need to know about the industry in order to develop, pitch, write and produce pilot episodes and drama series for Network television shows and Streaming Platforms.
All writers will have their projects analysed with feedback and practical development advice for presenting their series to US broadcasters. This unique opportunity for Irish writers to work with one of the most experienced US writer/producers currently working will provide them with new techniques that they can use for future projects/writing positions within the US TV market.
Charles Murray is a highly experienced US-based Writer and Producer with credits stretching across major Network TV drama series including Marvel’s Luke Cage, Sons Of Anarchy, Criminal Minds, Castle, Star Wars: The Clone Wars & Star Wars Rebels amongst other productions.
In this course he will take writers through:
– An exploration of what makes a successful pilot script
– The importance of clearly identifiable theme and story narrative
– Creating sympathetic/empathetic characters
– Do’s and Don’ts of writing a Pilot
– Writing deadlines
– General advice for writers aiming to break into the US marketplace
Writers will be expected to attend with projects they are currently developing. (Please note writers who have producers currently attached to their projects will be encouraged to bring their Producers to attend their feedback session).
The workshop will conclude with an open session for writers and producers which will cover:
– advice on pitching a Pilot
– what to say and do “in the room”
– Opportunities presented by new Streaming platforms
– Acquiring representation and what to look for in a manager or agent
Course Support: Des Doyle
The workshop takes place across three days from 21st – 23rd March at Filmbase, Curved Street, Temple Bar, Dublin 2. The open session for writers and producers takes place on the afternoon of the 23rd March from 2 – 4.30pm.
Charles Murray has spent the last 15+ years as a television writer. During that span he has worked with TV heavyweights like David Milch (Deadwood, NYPD Blue), Steven Bochco (Hill Street Blues), and Kurt Sutter (Sons of Anarchy). Working on shows like Castle, Criminal Minds, Sons of Anarchy, and Luke Cage he’s cultivated a rich, methodical storytelling sensibility.
In addition to his television work, he expanded his story telling output by moving into feature film writing/directing. He’s written features for 20th Century Fox, LionsGate, and Screen Gems. THINGS NEVER SAID was his first feature film as a Director. He’s now writing his fourth independent feature to direct.
Des Doyle is a D.I.T. graduate who spent 15 years working in the Camera Dept in the Irish Film Industry before moving to directing. He is the writer/director of the critically acclaimed documentary Showrunners: The Art of Running a TV Show, featuring Matthew Carnahan (House of Lies, Valley Of The Boom), JJ Abrams (Alias, Lost, Fringe), Hart Hanson (Bones), Robert and Michelle King (The Good Wife), Ronald D. Moore (Outlander, Battlestar Galactica), Bill Prady (The Big Bang Theory) and Joss Whedon (Buffy The Vampire Slayer, Firefly) among others. The documentary also led to the accompanying book Showrunners, written by Tara Bennett and published by Titan. He is currently working on a new media based feature documentary as well as providing consultancy services to Irish Producers & Writers with projects targeting the US market.