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Louise Gallagher, producer of ‘A Bump Along the Way’

 

A Bump Along the Way tells the story of fun-loving, 44-year-old single mum Pamela who becomes pregnant following a one night-stand, much to the shame of her buttoned-up teenage daughter Allegra. As Pamela deals with the prospect of becoming a mum for the second time and Allegra has problems fitting in with her peers, the challenges they face  provide mother and daughter with a better understanding of themselves and each other.

Filmed entirely in Derry and led by an all-female creative team, A Bump Along the Way stars Bronagh Gallagher and Lola Petticrew and is directed by Shelly Love, written by Tess McGowan and produced by Louise Gallagher. 

Gemma Creagh chats with Louise Gallagher about how the production came together.

How did the project come about?

For this project, myself, Shelly Love [director] and Tess McGowan [writer] were put together through Northern Ireland Screen’s New Talent Focus programme at the end of March 2018. It was fairly intense. We’d never met before. We had to get to know each other in a very short time, make this film and deliver it by March 2019. So we’ve done it all within a year. 

 

That’s a fast turnaround considering how long projects normally take to develop. 

Tess was writing this while she was pregnant with her second baby and she had sent it into Northern Ireland’s New talent Focus Call on spec. It got selected for the New Writers’ Focus. I was asked to come and interview for the job last March or early April last year and once I was on board I had to find a director. Then we hit the ground running. So the actual development that we did would have started from around May last year and then we went into production with the first day of principal photography on the 14th of October. Basically in less than a year we managed to get the film shot and out to festivals and picked up for distribution… completely and utterly mental!

 

Would you be a creative producer? Would you have worked on the script?

Yes, I worked across everything. I had to find the script editor and the director.  Between myself, Shelley and Tess and our script editor, Liam Foley – we worked together remotely most of the time because Tess lives in Berlin, Liam lives in London, I live in Belfast and Shelly lives in Bangor. She had a very small baby at the time so wasn’t in the position to come up and down to Belfast all the time to meet me. A lot of the development happened via Skype and WhatsApp and the like – an international and remote way of making a film. This had its advantages and disadvantages at the same time. Nothing beats being in a room thrashing through ideas and seeing the whites of someone’s eyes. So it was difficult in those terms. But we had a deadline to meet and I think the blinkers were on for everyone. We just had to focus and crack on with it. While we were developing the script, at the same time I was up in Derry scouting locations, trying to get those locked down. At the same time, as the producer, I was trying to deal with the budget, and do the casting and all of that. Last year from about May through to October, it’s all a blur, I can hardly remember any of it. It’s just been insane! 

 

With the casting, was it a case of holding auditions or did you have a list of people you wanted to get?.

A combination of both. Shelly is not originally from the North, even though her father and mother are. She was very much relying on me to guide her in who were the main players and the good people to speak to and audition here. I had, of course, spotted Lola Petticrew on the BBC TV series Come Home. I knew straight away she’s a really good actor and, like I always do, the minute I see someone I like, I Google them. You can see who they are and who they’re with. Coincidentally, Lola’s with Hamilton Hodell, an agency in London. That’s the same agency as my sister, Bronagh. Of course, it’s the director’s ultimate decision – I can always advise, but obviously they have the final say in casting.  

I had directed her towards Lola and I had ideas in my head who we wanted to play some of the other roles like Finn, the good-looking boy, the heartthrob that Lola’s character, Allegra, falls in love with. His name is Dylan Reid and he’d been in the stage version of Good Vibrations.  I spotted him at a promotional afternoon in a Belfast hotel and the cast were playing a few songs from the play and he was there. He came up to say hello afterwards and it turned out he was from Derry and I thought: ‘Here we go!’ I think I’ve found my Finn. Then there’s the baby’s daddy, Barry the plumber. He is also an actor from Derry who I’d had my eye on for a while after watching him in a few shorts. I thought he was a really good actor and had a lot of potential. I put him forward to Shelly. So I had about 3 or 4 people in mind for the main roles. 

It was after this that Bronagh came on board as the lead. We were getting ready for a screening in London, and we were trying to put together a cast and going through who was available or not – and Bronagh was mentioned at one point.  Shelly said, ’Why can’t we have Bronagh as the lead? She’s a mid-40s woman from Derry.’

I was very conscious of being accused of casting my sister in the lead role because it’s my first movie and, to be fair, so was Bronagh. It was the first time she was going to do a lead role and carry a movie. Her agents look at scripts on a case-by-case basis. Just because I’m producing it, doesn’t mean it was definitely going to happen – although they always wanted to help and they really liked the project. But, of course, it all had to be right for everyone and dates had to align. 

Thankfully Bronagh really liked it and once herself and Lola were on board, we knew we had our two main characters. We had casting calls for the other characters. That all went really smoothly over the course of a weekend. The minute that Mary Moulds, who plays Bronagh’s best friend, Sinead, walked into the room,  I just knew it was her. For me, the audition was already done. She just brought such energy and the three of them gelled. It was perfect. The three of them brought that great fun the whole time to what was a very intense situation. We had 18 days to shoot this It was a lot of work to do but Bronagh and Lola were incredible. 

 

Did you do screen tests?

We didn’t have time for anything like that at all. Bronagh and Shelly did three days of rehearsals for the main scenes, the main emotional beats within the movie. We went into the Oh Yeah Centre in Belfast and practically locked them in there for the three days. They just went through their main scenes line-by-line, scene by scene getting into the characters, digging deep and bonding as mother and daughter characters. The rest we worked through on the day because we just didn’t have the time. A lot of the dialogue was obviously written by Tess but some was a wee bit improvised every now and again. We did different takes and let it go under the guidance of Shelly – just to make it real. Most people who’ve watched the movie so far have commented on the authenticity. That’s what we’ve been able to achieve… probably without even realising it.

 

I think that having good strong female leads behind and in front of the camera, can  different atmosphere on set. Everybody really understands the subject and it’s a safe space.

That’s what I tried to create the whole time. It was a 50/50 balance in terms of crew.

 

It’s great to see Derry on the big screen!

I’m incredibly proud that I shot in town. Derry is 75 miles west of Belfast and over 100 miles north of Dublin. It’s doesn’t have  a substantial film/television infrastructure. But for me the heart of this story lay in the city. I just thought: ‘I’m going to make it in Derry. It’s my one opportunity. I may never get another chance.’ And I just did it. Maybe there were a couple of eyebrows raised but I knew I could. I had the contacts there and I knew once I had my production manager Chrissie Gallagher – who’s no relation, but definitely shares my DNA – plus Mark McCauley, our DoP, on board, that it was going to work out. I just knew in my gut it was going to be okay because they know me and between us, we just cracked the whip and got what we needed. We got Shelly up to Derry as soon as possible. We wanted her to get a feel for the city.  It actually went very quickly from there.  We contacted everyone we knew who could help us out in whatever way possible, from facilities to trucks to locations, which were tricky but we got them. The goodwill was just overwhelming.

 

If you love bawdy humour, heart warming plots and strong females leads then don’t miss A Bump Along the Way – in cinemas now.

A Bump Along the Way is in cinemas nationwide from 11th October 2019.

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 Ireland, Canada and the Jewel of “Hollywood North” 

 

    

James Bartlett explains why Canada is one of the most popular locations for Hollywood and the important role The X-Files played.

It’s not Chicago, New Orleans or Boston that gets the bronze medal behind Los Angeles and New York. No, the third largest film centre in North America is Vancouver, an area that’s so popular with the studios that it’s often called “Hollywood North.” 

Like Ireland, Canada has benefited greatly from offering generous tax breaks, and the often-low Canadian dollar (and Euro) exchange rates can make shooting there a simple matter of economics.

Vancouver

More than that though, both have seen an upswing in new jobs, crew skills, production and studio facilities, and of course all that money that’s being spent there instead of somewhere else.

The so-called “Game of Thrones” effect has famously been almost life-changing for Belfast and Northern Ireland, and the global reach of Irish filmmaking took a symbiotic step last year when the inaugural Vancouver Irish Film Festival was held in late November. 

Its symbolic parent, the Vancouver International Film Festival (VIFF)  celebrated its 37th anniversary and this year the Irish films screening included Extra Ordinary.

Perhaps surprisingly, it was nearly 110 years ago when the Edison Manufacturing Company first took their cumbersome cameras to British Columbia and filmed The Cowpuncher’s Glove and The Ship’s Husband. Since then, Vancouver and its surrounding areas have stood in for almost everywhere in the world.

Like Dublin and Belfast, celebrities also find Vancouver more relaxed and low-stress, and there’s a long list of Canadian natives who have hit the big time (Ryan Reynolds, Seth Rogen, Jim Carrey, Ryan Gosling, Mike Myers, Rachel McAdams, Michael J. Fox, Keanu Reeves, Sandra Oh, Ellen Page, Christopher Plummer and many more).  

                   Gillian Anderson and David Duchovny

For years the coastal seaport of Vancouver flew under the radar until, like “Game of Thrones” did for Belfast, the worldwide success of “The X-Files” changed everything.  Starring Gillian Anderson and David Duchovny, “The X-Files” filmed five of its original six seasons and the 2008 movie The X-Files: I Want to Believe in Vancouver, and then returned again for the six-episode revival a few years ago. 

Even with the show’s freaky monsters and strange aliens, Vancouver was probably the most versatile cast member, doubling for everywhere from Kazakhstan to Virginia as they filmed at countless locations around the city and beyond.

On a recent visit I recognized the distinctive “Angel of Stone” statue in Gastown, which featured in the 13th episode of season 1 (“Beyond the Sea”), but one of the most memorable locations was the lonely Britannia Mine Museum.

After gazing at the endless forests, snow-capped mountains and waterfalls and fjords during the drive along the Sea-to-Sky highway out of Vancouver, it appeared through the mist. 

Its grounds are scattered with old mining equipment, a Godzilla-sized yellow truck and a scary boxy “Man Car” that used to take the miners deep underground, but it’s the bizarre, 20-story office building cut into the side of a mountain that grabs your attention.

From 1900 – 1974 it was one of the biggest copper mines in the British Empire, and at one end of its cavernous interior 300-plus precarious wooden steps seem to go up into the heavens.

These rickety steps featured in “Paper Clip”, the second episode of the third “X-Files” season, which saw Mulder and Scully finding their names in some mysterious filing cabinets, chasing down some of the tunnels, and seeing a brightly-lit UFO.

The facility looked much spookier then than it does now, as it was given a multi-million-dollar renovation before it opened as a museum. Those steps too are part of a new, multi-media sensory experience called “Boom!”.

The X-Files – Paper Clip

Back outside in the sunlight, we were told about other films that were shot here at the mine or right nearby, and that included Intersection (1994), Double Jeopardy (1999), Insomnia (2002), Walking Tall (2004), Scooby Doo 2: Monsters Unleashed and Underworld: Evolution (2006), Star Trek Beyond (2016) and Okja (2017).

Of course, there are plenty of apps and maps if you want to take a tour of movie locations in Vancouver, Dublin and Belfast (or both countries for that matter), and while some of the movies might fade from memory, their influence will last much longer.

 

Currently based in Los Angeles, James Bartlett is a story analyst for the Sundance Institute, the Nicholl Fellowships, the UCLA Professional Screenwriting Program, the PAGE International Screenwriting Awards and National Geographic Films. He also reads for several UK regions, is the US consultant for Euroscript, and lectures across the UK and Ireland.

He’s available for private consultation at jbartlett2000@gmail.com

  

 

 

 

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IndieCork Roundtable Podcast

Rachel Smyth & Kerrie Costello 

In this Film Ireland podcast, ahead of the this year’s IndieCork (6 – 13 October), Gemma Creagh sat down with 2 filmmakers whose films are screening at the festival. Rachel Smyth’s film Pit Stop tells the story of one woman’s attempt to flee an abusive relationship. Kerrie Costello’s film Nina introduces us to Sarah as she returns to a house to pack up.

 

Pit Stop (Rachel Smyth)

Screens Saturday, 12th Oct Irish Shorts 4 Programme
11.30 @ The Gate

Pit Stop tells the story of one woman’s attempt to flee an abusive relationship. In a moment of need she is helped by a stranger at a petrol station.

Nina (Kerrie Costello & Julien Celin)
Screens Sunday 13th Oct  Irish Shorts 6 Programme
11.30 @ The Gate

Nina follows Sarah as she returns to a house to pack up.  But the house reveals some dark memories, and they quickly begin to force their way into her mind…

Directors:

Rachel Smyth is a recent graduate of TU Dublin’s film and broadcasting. With a love of telling stories and everything visual she has been DOP on four short films since 2018 with Pit Stop being her directing debut.’
Kerrie Costello & Julien Celin are Dublin based writer-directors working together under the moniker Colo Pictures. They met in the post-production team of Brown Bag Films, and initially set out as writing partners, but that soon developed into directing together too. Their first film ‘Pins and Needles’ was an animated short for children, commissioned by RTE, and which aired on Christmas Eve 2018.  Live action is their main focus however, and Nina is their second film together and their first foray into live action. They are currently developing their second third short film.

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Tom Burke, Director of ‘Losing Alaska’

In this podcast, Paul Farren talks to Tom Burke, the director of Losing Alaska, which tells the story of a small community in Alaska called Newtok who are dealing with a slow-moving disaster. The 375 inhabitants of Newtok feel the winter storms grow more fierce each year and steal their coastline, they watch their homes disappear into rolling seas as the melting permafrost erodes the edges of their town. The plan is to abandon the town and start again 9 miles up the river on higher, more solid ground. The community is divided between those determined to stay, and those equally determined to move. They are fighting the weather, the indifference of state agencies and now, finally, each other.

As well as discussing the intricacies of the ways of life of the people of Newtok and the challenges they face, Tom talks about how the project came to be, telling a big story through the prism of a small situation, people trying to survive in a changing world, the nature of documentary, telling people’s stories, not taking sides, the joy of seagull eggs, screening the film in Newtok, the practicalities of filmmaking in such an environment, cameras and lenses, discovering a frozen-tripod-head panning technique, working with Gerry Horan on the soundtrack, creating a cinematic documentary and the onset of frostbite.

Losing Alaska is released in cinemas 4th October 2019.

Tom Burke will participate in a post-screening Q&A at the IFI on Thursday, 3rd October & the Light House cinema on Sunday, 6th October.

 

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Watch Irish Short Film: ‘The Flight to Memmingen’

 

Writer / Director Greg Corcoran takes us behind the camera and tells us how he made The Flight to Memmingen. The short is now available to watch online and below.

 

The brilliant Peter Jackson once said “The most honest form of filmmaking is to make a film for yourself”. And that’s as good a starting point as any when it comes to why and how I made this, my latest short film, The Flight to Memmingen. I had been working on lots of live TV at RTÉ and making music videos and promos on the side. I missed drama and pure filmmaking, ie working with talented, dedicated actors to tell a story. I wanted to make a film. Not just any film, not a film for festivals or broadcast, nor a film for funders, but a film for myself.

 

I had previously adapted a short story by the fine Icelandic writer Gyrðir Elíasson for a music video and was a big fan of his work. He sent me a collection of short stories called Stone Tree and I was immediately inspired by one of his strikingly dark yet charming stories about one man, his rise and his subsequent tragic demise. From there the spark was lit and this film, The Flight to Memmingen, was born. I set about adapting it with an Irish slant and based it on a fictional standup comedian called Dave Murphy –  he just wants some peace to write his famine sitcom, but at what price?

 
14 minutes long, the film stars two of Ireland’s finest comedians: the brilliant Ger Staunton in the lead role and Martin Angolo as a comedy club MC, both fresh from their hugely successful shows at the Edinburgh Fringe. Shot in 4K on the Sony F5 by the very talented DoP Shane Caffrey, The Flight to Memmingen also features the superb Aoife Moore, Micheál Ó’Gruagáin and music from Ireland’s finest folk act Ye Vagabonds.
 

Story wise, The Flight to Memmingen is, at its heart, a naturalistic slice of domestic life. I really wanted to make it as a dark, challenging, character-driven film, a relationship drama that veered from comedy to tragedy, and that had strong characters and a spiralling arc, all in a mere 14 minutes. As a film, a narrative, it is quite unorthodox. It doesn’t have a conventional structure or a neatly resolved ending. It has played at festivals from Miami to Moscow but it’s a very Irish film and not necessarily an archetypal festival film. I’m fully aware that it mightn’t be for everybody but I knew that from the very first moment I read the short story it’s based on.
 

It’s worth noting that no comedians were harmed in the making of this film. One got very, very wet and extremely cold in the wintery Irish sea for a scene that was cut out but he’s not bitter, much. Ger, I owe ya pint.

 

All told, I was blown away by the generosity and dedication of everyone who got involved with the project and we had a blast making it. People went above and beyond to get it in the can and I’m truly grateful for that. So far, thankfully, it has received a very positive response and I’m just glad it’s now out there in the world for all to see.

 

 
Follow Greg Corcoran on Vimeo

 

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The IFI Documentary Festival Roundtable Podcast

L-R Paul Webster, Peter Kilmartin, Nodlag Houlihan

 

Ahead of the 2019 IFI Documentary Festival (25-29 September) Gemma Creagh talks to three filmmakers whose films feature in the Shorts Programme, which takes place on the 28th September. Nodlag Houlihan (Reality Baby ), Paul Webster (The Vasectomy Doctor ) and Peter Kilmartin (Sunny Side Up) join Gemma to talk about their films and what it takes to put together a documentary.

Reality Baby (Nodlag Houlihan)

A group of friends are given lifelike baby dolls to care for over twenty four hours, but how will they rise to the challenges of teenage motherhood?

The Vasectomy Doctor (Paul Webster)

Dr Andrew Rynne was the first doctor to perform vasectomies in Ireland, estimating that he has performed over 35,000. Persevering in the face of opposition from the Church and State in Ireland during the 1970s and 1980s, Dr Rynne continued to challenge the laws governing sexuality, eventually forcing the government to change policy.

Sunny Side Up (Peter Kilmartin)

 

Peter Pringle and Sunny Jacobs both served years in prison for crimes they didn’t commit. After being exonerated, what are the chances they both met and fell in love?

The 2019 IFI Documentary Festival Shorts Programme takes place on Saturday, 28th September 2019 at 13.30

Tickets

 

Filmmakers’ Bios

Nodlag Houlihan is an Irish film director, producer and writer. Her short documentary Reality Baby premiered at Tribeca Film Festival and won Best Documentary at the Fastnet Film Festival 2019. She is the writer and producer of the RTE series My Trans Life (2018), nominated for the prestigious Prix Europa and the MIPCOM Diversity Award. She produced the feature documentary Broken Song and a number of Screen Ireland funded short films which have played at festivals around the world and won many prizes. Nodlag also teaches filmmaking at the School of Creative Arts, Trinity College Dublin and has facilitated numerous film projects for young people. She is currently working on The Francis St Photographer, an hour-long documentary for RTE about the work of Dublin photographer John Walsh.

www.zuccafilms.ie

Paul Webster is an award-winning producer, writer and director. He is a graduate of Galway Mayo Institute of Technology and the MA program in Production and Direction at the John Huston School of Film and Media in Galway.  He went on to work in production for Element Pictures and later as a script editor on Fair City, he is now a regular writer on the popular soap. Paul was the winner of the Físín Pitching Award at the Dingle International Film Festival 2012 from which his film Stuama received its funding. He directed the drama which won Best Irish Film at The Cork Underground Film Festival 2013. Let Those Blues In, Paul’s documentary about Irish Blues musician, Paddy Smith, was the winner of Best Short Documentary in association with RTE at The Sky Road Film Festival, Clifden, Co. Galway. He was one of the filmmakers chosen by Science Foundation Ireland and The Galway Film Centre as part of their Science On Screen documentary scheme. Written and directed by Paul, Mending Legends goes behind the scenes of Irish sport to explore the unseen drama caused by injuries for our top athletes. It screened on Tg4 in Autumn 2017 and was the third most-watched independent production for that year. Paul co-directed Borderland, a 26-minute documentary exploring the refugee crisis along Europe’s Borders. Under the 2018 Real Shorts scheme, Paul received €20,000 from the Irish Film Board for his docu-drama The Vasectomy Doctor, produced by Carbonated Comet Productions. The film premiered at the Cork Film Festival in November 2018 and went on to win the Audience Award for Best Short at the Dingle International Film Festival 2019, Best Short Film at The Still Voices Short Film Festival and Best Short Documentary at The Louth Film Festival.

Peter Kilmartin is from the Wild Wild West of county Roscommon in Ireland and is a recent graduate from the National Film School of Ireland . He has an avid interest in documentary filmmaking, alongside this he also runs his own successful award winning production company, Spicy Dog Media. This year he directed his debut short The Sunny Side Up, a short documentary about two exonerated prisoners finding love, hope and acceptance in each other.

www.facebook.com/spicydogmedia

 

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Mike Ahern & Enda Loughman, Co-Directors/Co-Writers of ‘Extra Ordinary’

In this podcast, Paul Farren talks to Mike Ahern & Enda Loughman, Co-Directors/Co-Writers of Extra Ordinary, a supernatural comedy which tells the story of Rose, a sweet and lonely small town driving instructor who must use her supernatural ‘talent’ to save the daughter of a local man from a washed up rock-star looking to use her in a satanic pact that will reignite his fame.

Mike & Enda discuss things that go bump in the night, getting the project from script to screen, and working with Maeve Higgins, Will Forte, Barry Ward and Terri Chandler. They also talk about their early days in IADT and experimenting on mini-VHS tape, making music videos, ads, the influences behind their work and being practical with visual effects .

Extra Ordinary is released in Irish cinemas 13th September

 

 

vimeo.com/teamdaddy

 

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Review of Irish Film at The Dublin Feminist Film Festival 2019: Shorts Programme 

 

The Dublin Feminist Film Festival has established firm roots on Dublin’s cultural calendar, shining a spotlight on women in film. It promotes and celebrates female filmmakers, hoping to inspire and empower others to get involved in filmmaking.

Irene Falvey went along to this year’s Shorts Programme.

On Thursday, 22nd August, the Dublin Feminist Film Festival showcased an impressive and varied collection of short films, all made by female directors. 

The Beekeeper (2019) Ireland (6.29)
Dir. Robyn Conroy

As the only animation feature in the programme, The Beekeeper stood out as the most visually arresting of the shorts. Set in a bamboo forest, the landscape feels blissfully detached from the world. In a short timeframe, The Beekeeper manages to create a bond between the two characters – a young girl called Mae and the bear that protects her; their attachment to each other is undeniable. They live in harmony together, nourishing themselves on honey. Disaster strikes when Mae discovers where this food source comes from, a bee sting attack forces the bear to return Mae to her place amongst her own kind. This short film evokes equal parts sadness and sweetness; the joy and simplicity of their connection and the sadness of their true incompatibility.    

Moon Rabbit (2018) Japan (14.25)
Dir. Kae Ho

Moon Rabbit tells the story of 7-year-old Rio as she returns to Japan with her recently separated Japanese mother Seiko and her older brother. Clearly these kids have grown up in America and this trip launches them back into their Japanese heritage, comically highlighted when their cousin tactlessly proclaims how foreign they look. While the film does deal with cultural differences, many other ideas are threaded throughout; themes such as innocence, the stories we tell ourselves and secrecy all feature. The film takes place principally in Seiko’s parent’s house. This domestic setting is used to effectively illustrate the main motif – what goes on behind closed doors.  While this family unit is closely contained in a physical sense within this house, behind closed doors they can easily block each other out. The children are dismissed as Seiko closes the door and confides in her mother about the breakdown of her marriage. Rio’s older brother and her cousin shut the door so that they don’t have to play with her. This barrier that is created by closed doors is lifted when Seiko enters the bathroom where an upset Rio has shut herself in. The privacy that a closed door provides fades and secrecy falls away. This is an insightful film about the secrets we keep and the stories we need to tell ourselves. 

 

Tra na mban / Ladies Beach (2019) Mexico (6.36)
Dir. Carmen Garcia Gonzalez

This short documentary provides an insightful glimpse into the lives of women that brave the chilly depths of the Irish sea every day. Several of the women that meet regularly are interviewed; explaining honestly why they do this and the effect it has on their lives. In particular Martell speaks of the way this ritual has transformed how she feels about herself and how she carries out her life. We get the sense that we are being let in on a great secret to life; the women are infectious in their enthusiasm. What is interesting about this documentary is that it shows a way that these women have carved out an inclusive and supportive community. It is a practise built on bravery and self-respect. 

 

Driving Lessons (2019) Iran (12.48) Winner Best International film
Dir. Marziyeh Riahi

Driving Lessons focuses on an Iranian woman taking driving lessons; it is illegal for her to be alone with her instructor meaning that her traditional and misogynistic husband must tow along for the ride. The film is shot solely in the instructor’s car, taking place over a couple of days of lessons. This keeps the action contained in one place, meaning that the tensions between the two men eventually boil over and erupt. The husband constantly interrupts, is bossy, controlling and makes a lot of chauvinistic statements that sting. However, a twist arrives when we see that perhaps the young instructor is actually worse – he won’t sign his wife’s travel papers preventing her from visiting her sick father. Both the husband’s behaviour and the instructor’s refusal of his wife’s demands demonstrate that even as women in the Middle East are given more rights (driving) progress is still slow. Our female protagonist’s lack of speech throughout the entire feature re-affirms her powerless position. 

 

Clay Project (2017) Ireland (4.50)
Dir. Kathy Raftery

This film examines the work of artist Vanessa Donoso López.  We are brought to a sun-soaked and sleepy part of Spain, bursting with nature and removed from the hustle and bustle of the city. What stands out about this feature, is the fact that it examines the artists approach and ideas/inspiration rooted in her work rather than the outcome. Instead we get a glimpse into the how and the why of a piece of art. The artist makes her art from clay, the camera shows her going through the manual process of turning earth into this material. This means that her art is very much connected to the place it was created. Seeing how this art is made gives us a deeper sense of understanding and appreciation for the artistic process. 

 

Early Days (2018) UK (12.00) Winner Best Film
Dir. Nessa Wrafter

This film highlights the more troubling and traumatic aspects of welcoming a newborn into the world. It examines the internal emotional conflict of becoming a mother. We get a window into Kate’s world as she struggles through the first few trying days. Flashback sequences reveal that it was a painful birth, blood and hospital scenes subvert the typically joyous portrayal of welcoming new life. This film effectively shows the realities that make this transition alienating from the self; shown through Kate examining her inflated post-birth stomach. She feels distaste for her body and estrangement from it when there is no longer life growing inside it. Excluding flashbacks, all of the film takes place within Kate and her partner’s home, creating a sense of entrapment. The only glimpses of the outside world we see comes from Kate looking outside the window and spotting her eccentric and colourfully dressed elderly female neighbour. In the end this woman provides Kate with some solace, concluding the film on a hopeful note. 

 

Mother (2018) Ireland (9.24) Runner-up for best film
Dir. Natasha Waugh

Mother is a bizarrely comical and cleverly creative film. It deals with all the insecurities that a mother may face; depicting all the things she must do to please her family.  The film examines one mother’s attempts to go about caring for her family and husband until she is replaced by a fridge! The fridge can cook better, is more entertaining, can do French plaits and is better in bed. This bizarre and wacky feature is laugh-out-loud funny and smart; making us hope to see more from this director in the near future. 

 

The Shorts Programme took place 22nd August 2019 as part of the Dublin Feminist Film Festival (22—24 August) 

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