Irish Film Review: The Price of Desire

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DIR/WRI: Mary McGuckian • PRO: Mary McGuckian, Jean-Jacques Neira, Hubert Toint • DOP: Stefan von Bjorn • ED: John O’Connor, Robert O’Connor, Kant Pan • MUS: Brian Byrne • DES: Emma Pucci • CAST: Orla Brady, Alanis Morissette, Vincent Perez, Francesco Scianna

Mary McGuckian has described her biopic of Irish modernist furniture designer and architect Eileen Gray as an art film in both content and style. The film seeks to make amends for forgotten history, Gray being somewhat sidelined in history by the much more well known Le Corbusier, and reinstate her as the pioneer of modernist design that she was.

The film opens with an elderly, frail Gray being shown pictures of E-1027, the house she designed and lived in in the south of France with her former lover, architect and critic Jean Badovici. The authorship of the modernist villa was for a time misattributed to Le Corbusier, a misconception caused in part by Gray’s slowness to accredit it to herself, and also Le Corbusier’s painting of murals on the walls of the villa in Gray’s absence, which infuriated her. Much of the film examines the strained relationship between the two designers, who, despite their disagreements, maintained a respect for each other as artists.

Perhaps in keeping with how history has remembered them, the film gives more of a voice to Le Corbusier, who narrates his version of events with playful use of voice over and direct address. The film gives the impression of a merging of the two’s memories, being recollections of both a now elderly Gray and a hermit-like Le Corbusier, perhaps wishing to atone for his past actions. The regular use of elliptical montage, propelled by a near constant lilting score, suggests that these are flashes of remembrance; the conception and then construction of E-1027 is swept along in moments, as is the jarring intrusion of World War II, when the house is looted by German soldiers.

The film’s recreation of the style and feel of the era is faultless, the costume and production design being particularly well executed. The film is visually stunning, but it is a subject matter that would demand carefully constructed visuals.

Gray herself casts an intriguing and enigmatic figure, vividly rendered by Brady. The film focuses more on her artistic peak than her early or later years, giving the impression of someone whose work life and personal life were closely intertwined. At times the narrative tends towards the more intellectual than emotional, though this is in keeping with the modernist mind-set that the film documents.

As a tribute to an artist and the pursuit of art, the film is an artistic achievement in its own right, elevated by the strength of its cinematography, design, music and cast. It is fitting that the work of Eileen Gray should be reintroduced and revisited in so rich a fashion.

Cathy Butler

109 minutes

The Price of Desire is released 27th May 2016

The Price of Desire – Official Website

 

 

 

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The Canal – Review of Irish Film at Jameson Dublin International Film Festival 2015

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Ruairí Moore stretches his legs along The Canal, Ivan Kavanagh’s latest nightmare, which screened as part of the Jameson Dublin International Film Festival.

So much of what constitutes classic horror is bound up in style and aesthetic – with each successive slasher flick where the order and extent of grotesquery is generally ranked by ethnicity or attractiveness, the gateway to the true shock and awe that horror is capable of providing creaks a little further shut. With The Canal, Ivan Kavanagh plants a foot in the jamb and barrels the door wide open.

A loving father and husband, David (Rupert Evans) is surprised to learn that his new family home was once the scene of a series of horrific murders. Initially dismissive, the mild-mannered film archivist soon begins to question his sanity when the brutal images begin to insinuate themselves among the various aspects of his personal life.

Nothing ground-breaking, but then it is not the plot that will see audiences stuck to their seats. Kavanagh’s love of cinema is immediately evident; the hum of film-reel and the snap-hiss of the projection light are the first images to startle, and it’s a device the director returns to time and time again.

Where much modern horror subsists on jump-scares, The Canal opts for a much more humdrum brand of dread, where the everyday is an invasive force. Sound design is key here, the growl of coat-zippers and the sudden slamming of doors adding a more ominous dimension the haunted-house scenario.

Neither is Kavanagh afraid to let silence and space stretch, favouring largely static cinematography but for the odd tight zoom – the end result is a gathering sense of genuine dread that is a welcome tonic to the flimsy and fleeting hysteria that is the foundation of so much of the genre.

There is much and more that could be said of the cast, but suffice to say that newcomers Kelly Byrne and Calum Heath can’t help but steal the show, particularly in the funny and all-too-brief respites from the unrelenting force that is the rest of the film.

Raw, visceral and atmospheric, The Canal is one of the best horror films to grace Irish screens in far too long a time, and possibly the best these shores have ever produced. For those unmoved by patriotic sycophancies, a decent core workout is promised at the very least.

 

The Canal screened on Saturday, 28th March 2015 at The Light House Cinema as part of the Jameson Dublin International Film Festival.

Check out our reviews of the Irish films that screened at this year’s Jameson Dublin International Film Festival.

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Glassland – Review of Irish Film at Jameson Dublin International Film Festival 2015

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Anthony Assad delves into Gerard Barrett’s Glassland, which screened as part of the Jameson Dublin International Film Festival.

 

John (Jack Reynor) lives a life of monotony driving a taxi, often pulling late night shifts just to keep afloat while playing parent to his alcoholic mother Jean (Toni Collette). When John attempts to sober her up and encourage a reconnection with her younger son Kit (Harry Nagle) all hell breaks loose as John’s off-the-meter pick up jobs take a dark and desperate turn to fund his thankless efforts.

Gerard Barrett’s previous feature Pilgrim Hill was a monumental film from the then debutant writer/director, working from a truly miniscule budget that managed to capture the hearts and minds of audiences nationwide, even skimming the pond to achieve resonance across UK, US and Chinese theatres in 2013. Going on to garner the Rising Star Award at the IFTAs meant that expectations were inevitably sky high in the run-up to that all important second feature and I’m happy to say the Dublin premiere of Glassland at this year’s Jameson Dublin International Film Festival proved that his is a star still on a safe and steady rise.

Swapping the rural for the urban may seem like quite a risqué tonal shift but just like the former environs of Pilgrim Hill, Dublin in Glassland is similarly populated by the lost and lonely-hearted with tense familial relations and tethered responsibilities once again the resounding themes. All of these rest upon John’s shoulders who’s caught up in the same vicious circle day after day, he wonders when his mother will come home knowing full well that when she does he’ll have to pick up the pieces. His nights prove just as loathsome with wheels spinning running circles around the city streets picking up strangers and sex workers for a living that quite simply isn’t living. Reynor carries the role with an air of disembodiment, channelling a husk of young man weighed down by the duties an absent father and self-destructive mother have forced upon him. During a habitual visit to A&E, however, the doctors’ reveal that Jean is effectively drinking herself to death and an intervention is at hand, which she’ll prove to fight tooth and nail against.

As such, Toni Collette delivers a ferocious performance as Jean, a granite-faced ghost of a woman walking among the living, haunting her son and would be saviour for prolonging a life she feels has long since past, hers to end however and whenever she so wishes. And yet, there’s a soft core, evoked by an impromptu party scene fuelled by cheap wine and music administered by John to loosen tongues and heartstrings so to get to the bottom of what she’s been running from before going cold turkey. The means to this end is an expertly poised scene as mother and son dance in each other’s arms to Soft Cell’s ‘Tainted Love’ before a clever jump cut leads us towards a harrowing confession that really pushes the prowess of the proceedings, especially Reynor and Collette’s quietly chaotic heart to heart, a world away from the dish throwing teeth baring savagery of prior scenes and yet all the more powerful.

The rest from the wicked is shared among scenes with John and Shane (Will Poulter), his go-to friend whose antics provide some welcome, if not sometimes, guiltily enjoyed comic relief (the video-store dust-up comes to mind). It’s not just a pit stop from the drama however as Barrett creates an interesting duality between the two to highlight the life John has been deprived of. Shane is jobless, living at home off his all too accommodating mother and plotting a hell-raising break away from Dublin, in-between the important stuff like playing video games and avoiding movie rental fees for his own obnoxious amusement. He also found time to father a young child from a one-night stand, obviously not ideal scenarios but these follies of youth are rites of passage, mistakes John can never afford to make (and learn from) when forced instead to look after a stranger in his own home who breaks his heart everyday. Accordingly Reynor downplays the gaiety of their activities, more a silent observer, seeking to revert to his friend’s carefree mind-set but constantly aware and distracted by the myriad of responsibilities all around him.

John’s only fault is that his heart is too big, he alone attends his brother Kit’s eighteenth birthday party struggling to explain why their mother isn’t present and why Kit can’t live with them when in truth it’s because Jean never accepted and blames her life’s downfall because of his down syndrome. Again John is playing the parent and the older brother, the latter letting loose when he joyrides at his brother’s request, and in tow, around an empty car park. When he’s forced to reprimand his mother and drag her to a rehab clinic John’s pushed beyond his limits and loses it, as much for her sake as his, in a stand-out scene that reverberates throughout the rest of the movie and long after the credits roll.

She needs 24-hour surveillance for at least a month to sober-up in a controlled environment where she can push through the withdrawal but even a favour from former addict and councillor Jim (Michael Smiley) is an expense John can only afford if he ups his dark dealings with an illegal trafficker. He’s given an address to pick ‘something’ up for delivery and the resulting scene proves how far into hell and back again he’s willing to venture for his family. He enters the desolate house on the outskirts of town tip-toeing from darkness into light with the camera creeping along behind him like Peter Pan’s shadow, mocking what little innocence he has left in a heart-stopping scene paced to perfection.

There’s heaps of drama (some of it heavy-handed), but the moments of silence coupled with long locked-off compositions of seemingly natural light illuminating unnatural events will either pull you to the edge of your seat or out of the narrative. Yes, the pace may upset some, but it’s a journey that avoids the pitfalls of its genre (gratuitous sex and violence) to reach a destination fuelled by an earnest and unflinching eye.

Deservedly the film went on to win Best Film at the Galway Film Fleadh complimenting Reynor’s nod at Sundance for his outstanding performance and recently picked up the Best Irish Film award at JDIFF and the Michael Dwyer Discovery for cinematographer Piers McGrail’s inimitable contribution. This really is Irish cinema at its best, a truly transcendent and palpable experience shedding glorious light on an issue all too relevant from a bold and emphatic director at the top of his game.

Glassland screened on Friday, 27th March 2015 at the Light House Cinema as part of the Jameson Dublin International Film Festival.

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The Great Wall – Review of Irish Film at Jameson Dublin International Film Festival 2015

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Darragh McCabe moves across Tadhg O’ Sullivan’s documentary The Great Wall, which screened as part of the Jameson Dublin International Film Festival.

The Great Wall, Tadhg O’ Sullivan’s second documentary feature, is a series of vignettes depicting the literal and metaphorical walls that enclose Europe. The concrete-and-steel wall that’s rising around the Spanish Moroccan city of Melillia, for decades a chink in Europe’s armour, serves as a point of departure; from there the film examines other, less literal barricades, as well as their victims, from the City of London, to protesters in Greece during last year’s unrest, to a roadside camp in Bulgaria. There’s music, but no narration proper – the Franz Kafka short story, ‘The Building of the Great Wall Of China,’ read by Dr. Nicola Creighton, acts as aural counterpoint to the imagery. (Kafka’s story describes the building of the Great Wall as a sort of symbolic exercise undertaken for the purposes of self-definition.) The initial strangeness of this cinematic territory is eventually made familiar as certain conventions – the dynamic pairing of music to editing, the length and virtuosity of some of the shots – orient us. We’re in a land claimed by Chris Marker and previously visited by directors from Agnès Varda to Godfrey Reggio.

Without exposition or interviews, the film doesn’t form an explicit argument. O’Sullivan’s images can only be rhetorically effective if we’re already having the discussion he’s weighing in on, and he assumes that we are. But when the twin tyrannies of argument and narrative are overthrown, we go to great lengths to re-establish one or both and make safe again the broad avenues of explanation and exposition. For example, the music offers a sort of story; the progression from klezmer fiddle, the music of a people with a storied past of exile (and of Kafka’s own heritage), to Bach, to droning synths, might be a comment on the dangers of an approaching European monoculture. There are a few instances of written text; graffiti on the wall of a ruin just outside Melilla that serves as a way-station for African refugees – “think positive” “I will never stop my journey until I reach my home” – struggles uselessly against the bureaucratic injunctions on the wall of a border control office in Bulgaria. Looser signifiers abound, too. Footage of Greek riot police, lined up with shields raised, speaks the language of the headlines, and the camera swoops around the City’s cathedrals of capitalism in a stylistic parody of corporate advertising.

There’s a disconnect here. The Great Wall often looks like a work of anthropology. It obviously took a lot of time and effort for O’Sullivan and his cinematographer Feargal Ward to infiltrate some of these environments and to earn the trust of their subjects. Yet the footage is often so loaded, even disturbing, that to fail to comment could be seen as a cop-out. This is an old argument, one that it mightn’t even be worth having anymore, which is why I’m hedging my language. At the screening’s Q&A, one man asked O’Sullivan whether he thought he might have overestimated the parallels between Kafka’s text and the cumulative meaning of some the film’s more affecting imagery. Does modern Europe, he asked, really understand and identify with barbed wire, concrete and red tape, the way Kafka’s engineers understand and identify with their structure?

O’Sullivan’s answer was a qualified yes. Qualified because the questioner, in one sense, was pointing at the issue I’ve mentioned – that the narration, one of the techniques that transform what could have been a piece of reportage into an art film, might also manage to generalise out of existence whatever political statements the film is attempting to make. O’Sullivan bristled at this suggestion, insisting that we are culpable in the building of these walls around us. We’re terrified that a pistol shot from outside might crack the biodome that’s keeping us alive. Bare life absolutely isn’t just a feature of the faraway east or south; it’s evident in the arid lots that border our golf courses. There are some sequences, particularly those shot in Melilla and Bulgaria, where this is heartrendingly obvious.

The Great Wall engages with debates around documentary cinema’s form and political efficacy that have been around for decades. It’s a profound and chilling piece of filmmaking, but in order to take the film on its own terms you must accept a degree of culpability that will not be comfortable for most, and that may even be counter-productive. A cri-de-coeur in place of an accurate diagnosis, then, or a poem when what’s required is an independent report. Is it enough to simply pay attention to an unfolding atrocity? It might be. Another German-speaking writer, Berolt Brecht, closed his poem ‘Bad Time For Poetry’ with the following stanza:

Inside me contend
Delight at the apple tree in blossom
And horror at the house-painter’s speeches.
But only the second
Drives me to my desk.

 

The Great Wall screened on Monday, 23rd March 2015 at the IFI as part of the Jameson Dublin International Film Festival.

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Yximalloo – Review of Irish Film at Jameson Dublin International Film Festival 2015

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Stephen Elliott pricked up his ears to Tadhg O’Sullivan and Feargal Ward’s documentary Yximalloo, which screened as part of the Jameson Dublin International Film Festival.

 

Yximalloo, an Irish documentary filmed over the course of a year, follows Nao Ishimaru, a Japanese experimental musician and performance artist who has made a career out of abstract avant-garde music since the 1970s and has been living in Ireland for the past 10 years. He muses that similar artists reside in greater cultural spaces such as New York or Paris but this isn’t the case for Nao who lives with his ill, long-term partner, Ger, in a Dublin suburb.

Although the documentary opens with a civil marriage ceremony between Nao and Ger, there is no doubt that Nao is unhappy with his relationship and his life in Ireland. Struggling to find work, he jets to Tokyo to take up a job but consequently becomes homesick for Dublin. Despite his eccentricities and green leggings, we eventually see that Nao is like everyone else – trying to find his way in the world. The film is testament that no matter what age you are, you can still be searching for answers.

Yximalloo is crammed with beautiful shots including a stunning transition shot from Dublin to Tokyo. We are also treated to a selection of Nao’s greatest hits throughout the film. The experimental soundtrack unfortunately creates unease by juxtaposing the visual of Nao’s present domestic life such as cooking chicken and cutting shrubs in the garden.

O’Sullivan and Ward sought to create a cinematic piece in a documentary style. This is pure cinéma vérité – there are no interruptions or probing questions from the filmmakers. We are simply the spectator watching on as Nao silently carries on with his life. You’d be forgiven for thinking Nao and Ger have no idea there is a camera watching them but that said, Nao acts up in front of the camera on a few occasions by breaking into spontaneous dance.

Nao is an endearing character stuck between two places he calls home. He is lost and unsure of where to be. While there is no conclusive narrative to this film, Yximalloo provides an interesting insight to the life of a truly individual artist.

 

Yximalloo screened on Saturday, 28th March 2015 at the Light House Cinema as part of the Jameson Dublin International Film Festival.

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Tana Bana – Review of Irish Film at Jameson Dublin International Film Festival 2015

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Gemma Creagh weaves her way into Pat Murphy’s Tana Bana, which screened as part of the Jameson Dublin International Film Festival.

‘Banarsi fabric is the life of a wedding. The chandari silk is handloom work…. there’s gold thread called zari in some of it, so its proper Banarsi sari. A wedding is not complete without Banarsi sari,’ states a wedding guest in Lucknow, India in a piece to camera.

Pat Murphy’s Tana Bana (The Warp and the Weft) is as vibrantly rich as the fabrics produced by her subject matter. The sold-out Lighthouse screening was introduced to a receptive audience by Murphy, alongside JDIFF’s director, Grainne Humphreys.

The film opens slowly, with measured shots and lingering pans introducing the world of the Moslem silk weavers in Uttar Pradesh. Over the past thousand years, Varanasi, an ancient city on the Ganges, has seen conflict between the Moslem population (the creators and weavers) and Hindus (the traders and merchants). Early on, we witness one weaver selling his wares to a haggling merchant, which, as the film unfolds, is revealed to be a metaphor for his struggling industry.

Subtly, and with as little interference as possible, Murphy examines each facet of production, from designers, dyers, spinners, weavers to the silver-tongued salesman. She focuses not only on the labour – it takes one month to make each hand woven sari – but on how political and economic shifts have affected the business. While many of the weavers are facing poverty, elsewhere their work is being sold for a small fortune. This issue is heightened by the onset of computerisation, embodied by the loud ominous clacking of the power loom. Using an automated machine means one man can work four looms at the same time, lowering the market value of hand-woven goods substantially.

The heart of the film, however, is rooted in community. Ahmed Tahir, a designer (nakshaband) describes this best when he says: ‘For us it is like this, if we can receive income from any profession, we must use it to take care of our children and our family. Their needs are my duty. For us, work is a form of prayer.’ Murphy emphasises the closeness and involvement of families in the weaving process, as well as the changing role of women and education. At one point the discussion amongst schoolgirls turn to weddings; they unanimously laugh at the idea of a ‘love marriage’ – as, of course, it’s doomed for failure.

Tana Bana is an immersive and significant piece of filmmaking. It documents the human side of a failing industry that, without preservation, could be lost forever.

 

Tana Bana screened on Friday, 27th March 2015 at the Light House Cinema as part of the Jameson Dublin International Film Festival.

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Ten Years in the Sun – Review of Irish Film at Jameson Dublin International Film Festival 2015

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Cathy Butler gets her sunscreen out for Rouzbeh Rashidi’s Ten Years in the Sun, which screened as part of the Jameson Dublin International Film Festival.

 

Rouzbeh Rashidi’s Ten Years in the Sun, which had its premiere at this year’s Jameson Dublin International Film Festival, describes itself as an experimental film. While it is a bit of a catch-all term, it does signal to any potential audiences that this may be a film with a non-linear narrative, and an intent to challenge and provoke a response from the audience in various ways and to varying levels.

 

This is true of Ten Years in the Sun, which defies the usual summarisation that a film review might prompt. Its opening sequence bombards the viewer with flashing lights and a wall of sound, making for a visual experience that borders on the physically unpleasant. This sets the bar for the rest of the film, which is composed of images of varying tone and content; there is a vaguely film noir-esque feel to the scenes of two men discussing villains named Scorpio and Boris, who grow increasingly confused as their conversation continues; the various inserts of outer space imagery add a sci-fi slant; additionally, multiple sequences featuring naked or partially clothed women veer somewhat oddly into the realm of pornography.

 

This varying tone is clarified by the director’s comments in the subsequent Q and A that the subject of his work tends to be film itself, and a comment on the nature of cinema. This sampling of common tropes of cinema, and their combination in an abstract form with an often disconcerting or distorted audio track, delivers to the audience an assault on the senses that differs wildly from the more traditional forms of storytelling employed in filmmaking.

 

There is fine framing and composition throughout, and great use of a variety of different locations and lighting set-ups. There are moments of humour as well as moments of foreboding, providing for quite a wide scope of evocative visuals.

 

Again, it would be simplistic and also inaccurate to say that Ten Years in the Sun is an ‘enjoyable’ film. It is a film that demands much from its audience, and challenges the viewer to draw its own conclusions as regards any resulting message. It is a multi-sensory experience, having effects both physical and psychological, which is a powerful effect for any visual medium to have.

 

Ten Years in the Sun screened on Friday, 27th March 2015 at the Light House Cinema as part of the Jameson Dublin International Film Festival.

 

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Kurt Cobain: Montage of Heck

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Katie Kelly finds nirvana in Brett Morgan’s documentary Kurt Cobain: Montage of Heck, which screened as part of the Jameson Dublin International Film Festival.

 

There has been a plethora of documentaries relating Kurt Cobain over the past twenty years. Unlike Nick Broomfield’s Kurt and Courtney, or Michael Azzerad’s Been a Son, Montgae of Heck is 100% authorised by Cobain’s now nineteen-year-old daughter, Frances. This is personal, and 100% agenda-less. There is no finger pointing, no blame; just pure, unadulterated Kurt Cobain from start to finish.

The documentary features interviews with various family members. Kurt’s mother’s [Wendy] honesty is admirable. She delivers a frank and sincere account of Kurt’s childhood. Growing up in Aberdeen in Washington, Kurt’s childhood went from almost idyllic to relatively fragmented and chaotic in a short space of time. Mostly unseen home videos of the blonde, blue-eyed toddler Kurt accompany his mother’s sentimental musings.

A real surprise was Donald Cobain, Kurt’s father who is notoriously un-emotional. Cobain himself famously sang about him in Serve the Servants, “I tried hard to have a father, Instead I had a dad.”

Donald Cobain also talks about Kurt’s childhood and adolescence. He is joined by his wife, and Kurt’s stepmother, Jenny Cobain. In a rare glimpse of emotion Donald becomes upset. He allows his wife to answer more of the difficult questions, obviously unable to maintain composure. Cobain is clearly unaccustomed to the cameras, and, unlike Wendy, struggles with his answers. His interview makes this documentary stand out from the crowd. Raw and unbridled, there is no doubt that this man was just as devastated by his son’s demise as anyone else, despite all the negative publicity.

Hisko Hustling’s animation brings adolescent Kurt alive to the sound of old audio recordings and diary excerpts. The sometimes disturbing sequences perfectly capture what it was like to experience the total isolation of being one of the weird ones in this relatively backwards town. Not only does the animation invigorate, but it literally brings to life some of Cobain’s many drawings and artwork from his journals. It is as if he was drawing live, on screen – a truly unique touch.

The inclusion of live, behind-the-scenes footage of the band on tour is an excellent balancing act with the interviews. Here, Nirvana are Nirvana. We have goofy Dave Grohl, sarcastic Novoselic, and a contemplative Kurt Cobain, launching themselves at drum kits, laughing, and behaving the way a young band on tour do. Kurt at the beginning of Nirvana and Kurt by the end seem like two different people. In such a short time, the toll of life on the road, coupled with drugs, the stress of being famous had broken the star.

Like Donald Cobain, bass player Novoselic remains quite sombre and contemplative throughout his interviews. He appears to find it quite difficult to talk openly about his former band-mate. Clearly some wounds never heal, and this is in stark contrast to the Novoselic on tour in 1990. Perhaps there may be a certain sense of guilt, or just outright despair. The same can be said of Tracy Marander, Cobain’s first serious girlfriend. She has been dubbed the ‘Godmother of Nirvana’. When Kurt lived with her, she provided for him and allowed him to practice music, make art and not go out to work. It was during this time that Kurt wrote many of the songs on their debut album Bleach.

Marander vehemently denies any knowledge of Cobain’s drug use when they were together. She has appeared in various other documentaries about the singer, and has remained entirely positive about him, even his major downfalls.

No Kurt documentary would be complete without Courtney Love’s crass and overbearing opinion. As usual it’s the Courtney way or the highway. Her answers to questions seem fairly contrived and long-winded, sometimes straying from the point. But the inclusion of many home videos of her, Kurt and Frances as a baby are probably the best thing about this documentary.

These never-before-seen crude home videos show what life was like at home with the Cobains – their highs and lows… literally in some cases. Kurt is clearly on drugs in some, slurring his words, and barely remaining conscious. There are also many truly touching aspects of the young couple, fussing over their new daughter, and behaving like a normal, young, family.

Montage of Heck is a must for Nirvana-lovers, and documentary-lovers alike. In true HBO style, it is gripping without being over-bearing. Just like Cobain’s life, the film ends abruptly. Unlike many documentaries, books and TV shows, this was entirely focussed on his life, and not his death. The only thing that would have improved it would have been the inclusion of Dave Grohl. But the interviews, home movies, animation, and live performance mix together perfectly to provide one of the most honest, and unbiased documentaries of recent years. A credit to executive-producer Frances Bean Cobain.

 

https://www.youtube.com/watch?v=KOacVhXAmX0

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After the Dance – Review of Irish Film at Jameson Dublin International Film Festival 2015

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Ronan Daly shimmied his way into After The Dance, which screened at the Jameson Dublin International Film Festival.

After The Dance, directed and filmed by Daisy Asquith, is a documentary following her mother’s search for family and the scars that shame and secrecy can leave behind.

Conceived by unmarried parents after a local dance in Co. Clare, Pat, Daisy’s mother, was given up for adoption to an English couple and remained a family secret for some forty years, until she met the eight half-siblings that were born after her mother’s marriage. Pat was overjoyed to have found a flesh and blood family, but soon found that their familial bond was overshadowed by the still present feeling that she was a black stain on the family’s pride and she was effectively banned from ever setting foot in Co. Clare. However, in the Irish West, Catholic shame and guilt so often go hand in hand with a great deal of craic to be had, so don’t write this film off as a gloomy affair just yet.

The documentary begins with Pat and Daisy exploring the local church that Pat’s parents would have attended, with Pat noting that, although the Catholic Church has been responsible for her effective banishment from her homeland and caused a profound sense of loss and isolation throughout her life, (okay, it is just a little bit gloomy at times, but it gets better, I promise), she nonetheless finds herself essentially programmed by her upbringing to respect the church and its teachings. Twenty years after she was first told not to set foot in the county, Pat’s mother is now dead and she feels that her right to know her heritage outweighs the likelihood of embarrassment reaching beyond the grave.

With the support of Daisy and just one of her eight siblings, Pat steps bravely into the rural West, looking to find her father, with only the name Tom Brown and a few bare facts to go on. We’re given a pretty colourful look at the locals, who all seem to be variations of the same drunken old charmers, with their heavy accents carefully subtitled. This is interspersed with a few black and white short pieces of footage of the Ireland of yesteryear, with Sean and Mary O’Reilly walking barefoot home from school and the bent, smiling Mr. O Flaherty working away happily in his potato patch. The effect here feels very tongue in cheek and is definitely a lot of fun, though it does skirt dangerously close in its editing to patronising the quaint wee country Irish folk.

All of this is put phenomenally into perspective when we encounter John and Mary Browne, who seem to have a reputation for being “a bit odd” and who live with an insistence on sticking to tradition, feeling that “with every advance, you lose something.” Johnny has never travelled farther from home than Limerick while Mary is a woman of few words with an impressive collection of woollen hats. While at first glance, this couple seem to embody the decades old Ireland which would have branded Pat as the social equivalent of leprosy, they’re very soon revealed to be the warmest, most welcoming sort of family Pat could have asked for, not giving an ounce of undue worry to what people might say.

“We find that if people don’t do any harm, we’re happy with them, like.” – Johnny Browne.

Pat and Daisy’s journey doesn’t end in Clare, and they soon set out to find out as much as they can about where and who they came from.

“It’s like putting the piece in a jigsaw that brings out the picture.” – Pat.

Charismatic and honest, hilarious and heartbreaking, this film speaks volumes about shame, guilt, the all-too-Irish obsession with not ‘letting the family down’ and the hopefully equally Irish sentiment of ‘Family’s family, and feck anyone that has a problem with that.’

After The Dance  is a healthy reminder that although some of the ignorance and apathy in recent Irish history is staggering, maybe sweeping our shame under the rug isn’t the best response.

 

After The Dance screened on Thursday, 26th March 2015 at the Light House Cinema as part of the Jameson Dublin International Film Festival.

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Eat Your Children – Review of Irish Film at Jameson Dublin International Film Festival 2015

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Alisande Healy Orme looks at the nature of Irish protest in Treasa O’Brien and Mary Jane O’Leary’s documentary Eat Your Children, which screened as part of the Jameson Dublin International Film Festival.

 

Taking its name from Jonathan Swift’s 1729 satirical essay A Modest Proposal – in which the author suggested that the impoverished Irish population sell their young as a foodstuff to the wealthy as a way to alleviate the dire economic conditions of the time – ex-patriot Irish women Treasa O’Brien and Mary Jane O’Leary’s documentary Eat Your Children examines whether Ireland today is too inactive when it comes to political protest.

 

The reputation of the Irish abroad is that of the “fighting Irish” – one of a people who have never been afraid of protest and taking up arms when necessary. Here, O’Brien and O’Leary ask why the nation has not done so in the face of austerity measures that will cripple at least the next two generations to come. Unsurprisingly, though interesting, the tightly-budgeted film is not the most cheerful to watch.

 

Taking the form of a road-trip around the country, Eat Your Children has its makers meet with activists, economists, sociologists and members of the public who outline Ireland’s history of protest and how, in spite of it, the country today can appear apathetic or even complacent in the face of constant constraints and demands put upon it by politicians from across Europe.

 

Interviews with members of the public reveal a state of indifference that hinges on a two-pronged, thoroughly depressing consensus: they feel that any protest would make little to no difference anyway, and are planning to take another route that has long-served the impoverished of this country well – emigration in order to seek work.

 

Granted, there’s nothing revelatory in these disclosures (they’re certainly nothing you haven’t heard down the pub) but these sad facts of modern Irish identity are only rendered more strongly when shown alongside historical footage and accounts of how direct action benefitted citizens of this country in the past. It’s to be hoped that when it comes to future protests the filmmakers prediction that “this is not the end” holds true.

 

Eat Your Children screened on Sunday, 22nd March 2015 at the Screen Cinema as part of the Jameson Dublin International Film Festival.

 

 

 

 

 

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Dare to be Wild – Review of Irish Film at Jameson Dublin International Film Festival 2015

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Cathy Butler smells the roses in Dare to be Wild, which screened as part of the Jameson Dublin International Film Festival.

 

Landscape design is not a subject frequently examined in cinema, and the premise of Vivienne De Courcy’s Dare to be Wild certainly instils curiosity; based on the true story of Irish garden designer Mary Reynolds, it follows her quest to win the gold medal at the Chelsea Flower Show.

 

Mary (Emma Greenwell) is a young Irish woman with a passion for nature and gardens, and is looking to break into the world of garden design. She gets her first opportunity with ‘celebrity garden designer’ Charlotte Heavey (Christine Marzano), which eventually turns sour when she finds herself robbed of original work and out of a job. Not to be defeated, she bounces back with a determination to take home the winning prize at the esteemed Chelsea Flower Show, despite all obstacles. On her way she meets and falls for heart-throb botanist Christy (Tom Hughes), eventually following him on a trip to Ethiopia, to win his heart as well as the aid of his botany skills.

 

The curious mix of landscaping and love story could have been charming, but somewhat misses the mark tonally. De Courcy gives the story the epic treatment, putting the love story at its core, and surrounding it with stunning shots of sweeping landscapes. While Mary’s cause is noble, it is hard to get on board with the high drama when it is centred around a topic such as garden design. Mary wants Christy to help with her garden instead of focusing on the much-needed irrigation projects he is installing in Ethiopia. When he objects, it seems reasonable – his is the more important task. Mary, though well intentioned, comes across as naïve in comparison. Yet she brings Christy around to her way of thinking; it is a love-conquers-all narrative, no matter how impractical.

 

The film’s central message is reiterated time and again throughout – the importance of the wild and wild nature, and the connection between man and the environment. It is a feel good film, with an ecological message running through it, but it may have benefitted from a more scaled back tone. Visually, the film is stunning. Never has Ireland looked so colourful and inexplicably sunny as it has in this film. The Ethiopian sequences are equally beautifully shot, and the scenes in Chelsea are a bombardment of colour. Costume design is also particularly notable here, with Mary having quite the enviable wardrobe, even when broke and unemployed!

 

There are elements of ‘Celtic mysticism’ and Ireland’s fairy lore contained within the film, which may come across as twee to Irish audiences, but would likely go down well internationally.

Dare to be Wild is a visual feast, but perhaps a bit too epic for this viewer.

 

Dare to be Wild screened on Thursday, 26th March 2015 at the Light House Cinema as part of the Jameson Dublin International Film Festival.

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‘Ten Years in the Sun’

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Dublin-based experimental filmmaker Rouzbeh Rashidi is one of the most radical and independent talents in contemporary underground cinema. Here Rouzbeh tells Film Ireland about his latest film, Ten Years in the Sun, which screens at this year’s Jameson Dublin International Film Festival. Plus filmmaker and critic Maximilian Le Cain gives his reflections on the film.

My new experimental feature Ten Years in the Sun will receive its premiere at this year’s Jameson Dublin International Film Festival. It was one year in production and throughout the course of shooting and editing it drastically mutated and deviated in various ways from its initial idea. In this film, I have taken elements from such genres as science fiction, horror and erotic drama and given them a radically minimalist treatment. My aim was to attain what could be described as a ‘ground zero of drama’ through the systematic removal and breaking down of any narrative structures.

On this project I have intentionally worked with a wide range of collaborators and actors, and without their tremendous support this film would have been impossible to make. One of them was filmmaker and critic Maximilian Le Cain. These highlights from his personal reflections on the film might offer some insight into it:

“It has been building up through a number of his recent films – Terrors Of The Mind, Forbidden Symmetries, Investigating The Murder Case Of Ms. XY – and now it has erupted with full force: a sense of vast cosmic chaos, randomness and terror. The result is a sensory onslaught that destroys any sense of narrative development, that allows for a dizzyingly reckless catalogue of dead ends and invasions by footage and techniques that can seem utterly alien to one another… And yet a very human sense of wistfulness also emerges that prevents this experience from becoming cold or detached…

“A two-and-a-half hour running time, spectacle galore, numerous sinister characters and plots portentously introduced but left unresolved… …the incoherence and oddness of this sense of non-completion is not plastered over but cranked up to the highest degree of fragmentation…

“The crust of an external objective reality is no more. There is only tormented interiority and distant annihilating vastness. And the carriers of these symptoms are precisely presented modes of (mainly moving) imagery and its attendant technology. A very 21st century hell…”

 

Ten Years in the Sun screens at the Light House Cinema on Friday, 27th March 2015 at 8PM as part of the Jameson Dublin International Film Festival.

Book tickets here

 

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Interview with Sé Merry Doyle

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Modern architecture in Ireland reached a high point in the early ’60s and one of its most celebrated and influential figures was Robin Walker. Robin studied under Le Corbusier in Paris and later worked alongside Mies van der Rohe in Chicago. His return to Ireland in 1958 coincided with the emergence of an aspiring modern nation. Robin Walker became a key agent in this nation-building process.

A quarter of a century after his death, his son Simon Walker explores the legacy of his father’s life’s work in Talking to My Father. Director, Sé Merry Doyle’s allows Walker’s buildings to speak for themselves, taking us with Simon in his search for Robin’s architecture of place.

Grace Corry sat down with Sé Merry Doyle to discuss his documentary, which screens at this year’s Jameson Dublin International Film Festival.

 

Referring to Robin and Simon’s relationship and how you wanted to represent that in the film, you said that you wanted to capture them as father and son and as architects – was it difficult deciding which relationship to focus on more, or which relationship was more relevant to the film?

Well to me the big thing was that Simon wanted to pay homage to his father, both as a son and as an architect, both being from different eras – Robin’s era was kind of the golden age of modernism in Ireland, Simon is living in a country that’s just coming out of bankruptcy and such. Really, I wanted more of the human story as a film, I didn’t want it to be solely based on architecture in that I was more interested in trying to discover Robin through Simon. So it was kind of a gentle narrative and we worked a lot on that; it was probably the biggest thing we did. It started with me trying to encourage Simon to tackle the boxes and boxes he had of Robin’s writings, and in the end suggested to him to write a letter to his father, and that letter in a way became the application to the Arts Council or at least the central part of it. So that dialogue was always a central part.

 

Your own interests seem to have been with documenting historically and culturally defining moments in Ireland. Were you aware of how prolific an architect Robin Walker was or how instrumental he was in modernising Ireland?

No, I wasn’t. It was funny that, because I had done a film for instance about James Gannon and Georgian Dublin and made Sculptor of the Empire on John Henry Foley who did the Daniel O’Connell monument in Dublin and the Prince Albert monument in London, so funnily enough this was an area I wanted to dig in to. Simon shares an office with me and I knew how highly regarded his father was but I didn’t know that he had been with Mies van der Rohe (Paris) or Corbusier (Chicago). He studied and worked with both of them and I knew then that he was an individual whose story was worthwhile.

 

Did you approach this documentary – such an intimate situation and a sensitive subject – differently to how you made Alive Alive O – A Requiem For Dublin where you’re representing several voices or a community voice, as opposed to capturing this quite private discussion between father and son?

I wanted it to be something for all of us, I didn’t want it to be the same as the film I made on Patrick Scott [Golden Boy] – in that case I wanted the individual but this one I was kind of playing with what has happened to Dublin and who looks after it. One of Robin’s great buildings was UCD, which was originally an open plan for the students and now it’s been kind of turned into a supermarket. All the space has been taken away. The new Ireland that was coming after World War II and stagnation and economic failure had new buildings going up all over the place willy-nilly, but again after the oil crash of ’74 that all went away. The film is about whether we are invited into the conversation with those buildings that remain from that time. Do we like them? Do they mean anything to us now? The film is saying no in most cases.

 

I suppose working so closely with Simon on such a personal project about Robin’s work requires a particular approach to achieve the right balance.

Yeah, well that was delicate, you know, I’m not a Sunday World type of film journalist and I wanted Simon to have a certain amount of control. Once Simon knew that I was making a creative documentary and that there would be no interviews or appraisal type stuff and that it was really just going to be his own journey, that relaxed him. He’s a great writer and we spent hours and hours talking and looking back through his father’s papers and some of that went right into his heart. It was a complicated narrative but a great journey from reading old notes to going and seeing these buildings which made for some great moments in the film, a lot of which surprised me. I invited Simon to go as far as he wanted to go and he did.

 

So, what’s next for Talking to My Father?

At the moment I’m developing a film called John Huston – The Great White Whale, which is about Moby Dick and Herman Melville and a notion that Moby Dick is God and whoever kills him is akin to the apocalypse. We’re in development with the IFB and we’re very excited.

 

 

Talking to My Father screens at the IFI on Tuesday, 24th March @ 6pm as part of the Jameson Dublin International Film Festival.

Book tickets here

 

 

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InConversation with Grainne Humphries

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This episode of InConversation features Grainne Humphries, Festival Director of the Jameson Dublin International Film Festival since 2007.

 

The 2015 Jameson Dublin International Film Festival takes place 19 – 29 March.

 

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You can check out our preview of the Irish films screening at this year’s festival here

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Irish Film at Jameson Dublin International Film 2015

One of our favourite times of the year is upon us once more with the return of the Jameson Dublin International Film Festival. Running from 19 – 29 March 2015, the 13th edition of the festival delivers another diverse and exciting programme of films from across the world. And, as always, amongst this year’s programme is a fantastic line-up of Irish films, which we’ve gathered below for your convenience, beginning with the festival’s opening film The Price Of Desire, Mary McGuckian’s beautiful depiction of Irish designer Eileen Gray.

Get booking and get watching.

 

 

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The Price Of Desire (Mary McGuckian)

Thursday, 19th March 2015

8:15PM

Savoy

Mary McGuckian’s The Price Of Desire,  about Irish designer and architecture pioneer Eileen Gray, opens this year’s festival. Starring Orla Brady, Vincent Perez and Francesco Scianna, the Irish-Belgian co-production is the controversial story of how Eileen Gray’s contribution to 20th century architecture was almost entirely effaced from history.

Mary McGuckian, Orla Brady, and Vincent Perez will attend the screening.

 

 

 

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Coming Home (Viko Nikci)

Saturday, 21st March 2015

4:00PM

Light House Cinema

Angel Cordero was charged with attempted murder following a stabbing in The Bronx . Despite the evidence, Angel was convicted and served thirteen years in prison. Seven years later, Dario Rodriguez confessed to the crime. We follow Angel as he is released into a new age of social communication and eventually confronts the man who took away his freedom. But he soon realizes that facing Dario is not his greatest challenge. Angel discovers that the most important thing taken away from him was the relationship with his daughter. At its heart, this is a story about a father’s journey to reconnect with his estranged daughter.

 

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From the Dark (Conor McMahon)

Light House Cinema

Saturday, 21st March 2015

8:30PM

From the Dark centres on a young couple on a road trip through the Irish countryside who encounter an ancient force of evil.

Filmmakers will attend the screening.

Book tickets here

 

Reviewed here

 

 

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Eat Your Children (Treasa O’Brien, Mary Jane O’Leary)

Sunday, 22nd March 2015

2:00PM

Screen Cinema

Eat Your Children is a road-trip quest by two friends who emigrated from Ireland during the financial crash of 2008 and who have now returned to probe Ireland’s so-called acceptance of debt and austerity.

The film uses formal observational footage, voxpop, archive material and a visual-essay style to create a rich and accessible tapestry of audiovisual material. It immerses the viewer into world of the protagonist-film-makers – two Irish women living and working in London and Barcelona who return home to find themselves uncovering the modern incarnations of Irish identity, post-colonialism, nationalism, globalization and resistance.

Treasa O’Brien and Mary Jane O’Leary will attend the screening.

Book tickets here

 

 

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The Great Wall (Tadhg O’Sullivan )

Monday, 23rd March 2015

6:00PM

IFI

Filmmaker’s statement: ‘The Great Wall has been completed at its most southerly point.’ So begins Kafka’s short story ‘At the Building of the Great Wall of China’, and so, at Europe’s heavily militarised south-eastern frontier, begins this film.

In the shadow of its own narratives of freedom, Europe has been quietly building its own great wall. Like its famous Chinese precursor, this wall has been piecemeal in construction, diverse in form and dubious in utility. Gradually cohering across the continent, this system of enclosure and exclusion is urged upon a populace seemingly willing to accept its necessity and to contribute to its building.

From Europe’s edges, The Great Wall moves across various unidentified fortified landscapes, pausing with those whose lives are framed by borders and walls. Moving inward toward the seat of power, the film holds the European project up to a dazzling cinematic light, refracted through Kafka’s mysterious text, ultimately questioning the nature of power within Europe and beyond.

The filmmakers will attend the screening.

Book tickets here

 

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Talking to My Father (Sé Merry Doyle)

Tuesday, 24th March 2015

6:00PM

IFI

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. Robin studied under le Corbusier in Paris as a young graduate and later worked alongside Mies van der Rohe in Chicago. His return to Ireland in 1958 coincided with the emergence of an aspiring modern nation recovering from years of stagnation and emigration. Robin Walker became a key agent in this nation-building process.

A quarter of a century after his premature death, Simon addresses his father again and explores the legacy of his life’s work.

Book tickets here

Reviewed here

 

 

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Miss Julie (Liv Ullmann)

Tuesday, 24th March 2015

6:15PM

Cineworld

Over the course of a midsummer night in Fermanagh in 1890, an unsettled daughter of the Anglo-Irish aristocracy encourages her father’s valet to seduce her. A co-production from Norway/UK/Ireland/France, Miss Julie stars Jessica Chastain and Colin Farrell.

Book tickets here

 

 

 

 

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All About Eva (Ferdia Mac Anna)

Wednesday, 25th March 2015

6:00PM

Light House Cinema

All About Eva is an old-school thriller about a young woman seeking revenge upon a wealthy racing magnate whom she blames for destroying her family.

The filmmakers will attend the screening.

Book tickets here

 

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After the Dance (Daisy Asquith)

Thursday, 26th March 2015

8:00PM

Light House Cinema

Filmmaker Daisy Asquith tells the very personal story of her mother’s conception after a dance in the 1940s on the remote west coast of Ireland. Her grandmother, compelled to run away to have her baby in secret, handed the child over to ‘the nuns’. Daisy’s mum was eventually adopted by English Catholics from Stoke on Trent. Her grandmother returned to Ireland and told no-one. The father remained a mystery for another 60 years. Until Daisy and her mum decided it was time to find out who he was. Their desperate need to know takes them on a fascinating and moving adventure in social and sexual morality and the fear and shame that Catholicism has wrought on the Irish psyche for centuries, and connecting them with a brand new family living an extraordinarily different life.

Daisy Asquith will attend the screening.

Book tickets here

 

 

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Dare to be Wild (Vivienne De Courcy)

Thursday, 26th March 2015

8:30PM

Light House Cinema

Dare to be Wild is the story of one woman who sowed the seed of change… It tells the extraordinary and inspiriting true story of Irishwoman Mary Reynold’s journey from rank outsider to winner of a Gold Medal at the Chelsea Flower Show. Mary grew up with a strong affinity to the environment and a belief that somehow it was her destiny to use her talent as a designer to put environmental issues centre stage. Wild follows her journey from naive and impressionable ingenue to a impassioned and pioneering designer.

The filmmakers will attend the screening.

 

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Glassland (Gerard Barrett)

Friday,  27th March 2015

6:30PM

Light House Cinema

In in a desperate bid to save his mother (Toni Colette) from addiction and unite his broken family, a young taxi driver (Jack Reynor) 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.

Gerard Barrett and Jack Reynor will attend the screening.

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Ten Years In The Sun (Rouzbeh Rashidi)

Friday, 27th March 2015

8:00PM

Light House Cinema

An assortment of obscure private obsessions, conspiracies and perversions flicker on the verge of inoherence against the context of vast cosmic disaster in Rouzbeh Rashidi’s boldest film to date. This sensory onslaught combines a homage to the subversive humour of Luis Buñuel and Joao Cesar Monteiro with the visionary scope of a demented science fiction epic.

Book tickets here

 

 

 

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Tana Bana (Pat Murphy)

Friday, 27th March 2015

8:40PM

Light House Cinema

Varanasi is the ancient city on the Ganges where Hindu pilgrims come to bathe at dawn and where cremation fires burn along the sacred river long after night has fallen. The city is also famous for the Moslem silk weavers whose ancestors traveled along the Silk Road and whose history is interwoven with that of their Hindu neighbours.

Loosely structured as a day in the life of Varanasi, this unique, intimate documentary explores how the Moslem community of weavers respond to huge economic shifts in their lives and shows the difficulties they face in passing on traditional weaving skills to their children. The film also gives voice to the changing roles of women within this enclosed world.

Pat Murphy will attend the screening.

Book tickets here

 

 

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Let Us Prey (Brian O’Malley)

Friday, 27th March 2015

10:40PM

Light House Cinema

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!

Book tickets here

https://www.youtube.com/watch?v=k2fnLntATUo

 

 

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Yximalloo (Tadhg O’Sullivan, Feargal Ward)

Saturday, 28th March 2015

2:00PM

Light House Cinema

Naofumi ‘Yximalloo’ Ishimaru is an obscure cult musician, living and working on the fringes of music and society for all of his storied life. A self-taught, self-styled pioneer with a vast back-catalogue, Naofumi currently lives with his disabled civil partner in an anonymous, unfriendly cul-de-sac in a Dublin suburb. Torn between his loyalties to Gerry, his yearning for Japanese society and the dream of making his international music career pay, Naofumi endures a difficult year. Moving between Dublin and Tokyo, this touching portrait opens up the world of a deeply individual character to explore universal ideas of life, love and loneliness.

 

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Wheel Of Fortune: The Story And Legacy Of The Fairview Lion Tamer (Joe Lee)

Saturday, 28th March 2015

3:30PM

Light House Cinema

 

Filmmaker’s statement: Wheel of Fortune 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.

The filmmakers will attend the screening.

Book tickets here

 

 

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The Canal (Ivan Kavanagh)

Saturday, 28th March 2015

8:30PM

Light House Cinema

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.

Rupert Evans will attend the screening.

Book tickets here

 

 

You can check the full programme here

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