DIR: Ian Fitzgibbon • WRI: Kevin Barry • DOP: Cathal Watters • ED: Stephen O’Connell • DES: Jeff Sherriff • PRO: Michael Garland • MUS: Stephen Rennicks • CAST: Peter Coonan, Moe Dunford, Charlie Murphy, Pat Shortt, Jana Moheiden
Dark Lies the Island is about a doomed love-rectangle in a small Irish town. Daddy Mannion (Pat Shortt) has the run of the place in Dromord. Every other business in town is a Mannion enterprise. But as his two sons (Moe Dunford and Peter Coonan) become jealous of his money and young wife Sara (Charlie Murphy), can the Mannions escape with their dignity intact? Inspired by characters from Kevin Barry’s short-story collection by the same name, Dark Lies the Island is a film about desperation and loneliness in a town that has a hold over all the characters.
Daddy Mannion may be the success of the town, but his personal life leaves much to be desired. His wife Sara, twenty years his junior, is bored sick at home with an atypical teenage daughter, played brilliantly by Jana Moheiden. Sara will do anything to punish Daddy for keeping her trapped in Dromord. To make matters worse, Daddy has two grown sons from his first marriage: failed businessman, Martin (Moe Dunford) and a recluse who runs shady businesses from his shack in the woods, Doggie (Peter Coonan).
Most of the characters are desperate to get out of Dromord but do nothing to leave. Circumstances like debt, marriage, family business or agoraphobia keep people there, drive people to madness, and send them to the bottom of the lake. The irony of Doggie’s situation is highlighted when he says “I can leave whenever I want” but hasn’t set foot outside his shack in years. The feeling of being trapped is emphasised by cinematographer Cathal Watters, as he frames the characters in lots of close-ups, contrasting the expansive scenery outside.
Something magical hangs over the film, as though Dromord has abstained from the rules of reality. The whole 90-minutes you’re waiting for the worst to happen to the Mannions, but you feel like absolutely anything could happen. The score by Stephen Rennicks (Room, Frank) enhances the mood – dark and playful at the same time, balancing light and dark.
I really wanted to like it more than I did. I’m a big Kevin Barry fan, so I was interested in seeing how Fitzgibbon would manage it. Barry has such a distinctive style that sadly didn’t translate to the screen. The magic of Kevin Barry is he puts you in someone’s head and makes you believe you’re there. But in the film, the focus shifts between so many different characters that it feels like a diluted version of his work. Barry perfectly balances humour and darkness in his short stories, and I’m not sure anyone can do him justice.
With solid performances and gorgeous cinematography, it’s a shame the film doesn’t live up to the book. Barry’s tone is a hard one to pin down so I think audiences might have a hard time knowing how to feel.
Dark Lies the Island is released 18th October 2019
This documentary style film follows Gerard Mannix Flynn and his family’s traumatic experience within multiple institutions run by state and church in Ireland.
The film gives light to the aftermath of violence many people have felt due to the power of church officials and how they ran certain institutions with an iron fist while preaching the word of god. Gerard revisits some of the institutions he was incarcerated within while breaking this up with interviews with his family and their experiences within the same or similar places.
The story within aims to hit hard and it does deliver as many people can relate to the story being told whether through themselves or their own family members. The fear within Gerard’s family members to this day is evident as they speak out and it is visible that their words are chosen with careful consideration with the aim of being able to tell what happened but also fear of retaliation even in modern-day Ireland.
The only thing that took me away from the events being portrayed was the way in which the interviews were broken up. Gerard walking around the old institutions brought home the actual story being told but the break-up of the interviews with him in a room with only a chalkboard seemed unnecessary and brought me back to reality and not immersed in the events being told to me. The lack of narration did the same thing, but I have less quarrel with this while Gerard walked around the old buildings as sometimes you need the silence to appreciate the scene being shown to you.
Overall, I feel obliged to thank Gerard and his family for being brave enough to speak out about what happened to them in relation to the physical, sexual and psychological abuse they suffered day in and day out when incarcerated within these places as children. The underlying theme of the story was that both violence and incarceration can only breed more violence and incarceration. If this is what you only know as a child, then what more are you expecting from life. Breaking a cycle like that would be near impossible while carrying around the trauma these people had to endure.
Seán Crosson takes in Karl Golden’s Bruno, which follows an Irish homeless man who has drifted into a life on the streets of London.
Homelessness has been among the most prominent social challenges in recent years in Ireland, an issue the current administration has singularly failed to respond to effectively with the number of people classified as homeless crossing the 10,000 mark in recent months. This topic has already been addressed in Irish cinema, including Darragh Byrne’s Parked (2011) and more recently Paddy Breathnach’s and Roddy Doyle’s damning indictment of Irish society and the government’s response to homelessness, Rosie (2018). Karl Golden’s Bruno provides a further development to this theme by focusing on an Irish homeless man living in London, a city to which tens of thousands of Irish people have emigrated (with a considerable number there also ending on the streets). In his post screening Q&A, Golden talked about the background to Bruno as being inspired from his time living in London and encountering homeless people. The production provides a fictionalised and imaginative exploration of what might have happened in the life of one individual he witnessed to lead to their homelessness, as told through the story of Daniel, the central protagonist, brilliantly played by Diarmaid Murtagh.
We encounter Daniel first living with his dog Bruno in a garage lock-up from which he is evicted shortly thereafter. While seeking other accommodation, he witnesses a group of men trashing a local playground, with which we discover later he has a traumatic connection. When Daniel intervenes, he suffers a severe beating and ends up in hospital, losing his dog Bruno along the way. When he returns to the playground in an attempt to find Bruno, he encounters a young run-away boy called Izzy sleeping there. When Izzy insists on following Daniel around the city and helping him find Bruno, Daniel is forced to come to terms with a horrific moment of personal loss in his life.
Woody Norman as Izzy provides the heart of the film and Norman’s revelatory and complex performance belies his young years – he was only nine when the film was shot. Izzy offers a focus for Daniel in coming to terms with his own deep trauma and eventually a way to reconnect with society and his family.
The film is impressively shot by Jalaludin Trautmann, whose mostly handheld cinematography perfectly complements Daniel’s inner turmoil. As one audience member at the Galway premiere remarked, London, in all its greyness and glory, has rarely been captured as effectively on film. Golden reflected on the filming process following the Galway screening and described the process as almost guerrilla in nature – given the shoe-string budget available and the lack of permissions for some sequences (shot clandestinely).
Bruno is marked often by a lack of dialogue or communication; indeed Daniel hardly speaks throughout the entire film (until forced to do so), but yet in his gait and expression he communicates a deeper trauma, only revealed much later in the work. While homelessness may be prominently featured here, Bruno is above all a moving and sensitively told excavation of personal loss.
June Butler takes a look at Naked, Edward Kennedy’s film which documents the collaboration between Irish artist Róisín Cunningham and three life models. The film explores the relationship between sexuality and creativity, the similarities and differences between the male gaze and the female gaze, and body image.
If a group of people were questioned about what would constitute their worst nightmare, standing naked in front of total strangers for hours at a time while those same viewers stare and scrutinise every line of your body must rank at the top of the scale. For three models, this is their daily job – for one model, it is her sole means of income.
The promotion line for Naked is touted as a ‘life modelling film about life’ narrating the story of three young life models who pose for artists. Director Edward Kennedy has beautifully rendered a most imaginative take on life models who tell their stories – provoking the same questions of each as they are asked the reasons behind embarking on such a career. Two female models and one male model are interviewed individually and it is fascinating to hear how they arrive at the same conclusion albeit using different language. All insist the initial stages were daunting but all equally maintain the ultimate payoff was worth the risk.
Model Kate Dunne explains once the threshold of fear was crossed, the idea of posing naked was no longer fraught with difficulties. Dunne is emphatic in her new-found sense of empowerment and observes being in such a position has lent increased meaning to her life. The narrator asks of Dunne whether she agrees with the statement that to be naked is to be oneself but to be nude is to be seen naked by others yet not recognised for oneself. Artist Roisin Cunningham, queries of Dunne which she prefers – to be naked for the camera or to be nude for the artist’s drawing. Dunne states she would prefer to be neither but feels in the setting she is both. Dunne brings her own sense of impartiality to the scene – Dunne senses she is an object yet is at peace with this depiction of her body. When Kate is asked if the feeling of being unclothed is one of sensuousness, she is unequivocal in her assertion that it is not but goes on to say that when looking at a naked body, the viewer can either take sexuality from that body or project sexuality onto it.
Izabella Linuza confesses to being fundamentally shy and claims that entering into the world of life modelling was her key to finding inner stability and peacefulness. Linuza exudes an air of contentedness and it is patent to see she is confident with her choice of metier particularly when artists, in some cases, can be standing as close as one metre away. There is a sense of Linuza accepting she is on a journey but pausing at this stage of emboldening, intent on continuing her travels when the need is sated. Izabella reveals when she is modelling, she can feel slightly numb, distanced from the activity but concludes this experience brings with it serenity and tranquillity – away from the bustle of day-to-day living.
The only male model of the three is Dylan Jon Matthews and for the most part he emanates a different energy. He discusses the male gaze versus the female one and agrees the female gaze is slowly coming to the fore. Matthews claims the male gaze is more overt whereas that of the female is somewhat hidden. However, Matthews feels this is changing and agrees with the evolutionary process. Dylan is the most extravert of the three – cheekily he suggests everyone should be naked all the time. He feels this is liberating but states it was not always the case. When Matthews first started life modelling, he did so because a friend challenged him to do something that took him out of his comfort zone. Life modelling fitted the bill and Matthews has never looked back.
Director Edward Kennedy has directed a wonderfully, enlightened documentary. Instead of stopping and starting the narrative, he provides a seamless continuum between watching the life models pose, witnessing the artist (and narrator) sketch, and hearing the testimonies of the three life models themselves. William R. Keane rounds off a most evocative and beautiful rendering with an imaginative and well-placed musical score. In all, Naked is just exquisite and truly worth watching. It is what a documentary should look like when it has grown up.
DIR: Mike Ahern, Enda Loughman • WRI: Mike Ahern, Demian Fox, Maeve Higgins, Enda Loughman DOP: James Mather • ED: Gavin Buckley • DES: Joe Fallover • PRO: Ailish Bracken, Yvonne Donohoe, Katie Holly, Mary McCarthy • MUS: George Brennan • CAST: Maeve Higgins, Barry Ward, Will Forte
That rare beast, the funny, Irish, comedy feature film is back again in the form of Extra Ordinary, which follows the supernatural adventures of Rose Dooley (Maeve Higgins), a psychic paranormal expert, who tries to pursue the ordinary life as a driving instructor since having inadvertently caused her father’s death many years before when the two of them tried to save a dog from a haunted pothole. You know how these things go.
But the ordinary life is not to be; local widower Martin Martin (Barry Ward) reaches out for help with his abusive dead spouse who won’t move on to the afterlife. Though Rose initially refuses to help him, his second call for help with his levitating, comatose daughter is one she feels she can’t refuse and sure she fancies Martin anyway. What they don’t know is that these coma/levitation shenanigans are the result of satanic dabblings by the local, evil, failed rock star, Christian Winter. Yes, Christian Winter not Chris De Burgh. He plans to sacrifice the virginal girl to Ostrogoth and revive his failed music career; as you do.
Directors Enda Loughman and Mike Ahern have created their own satanic alliance, ignoring the sacred rules of co-directing by not being siblings and it has paid off quite nicely with this clever, funny little film. With a matter-of-fact attitude, blending the ordinary and banal with cheap shocks and fantastic absurdity, Extra Ordinary builds its humour gently before finally reaching hysterical proportions in its final scenes.
Holding these elements together are a superb cast, playing fun characters, who are as enjoyable in the more down-to-earth scenes before the supernatural shenanigans really kick in. Maeve Higgins’ central performance holds things together quite nicely with her innocent, yet mischievous, Rose Dooley but she is well aided by brilliant performances from all those involved, including some American fella, Will Forte, looking to make it big on the Emerald Isle.
A highly enjoyable romp for children of all ages, except for maybe the squeamish ones under ten.
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.
Orla Monaghan was at the Fleadh to celebrate the creative cornerstone of Irish film: the animation industry.
On Sunday, 14th July the Galway Film Fleadh treated us to sixteen short animations from both new and established talent from all across the country. There was some truly imaginative work on display, and all genres were covered.
Streets of Fury
The standout in comedy was Streets of Fury, directed and produced by Aidan McAteer. The tale follows the violent Max Punchface, an ’80s-styled video-game character, as he punches his way through levels and life. And just like that, Max is suddenly transported into the calm, bloodless world of Sheepland. How will Max now cope without using violence as currency? Streets of Fury is a fun blend of nostalgia and humour. It definitely has everything you would want from an animation!
The absolute standout on the day was THEM. Directed by Robin Lochman and produced by Mathias Schwerbrook, it is an original animation with a gritty new look. In an isolated village where everyone bares the same sliver reflection, how will life change when a new, golden, self-proclaimed leader shows up? The story examines the place and power of false idols in our world and follows one characters attempt to fight and overhaul the system. A definite must-see!
A Quack Too Far
For younger viewers, A Quack Too Far and Far Isle are both superb options. Directed and written by Melissa Culhane, A Quack too Far tells a simple tale about a sleepy fox and a noisy duck. What does a fox have to do to get some peace? A Far Isle, directed by Laura Robinson and produced by Gavin Halpin, is enjoyable for both adults and children. The story of one girl’s enchanting boat journey is beautifully told with an impressive, colourful visual.
In terms of horror, Dorothy offered up a truly spooky piece about a child being tormented in the witching Salem Massachusetts in 1687 and Offering showed us what happens when a mysterious quest goes awry.
Legend Has It
A few of the animations focused on Irish subject matter. Legend Has It told the tale of a young girl’s struggle with a dark secret in an ancient Celtic community. Whereas TheBogman was an interesting take on the transition between old Ireland and new. In reaction to the recent sustainability announcement from Bord Na Móna, the story follows a man from the midlands who has harvested peat his whole life. How will he, his community and more like him cope with this news?
Wear and Tear
Also worth a mention is Wear and Tear, a sort of psychological thriller about nightmare-born creations following you into your waking day. Cliona Noonan’s humorous Tuna about a woman’s odd obsession. And I’m sure any student can relate to Ctrl + Alt + Z, which tells the classic, stress-inducing story of the student who forgot to hit save. Visually, The Dream, directed by Jack O’Shea, really merits a mention. The positively unique style of this animation was stunning and certainly made it unforgettable. Finally there were strong debuts from Shannon Egan (Archie’s Bat) Kayleigh Gibbons (Featherweight), Rachel Fitzgerald (Bubbles) and Janet Grainger (Outside the Box) completing an impressive programme of Irish animation.
Stephen Burke was in Galway to witness firsthand Rose Dooley’s supernatural abilities that allow her to communicate with spirits.
Over the course of six days, 95 films were screened at the Galway Film Fleadh from a total of 36 different countries yet Irish comedy-horror Extra Ordinary may well have been the most anticipated of them all. It was one of the films announced early at the start of June and tickets sold out several weeks in advance. On the Saturday evening of the festival a very large crowd gathered outside the Town Hall Theatre before the domestic premiere with co-directors Mike Ahern and Enda Loughman present alongside leading performers Maeve Higgins and Will Forte. The marketing team even went the extra mile by offering free shots of an alcoholic drink referred to as “ectoplasm” (as you will learn below, ectoplasm plays a key part in Extra Ordinary).
Once inside, I found myself seated next to one of the country’s most esteemed producers and to this person’s left was one of Ireland’s best-known and highly regarded actresses. When an audience member (and fellow reviewer) decided to exit the row a time too many, the producer wryly declared that she wouldn’t be letting the offender back in upon his return and that he’d have to sit on the floor. While the threat was tongue in cheek, the idea of patrons being reduced to standing or sitting on steps started to look like a real possibility as the crowd continued to stream through the door. Eventually, every seat in the auditorium was filled and the lights dimmed.
In Extra Ordinary Maeve Higgins stars as Rose Dooley, a lonely woman working as a driving instructor somewhere in small town Ireland. This uneventful existence is in direct contrast to her childhood days, a time when Rose used her paranormal abilities to assist her father (Risteard Cooper, mainly seen in flashbacks but funny), a spiritualist and TV personality. One day a terrible accident left Rose without a father but with a great feeling of guilt instead due to her perceived part in the tragedy (an incident Rose refers to as dad-slaughter). From that day on Rose shunned her psychic gifts.
Martin is a widower living with his teenage daughter Sarah (Emma Coleman). This is no normal household though as the spirit of Martin’s deceased wife Bonnie continues to linger (quite literally), bringing extreme nuisance to their lives rather than any fear. Martin is regularly the victim of minor acts of violence at Bonnie’s expense. “Catastrophes” such as choosing the wrong shirt or placing a bowl into a plate spot of the dishwasher result in swift reprehension for him (for example cabinet doors are regularly slammed against Martin’s head by his not quite late spouse). He enlists Rose’s services, initially under the false pretense of requiring driving lessons. The truth soon emerges though with Martin admitting that he needs Rose to bring her spiritual talents out of retirement so she can help rid him of Bonnie’s meddlesome presence. That’s not even the half of it though. What’s more pressing is the fact that lately Martin has found Sarah levitating above her bed. Christian Winter (Will Forte) is the man behind this. Winter, a once-famous for fifteen minutes rock-star, now living in Ireland (for tax purposes no less) has somehow become convinced that the demonic sacrifice of a virgin will reignite his long since evaporated musical talents (if they ever existed at all). Sarah fits the bill perfectly for this purpose as far as Winter is concerned.
In most cases Rose would have flat out refused to get involved in something like this. However, as she’s quite smitten with Martin she agrees to assist him, explaining that the only way to prevent Winter’s dastardly wishes from coming to fruition is to collect enough ectoplasm (told you it plays a key part) to be able to cast a specific spell. To obtain this ectoplasm they have to partner up and carry out a series of exorcisms all over town. In these instances Martin is required to inhabit the spirit of the deceased so Rose can expunge it.
The script plays to Maeve Higgins’ strengths (she has a writing credit) and her charming awkwardness brings about many of the laughs. In the post screening Q&A, Ahern and Loughman explained that from day one the part was written with Higgins in mind. Higgins joked that the character is not based on her in real life.
Over the past few years, strong central performances in films such as Jimmy’s Hall and Maze have cemented Barry Ward’s reputation as an actor of real pedigree. Those were dramatic turns however and comedy is a whole other discipline. Apparently Ward turned down the role in Extra Ordinary at the first time of asking. Luckily for him so that he reconsidered, as he has now added the bow of comedy to his string of talents. He gives a very funny performance, especially in the scenes where Martin is forced to inhabit spirits and operate as multiple personalities at once, showing a real flair for physical comedy.
As antagonist Christian Winter, Will Forte sports a ridiculous moustache and carries a large magical wooden staff (referred to at one point as a “willy stick”), which directs him in his evil underworld dealings. The character doesn’t feel new but more like the kind of villain we’ve become accustomed to seeing in comedy-horrors like Extra Ordinary. Forte can do this kind of thing in his sleep and although he hams it up suitably, I have to admit that his shtick got repetitive quickly (more a script issue than an actor issue), save for some very funny moments during the final act. His involvement will likely help the film to find a foreign audience though. Claudia O’ Doherty, so very funny in last year’s The Festival, is a rather irritating presence this time around. She plays Winter’s wife and her character’s response to every problem seems to be to “kill the bitch”, a statement that becomes a catchphrase very quickly and loses steam even quicker. Extra Ordinary works best when focusing on the relationship between Martin and Rose. Both of them are sympathetic characters and it’s not hard for the audience to root for them to end up together.
One area that the film certainly succeeds in is tone. In an early scene Rose stands at her father’s roadside grave and dolefully says: “I’m very sorry for murdering you daddy.” Maeve Higgins’ innocent and deadpan delivery makes this line genuinely funny. Add to this the fact that Barry Ward’s character’s full name is Martin Martin and you know what you’re in for. Ahern and Loughman are in no doubt about the kind of movie they want Extra Ordinary to be – a funny one. The film is a comedy above all else and while there are of course some touching moments, at no point does the humour play second fiddle. The absurd mood remains consistent from the opening title (a Fargoesque “Based On A True Story”) right through to the final piece of dialogue, a gloriously savage condemnation. Although paranormal activity is the theme, Extra Ordinary is never really scary at all. It’s not clear when the film is set. It could easily be the present day but there are glimpses of VHS tapes and cassettes on occasion. Regardless, there is a retro look to Extra Ordinary that is reminiscent of Garth Marenghi’s Darkplace in terms of atmosphere and it serves the comedy well.
The storyline itself is not exactly the most original. To be fair though, one promo did advertise the film as “Father Ted meets Ghostbusters” which is pretty much on the nose. There are many little witty details specific to Ireland that will be appreciated by the domestic audience. Credit to the filmmakers too for avoiding some of the obvious Irish tropes. In the post screening Q&A they explained that in writing the script, they only had three rules – “No priests. No drinking. No IRA”. Extra Ordinary has secured North American distribution and it will be interesting to see how it travels. For example, the Americans are unlikely to appreciate the cameos from Mary McEvoy and Eamon Morrissey as much as us locals!
It’s no secret that Extra Ordinary scooped the Fleadh Award for Best Film. The audience at the screening certainly appreciated it too with many people in hysterics throughout. However, it has to be said that at a film festival (especially on home soil), the laughter will always be louder and the plaudits always greater. The thing most people will want to know is if the film is actually funny. The answer is that Extra Ordinary is fun and has plenty going for it but I don’t feel it’s the hilarious work of originality that many might proclaim it to be. Not every gag hits home and in parts the script is a bit flabby. However, the jokes do come at a breakneck pace and are so frequent in fact that there are probably more laughs in this film than the average comedy. On the other hand though, this also means there’s quite a number of misses too.
George Brennan’s score is fantastic and the parts of Extra Ordinary that are funny are very funny indeed. There is some great use of dialogue in the script with certain lines likely to be quoted years from now, e.g, Martin fears his daughter will become a “homeless sex maniac on the streets snorting hash”. At another point Christian Winter’s laments: “Can one not just sacrifice a virgin in peace?” The finale is also a completely bizarre and off the wall spectacle with the film boasting one of the most imaginative and least gratuitous threesomes you are ever likely to see on screen.
In general, there is much to like about Extra Ordinary but be warned… It’s not a comedy to suit everyone and viewers will likely need to be in the right mood for it. Extra Ordinary feels like a cult film in the making. However, if future audiences like it as much as those at the Fleadh did, then it might become more than that.