Interview: Tony Kearns

tony kearns

With Sinister 2 directed by Ireland’s own Ciarán Foy out in cinemas now, as well as Irish horror The Hallow coming out in November, Deirdre Molumby talks to film editor Tony Kearns (Citadel, Let Us Prey, Charlie Casanova) about the horror genre, the Irish film industry, and what his work entails.


What do you think is the current state of Irish horror?

It is a growing sector of film production in Ireland thanks to people like John McDonnell and Brendan McCarthy of Fantastic Films [the co-producers of Let Us Prey] who specialize in the horror genre. It has also become less of a guilty pleasure among film makers, especially those who grew up enjoying the classic horror films of the ’80s and ’90s.

I have observed that the younger generation of directors and producers are very keen to make their own stabs – if you’ll forgive the pun – at the genre. Another factor is the store of ancient nature based myths ad superstitions in Irish culture that provide fertile material for horror stories such as Corin Hardy’s The Hallow which was completed recently.

One of the benefits of editing Citadel [dir: Ciarán Foy] and Let Us Prey [dir: Brian O’Malley] is that I have become aware of the huge global community of horror fans as seen in the multitude of websites and film festivals dedicated to the genre, and this has been feeding back into the film culture and community in Ireland. Seriously, you would not believe how many horror movie websites there are out there.

citadel-3Pesky kids – Citadel


What do you personally like about the genre?

I love films with deeply unsettling atmospheres of dread and terror which play into and feed on the darkest parts of the viewer’s psyche that scares the bejesus out of you at judicious moments. An example would be John Carpenter’s The Thing. There is very little blood and guts in Citadel and the tension and horror is centred around the main character’s agoraphobia after a vicious attack on his wife. I’m not into gratuitous gore as such and I am turned off by torture porn. Yuk.


What makes a successful horror movie editor?

It’s the same for any genre or type of feature film really – the ability to craft a compelling film that tells the story well, that brings out the best performances from the actors and that reshapes the film if necessary to achieve a better outcome. Furthermore, a good editor has to be able to keep in mind the effect of the film on the general viewer who experiences it for the first time even though he or she will have become incredibly familiar with every frame by the time they’re finished the edit. You have to create something that engages the audience and keeps them there, regardless of what type of film it is. If you’re editing a horror film, it helps not to be squeamish; you need an iron stomach and a sense of humour.


When you start editing, do you stick to the script and storyboard or is there much room for interpretation?

I work off the rushes, initially editing scene by scene after reading the script to check I’m not missing a line here or there. I never work from storyboards because I’m looking at the shots on the screen; generally I’m never given them anyway. There’s always room for interpretation, for example, you could have a number of angled shots for a scene but you could end up using only one in the final edit. Scenes are frequently dropped or put in a different part of the story than in the script. Once it has been filmed with flesh and blood actors the film gains a new and vibrant life which gives me a wealth of options to explore.


What have been some of the greater challenges in your line of work?

Getting Martin Scorsese to return my calls. Otherwise, working under tight budgets and tight schedules. We’re all miracle workers here.


Whether it provoked screaming or nail-biting suspense, is there a scene you worked on that are particularly proud of and how did you cut it?

There is an interrogation scene in Let Us Prey between Liam Cunningham’s character and the police sergeant played by Douglas Russell that I feel very satisfied with as it is the first real inkling of the dread to come. Big, unforgiving close ups and terrific performances create a wonderful, tense atmosphere. As for how I cut it? You want my secrets as well?

LetUsPrey-thumb-640x360-49212Another bloody headache – Let Us Prey


Your most recent work was in Let Us Prey – what was your experience of that production?

It was a great experience to work with Brian O’Malley as he is a good friend and we have worked on many commercials and two short films, Screwback and Crossing Salween, over the past fourteen years or so. We have a great intuitive understanding of each other so it made the editing process an enjoyable one. I also loved sourcing and mixing the temp music and sound FX which gave the composer Steve Lynch and the sound mixer Richie Naughten a base from which to do their own marvellous work. It was also a great pleasure to look at the luscious work by the DOP Piers McGrail.


What is next in the pipeline for you?

I’m currently editing a coming of age comedy set in Scotland called Moondogs, which is directed by Philip John (Downton Abbey, Outlander). At the time of this interview, I’m in Glasgow assembling scenes during the shoot and will continue editing in Egg in Dublin once the filming has been wrapped. That’ll keep me off the streets for a while at least.


The Horror comes to Filmbase

Wednesday 30th & Thursday 31st October 2013

In a special Halloween event, Filmbase will host two terrifying nights of blood-curdling shorts and a fightening feature. With Competitions, Q&As, fancy dress and, if that wasn’t enough, , Stefano Galvino, DJing with his unique Audio Visual Horror Set.

Spine-Shuddering Short Film Feast!
7pm, Wednesday 30th October
Wednesday’s line-up features an array of spine-shuddering short films, an audience Q&A with all of the Directors and an Audio Visual Horror Set.

The short film line-up includes:

The Ten Steps
Zombie Bashers
The Faeries of Blackheath Woods

Q&A with the films’ directors Brendan Muldowney (Savage, Love Eternal) Conor McMahon (Stitches, Dead Meat) & Ciaran Foy (Citadel, Scumbot)– Approx 45mins

Audio Visual Horror Set:
Stefano ‘Samhain’ Galvino will haunt your eyes and ears with an exclusive mix of soundtracks, dialogue, horror, spoken word, atmospherics alongside diabolical visuals from all your favourite nightmares to send you home.

Halloween Night’s Freaky Feature Frenzy!
7pm, Thursday 31st October


84mins | Cert 16 | 2012

Tommy Cowley is a young father inflicted with chronic agoraphobia since his wife was brutally attacked by a gang of a twisted feral children. Trapped in the dilapidated suburbia of Edenstown, he must finally face the demons of his past and enter the one place that he fears the most – the abandoned tower block known as the Citadel.

Audio Visual Horror Set
Stefano ‘Samhain’ Galvino will be on hand the Thursday as well to bring you more visuals from all your favourite nightmares to send you home.

Plus, lots more SPOOKY happenings including…
Best Fancy Dress Competition:

1st Prize – 100 euro Filmbase Voucher for any Filmbase training course.
2nd Prize – 50 euro Filmbase Voucher for any Filmbase training course.
3rd Prize – 1 year free Filmbase Membership.

Tickets only €3 for one night or €5 for both nights.

Tickets available on the door, or book your place by calling 01 679 6716 and dialling 1 for reception.

Check out the event on Facebook



Interview: Ciarán Foy, director of ‘Citadel’



Dublin-born director Ciarán Foy has taken his debut feature all over the world; all over that is, except for the countries where it was made and set. Citadel, a low-budget but extremely creepy psychological horror is set on an unnamed Dublin council estate, but was largely filmed in grey, wintry Glasgow, featuring a cast of actors from all over these two islands. Foy’s film was received to much acclaim at South By Southwest in March 2012, and despite being a home-grown film is only reaching these shores now.

Citadel is inspired by traumatic events that Foy actually fell victim to – a savage beating by violent youths that left him with a crippling case of agoraphobia, the fear of the outside world. In his film, Foy addresses his own demons by demonising his assailants, imagining a world where a working class Dubliner is attacked by hoodied youths who are revealed to be not social delinquents but actual monsters. Tommy, played by Welsh actor Aneurin Barnard (Ironclad), develops agoraphobia when his wife is murdered by the creatures, unaware of their true nature. When the blind but fear-sensing mutants return for his daughter, only a bullish local priest (James Cosmo – Game of Thrones, Troy) with secrets of his own can help him defeat the nightmares in their tower block citadel.

As Citadel finally opens in Ireland on Friday, 21st June, Ciarán Foy sat down with David Neary to discuss his film, its journey around the world and his own journey with it.


It’s been 15 months since Citadel had its premiere at SXSW. What’s it like to finally be bringing it home?

Obviously it’s my only experience with it being my debut feature, but from talking to people most of the time it’s the other way round – if the film gets a US release at all, it usually comes out back home first.

Because we premiered at SXSW, when it won the Audience Award there that began a bit of a feeding frenzy from distributors in the US to secure the film. So before we left the festival Cinedigm had agreed to take it and release it in the US. So it was following SXSW that I seemed to go around the world the opposite way – the US, then South Korea, finally coming around to Europe. So it’s kind of odd that the final stages of it are Ireland and the UK.

It’s strange, because obviously a lot of the iconography would make a lot more sense to people in this part of the world. I had people coming up to me in the States referencing the tower blocks and saying “Do people actually live there, or did you create this?”, as if it’s a complete fantasy environment!

A lot of people over there would hear the accents in the movie; my lead is Welsh, Marie (Wunmi Mosaku) is English, Cosmo is Scottish – and they would just assume those are all Irish accents, because I’m an Irish person and it’s set on an Irish council estate, with Irish characters. It’s going to be interesting to see how people respond to it here given the familiarity to things. It was all shot in Glasgow except for the interior of Tommy’s house, that was shot in Crumlin.

How do you hope Irish audiences react to it?

I’ve never seen Citadel as an ‘Irish film’. And that’s not being facetious or anything. I remember being asked in the US am I an Irish filmmaker or a filmmaker who happens to be Irish. I think I’m a filmmaker who happens to be Irish. So I hope they treat it like a regular horror. But even compared to low-budget horrors like The Purge, we’ve got like half a per cent of their marketing budget, so we just can’t reach that wide an audience. I just hope that people can watch it and see a horror film that feels like a ’70s psychological horror that gets under your skin. I just hope they respond to it.

You mix your own experience of real horror with the fantastical. What brought you to turn a real terrifying experience into an unspeakable nightmare?

I’ve always been a fan of fantasy and science fiction and adventure. The kind of movies I love are the kind I grew up with; Spielberg, Cameron, Zemeckis, Verhoeven. Those are my teachers. When the attack happened to me and I was left with this condition that I didn’t have a word for at the time, agoraphobia, and I was just scared out of my wits to even look at the front door, never mind leave the house, the idea of turning that into a movie was the furthermost thing from my mind.

But it was really when I went to film school and I was getting help for agoraphobia from the free counsellor in the college that the idea for the film began to develop. We were talking about body language and she was saying that when you’re afraid your body says you’re afraid. And she said it’s as if these “street predators”, as she called them, can see your fear. And that concept stuck in my head, the idea of something that could see my fear. I just thought if that was literally the case it would be so creepy. So I remember that evening going home, again adding nothing from my own life, and sketching the idea of a creature that was blind but could see fear.

And it was really while talking about that idea with people, and about the my personal inspiration for it, that I got the same reaction every time: “Man, you should put some of that in.” So it was just this weird fusion of my experiences with agoraphobia mixed with my love of genre film. And in an odd way, the more I thought about it, to really tell a story that is true to what it’s like to be agoraphobic, almost requires you to veer into the fantastic because it’s such an irrational fear. You’re seeing things that aren’t there and you’re hearing things that aren’t there. And that constant state of paranoia, to really put the audience inside the head of an agoraphobic, was my intention from the outset, to make an extremely subjective experience. To do that you’ve got to amplify things; to do a straightforward drama about a guy with agoraphobia from an objective point of view wouldn’t really be honest to what it’s like.”

In a sense Aneurin Barnard is playing you, albeit suffering through even more horrific torments. What was your working relationship with him like?

It was pretty intense, but it was interesting. On the page there was a lot of me in the character, which I didn’t really want to put on screen; I didn’t want to direct an actor saying “well what I do is…” or “back when I was you…” or something. I really wanted him to own the character and run with it.

So Aneurin brought a lot of his own experiences to it. He’s had a similar background to me, which is something that I had an instant rapport with. I wanted somebody very young to play this young father, but the hard thing was to find somebody who was that young but had that depth of emotional intelligence. I remember going through 22 guys in one day in London, and the thing that kept hitting me was “these guys are winners”. Their own experiences of life have been great; they’re young, they’re good-looking, they’re extroverted, they haven’t had that kind of experience.

So when Aneurin came in, straight away there was just a presence off him. He was talking about his background and I knew he was what we were looking for. On set he would constantly pick my brain about everything. Intimate thoughts. Everything.

It was very tough going. We had only 23 days to make this film, shooting four or five pages of script a day, and you throw into the mix gangs of kids in prosthetic makeup and two baby boys playing the baby girl – all the clichés about ‘don’t work with children and animals’, they all have a basis in reality. This in combination with the weather, which was the coldest winter Glasgow had on record, it was -19°C most days, and it’s just this very concentrated and intense ‘get-the-fucking-thing-shot’ environment.

Once he got to that level of anxiety he never got a chance to come down from it – it was literally ‘next shot’,  ‘next shot’, ‘next shot’. I think it helped his performance. But at the end of a shooting day he and I would go to the gym just to become more tired. So it was a bit method like that. To hold a screaming baby for 11 hours is no easy task.

James Cosmo is a domineering presence in your film, maniacally chewing the scenery and yet not undermining the production. How did you manage to restrain him?

I had him in mind when I was writing the priest. And I remember describing in prep with James and Aneurin the visual of a lion and a mouse. In that sense I did have to pull it back down a bit. You meet James and he’s 6’4” or something like that – and the same width, he’s just this tank! He was shooting Game of Thrones in Belfast at the time and I was like “he’s not going to do it now…”, but he responded so much to it that he was basically flying between Glasgow and Belfast the whole shoot, going from being Lord Mormont to being the priest in Citadel.

He’s got a very formidable presence, but he’s one of the gentlest souls you’d ever meet. But he’s very astute with a script. And I remember him making some suggestions that, at first, because I’d written the thing and it took me five years to get off the ground, that I was like ‘I’m not changing that line’.

There was this line in the movie where the priest’s attaching some plastic explosive to the main gas riser in the tower and Tommy says to him ‘Where did you learn to do this?’ And I’d spent ages getting this blurb right about his backstory and how he knows how to do it, and James just said: “I don’t wanna say that.” So how do I find some diplomatic way around this to sort of say “no, no, you need to say that”? And he says “It’s better if I just say ‘Past life.’ That’s enough.” And I remember saying “OK, let’s try it, and see what it’s like.” But he was just so right! You can bring whatever you want to that, and it works so much better than some vaguely corny backstory. So he was a great mentor in that respects.

Citadel is set in Dublin but it doesn’t feel oppressively Irish as a story. Was this your intention?

In my head I had always imagined it set in a fictitious council estate. Because this for me was a dark, gothic fairy tale of sorts, where different things represent different things. I didn’t want to say “this is set in this neighbourhood” because that’s generally sweeping everyone in that neighbourhood. So I had always seen it set in a fictitious neighbourhood. And because I’m from Dublin and always imagined making my first film here, I set it in some kind of weird parallel dimension to Dublin.

It was when we realised that one of the central images of the movie is the rectangle – because what represents the thing that an agoraphobe fears the most, and in a weird way the answer is a door, the threshold that they can’t walk through – that was what gave birth to the idea of a tower block as this giant door. It’s also a tombstone. In terms of composition we always try to keep Tommy trapped within rectangles. So I felt the headquarters of the antagonists needs to be a tower block, but by that time all the tall ones in Ballymun had come down. So we immediately started looking elsewhere.

We didn’t looked at places likes Hemsmead in London and eventually Glasgow, but what really struck me was that the visual iconography was the same. These council estates all sprung up in the ’60s and ’70s and they all have that vaguely Soviet, concrete, minimalistic look, with big patches of scorched grass and shopping trolleys. So I felt I was able to tell the same story there.

But what worked to its advantage in shooting it in Glasgow with actors from all around Britain and Ireland, was that it lent a sort of Twlight Zone-y feel of not being able to anchor yourself, to orientate yourself. Kinda like The Road, not being able to say exactly when this film is set, or where it’s set. It’s slightly anxious-making. It feels more dream-like. And that worked because I always saw the film in my mind as Tommy’s nightmare that he can’t wake up from.

The film addresses the issues of violence amongst working class youths, but skirts around the actual causes and potential solutions. There’s not much pity for these working class monsters, or redemption. How do you respond to accusations that your film is, on some level, classist?

I wanted to make a film that was honest to how I saw the world as a frightened 18-year-old. I was quite conscientious about it. I get slightly annoyed when I watch a film like Eden Lake, where you’ve got overtly middle class characters being hunted and tormented by working class kids. And I wanted Tommy, the lead, to come from that area. I didn’t want his BMW to break down in the middle of Shitsville and suddenly he’s chased by the evil working class!

Everyone in the movie comes from this area. I wanted to set it in a working class council estate with working class characters and within that there are good and there are evil. So for me the creatures – I mean, they’re inbred feral mutants, they’re not even kids! – I wanted to create a fictitious fantastical environment in order to give myself permission to do what I do in the end of the movie.

I think if they were regular kids it would be different, and I’ve read reviews where people have picked up on it the wrong way and seen it as some kind of totalitarian thing. There’s no redemption for the creatures, but then no one ever says that about zombies. ‘The poor zombies!’ No, they’re something that needs to be dealt with. And horror films allow you that platform to shock and provoke and tell allegorical tales like that. They’ve never been known for their political correctness!

Opening in the middle of summer is not easy for a low-budget Irish film. On the plus side, at least your film is not out the same day as Man of Steel

We were actually meant to release on June 14thCitadel was originally meant to have a release here in November, but our distributor in the UK was Revolver, who went under. So we’ve just got the film back, with Metrodome in the UK and Wildcard who are releasing it here. But we were originally meant to open on the 14th against Man of Steel, and it was actually Cineworld who contacted us and said “Just stay away from that weekend! We have sold-out screenings everywhere already.” It was great of them to do that.

Now that Citadel has finally reached home base, what comes next for you?

I’m working on a science fiction film set in a futuristic New York, about identity theft. I’m having a lot more levity in writing this script compared to the intensity of writing Citadel.

With Citadel getting such strong notices in the US, will that make it easier for you to get films made?

The fact that Citadel has done pretty well has made there be even more pressure to make sure it’s right and that I’m proud of the next one. I remember talking to Rian Johnson when he had just come off Looper and I said “Surely it gets easier, I mean with a budget of $30m!” and he said “The gap just expands.” And that’s just how it is.


Citadel is in cinemas nationwide this Friday, June 21st.


‘Citadel’ to Open in Irish Cinemas this Summer


Irish horror feature film Citadel has confirmed its Irish cinema release date for the 14th June. The announcement comes from Irish film distributor Wildcard Distribution. The film received its world premiere at the internationally renowned SXSW last year, where it won the Midnighters Audience Award. The film’s Irish premiere was at the Galway Film Fleadh last year, where it won Best First Feature. It has received numerous awards, along with significant critical acclaim at film festivals worldwide and on its US release with industry bible Variety calling the film “intensely suspenseful” and “breathtakingly lyrical”. Citadel has also been a commercial success upon its US release last Halloween, and has been sold worldwide.

Tommy Cowley is a young father inflicted with chronic agoraphobia since his wife was brutally attacked by a gang of twisted feral children. Trapped in a dilapidated suburb, he finds himself terrorised by the same gang, who now seem intent on taking his baby daughter. Torn between the help of an understanding nurse and a vigilante priest, Tommy sets out to learn the nightmarish truth surrounding these hooded children. He also discovers that to be free of his fears, he must finally face the demons of his past and enter the one place that he fears the most – the abandoned tower block known as the Citadel.

Ciaran Foy, director of Citadel commented: “It’s really great that my debut feature film Citadel is finally being released in Ireland, particularly in Dublin, the city that in many ways gave birth to the story. This comes after the film has literally traveled around the globe and the response it has received has been amazingly positive. It received a theatrical release in the US last November and is doing really well on DVD and digital platforms over there. All the same, there’s a sense of satisfying completion about showing it on home ground and I can’t wait for audiences to experience the terror.”

Patrick O’Neill of Wildcard Distribution commented, “Ciaran Foy’s Citadel is a unique film from a visionary new Irish directing talent that has been exciting, shocking, and terrifying audiences worldwide. I’m really looking forward to Irish audiences getting the opportunity to see this brilliant horror film.”

The film was produced by Katie Holly of Dublin based Blinder Films, with the support of The Irish Film Board / Bord Scannán na hÉireann and Scottish Screen.


Horrorthon returns to IFI

Danielle Harris

Five days of thrills, chills and spills in store as IFI Horrorthon returns from 25th-29th October, boasting the genre’s scariest, bloodiest, and best; including a special guest appearance from ‘scream queen’ star Danielle Harris, the Irish horror breakthrough Citadel, a long-awaited look at the extended Nightbreed: The Cabal Cut, amateur surgery antics in Excision, the story of The Shining in Room 237, and a first look at Brandon Cronenberg’s Antiviral.

IFI Horrorthon has spent the last year collecting some of the most twisted fantasies ever committed to celluloid from across the world and returns once again as easily the most frightful festival on Ireland’s cinema calendar. The packed programme of 32 spine-tingling features has more new horror films than ever before with 23 Irish Premieres. There are sneak previews of upcoming releases, the pick of the international horror scene, genre classics back on the big screen and special guests including Danielle Harris, a veteran ‘screen queen’ as IFI Horrorthon Guest of Honour.

This year’s Opening Film is the Irish premiere of Antiviral, the debut feature by Brandon Cronenberg (son of David) which premiered in Cannes earlier this year. In a dystopian future, the celebrity-obsessed populace clamour to be injected with the ailments of the stars. Be prepared for plenty of injections, bodily fluids, weird plotlines and a definite sense that young Brandon is infected with his father’s artistic impulses. Behold the birth of a body horror dynasty!

IFI Director Ross Keane said ‘This year’s IFI Horrorthon promises to be one of the best ever. The programming team has managed to pack in more premieres than ever before and we’re delighted to be joined by some really special guests. It’s great to see Ciarán Foy’s Irish horror Citadel making such an impact on the international festival circuit and we’re very pleased to be hosting the Dublin premiere. And of course we’re delighted that Danielle Harris will be presenting the Irish premiere of her directorial debut Among Friends in a programme that is really strong on female horror voices.’

Since she made her big screen debut in Halloween 4, Danielle Harris has become one of the most popular actresses in Horror starring in many of the Halloween and Hatchet franchises. The first ‘scream queen’ to visit IFI Horrorthon, Danielle Harris’ presence underlines the growing importance of female artists in horror, a trend evident throughout this year’s programme. In particular we’re pleased to present her directorial debut Among Friends that tells of a dinner party that goes wrong when the hostess decides it’s time to make her guests pay for their wrongdoings. Danielle will introduce the film and take part in a Q+A. She’ll also introduce screenings of genre classics Halloween 4 and Shiver and will add a touch of grisly glamour to the IFI Horrorthon long weekend.

Citadel is one of the best and most awarded of Irish horror films in some time; an urban horror story in which a grieving husband must protect his daughter from violent neighbourhood children. The film premiered at the Galway Film Fleadh, picking up the Best First Irish Feature Award and has since won a string of awards at film festivals around the world. Director Ciarán Foy will introduce the film and take part in a Q+A.

Film fans craving some amateur surgery and body modification won’t be disappointed; there are two excellent films with female protagonists supplying exactly that. Excision, undoubtedly one of the year’s best horrors, is a dark and disturbing tale of a social misfit with twisted dreams of a career as a surgeon which, needless to say, she starts to make a reality. American Mary by the Soska Sisters tells the story of someone who, in contrast to Excision, has the training (she’s a disillusioned medical student) but starts using her skills in the underground world of extreme body modification.

Other highlights of the IFI Horrorthon for this year include; a preview of Room 237, the widely admired documentary by Rodney Ascher about Kubrick’s The Shining (which will be re-released in a new version at the IFI from 2nd November); Sleep Tight, which sees the co-director of [Rec] pitch a misanthropic and increasingly obsessed concierge against a naturally positive tenant; andan extended and vastly improved ‘The Cabal Cut’ version of Clive Barker’s Nighbreed that will close the festival.

Finally of course there’s the Surprise Film; tickets don’t hang around long for those wanting to see Dublin’s best kept secret. This is always one of the most highly anticipated films and the rumours are flying but, as usual, the IFI Horrorthon team are saying nothing until the projector starts to roll.

Tickets for IFI Horrrorthon are available now from the IFI Box Office on 01 679 3477 or online at Individual tickets cost €9 (€10 for the Opening and Closing Films) range of special festival passes from 1-5 days are available on the phone or in person. IFI Daily Membership (€1) or IFI Annual Membership (€25) is required for all films.

For a full programme and more detailed information please visit

IFI Horrorthon Schedule

Thursday October 25th
19.30 Opening Film: Antiviral
21.50 Room 237
23.50 Detention of the Dead

Friday October 26th
13.00 Manborg
14.20 Midnight Son
16.30 Calibre 9
18.30 Citadel – + Q&A with director Ciarán Foy
20.30 Silent Hill: Revelation
22.30 Double Bill: Zombie Flesh Eaters/Deep Red
23.00 Slice and Dice: The Slasher Film Forever
23.15 Rites of Spring

Saturday October 27th
12.30 Eurocrime!
15.00 V/H/S
17.10 Dracula: Prince of Darkness
19.00 American Mary
21.00 Among Friends – Q&A with director Danielle Harris
23.15 Young Frankenstein
23.15 Tulpa
23.30 Bad Meat

Sunday October 28th
14.00 The Monster Squad – 25th Anniversary Screening
16.00 Shiver – Introduced by Danielle Harris
18.20 IFI Horrorthon Surprise Film
20.30 Excision
22.20 Halloween III: Season of the Witch – 30th Anniversary Screening
23.00 The Devil’s Business
23.00 After

Monday October 29th
11.00 Short Film Showcase
13.00 Nightmare Factory
14.40 The Burning Moon
16.20 Sleep Tight
18.15 Halloween 4: The Return of Michael Myers –Introduced by Danielle Harris

20.20 Closing Film – Nightbreed: The Cabal Cut
The IFI acknowledges the financial support of the Arts Council.


13 Irish Films in 56th BFI London Film Festival

(What Richard Did)

The 56th BFI London Film Festival in partnership with American Express is delighted to announce that this year’s programme includes 13 films from Ireland. This is part of a worldwide selection of 225 feature films and 111 shorts from more than 65 countries. The 56th BFI London Film Festival runs from October 10 – October 21.


PILGRIM HILL: Dir. Gerard Barrett

SILENCE: Dir. Pat Collins

WHAT RICHARD DID: Dir. Lenny Abrahamson

CITADEL : Dir. Ciarán Foy (Co-production with UK)

GOOD VIBRATIONS: Dir. Lisa Barros D’Sa and Glenn Leyburn (Co-production with UK)

KELLY + VICTOR: Dir. Kieran Evans (Co-production with UK)

LEGENDS OF VALHALLA – THOR (HETJUR VALHALLAR – ÞÓR): Dir. Óskar Jónasson (Co-production with Iceland and Germany)

MEA MAXIMA CULPA: SILENCE IN THE HOUSE OF GOD: Dir. Alex Gibney (Co-production with USA)

THE PERVERT’S GUIDE TO IDEOLOGY: Dir. Sophie Fiennes (Co-production with UK)

THE ROAD: A STORY OF LIFE AND DEATH: Dir. Marc Isaacs (Co-production with UK)

THE SUMMIT: Dir. Nick Ryan (Co-production with Switzerland)


Ireland SHORTS:

THE BOY IN THE BUBBLE: Dir. Kealan O’Rourke

FOXES: Dir. Lorcan Finnegan


Galway Film Fleadh 2012 Cinema Review: Citadel

DIR: Ciarán Foy • WRI: Ciarán Foy • PRO: Brian Coffey, Katie Holly • DOP: Tim Fleming • ED: Tony Kearns, Jake Roberts • Cast: Aneurin Barnard, James Cosmo, Wunmi Mosaku, Amy Shiels


Tension from the start, one not to be missed! Within the first two minutes Foy already had me on the edge of my seat, terrified and rooting for his lead character. The film opens with Tommy Cowley (Aneurin Barnard) a young married man on the brink of fatherhood when his wife Joanne (Amy Shiels) is attacked by a gang of unknown “hoodies”.

It had everything you want in a horror.  This first scene sets in motion a turning point in Tommy’s  life that inflicts him with chronic agoraphobia. He is trapped in a decaying part of suburbia  fighting between what is real and what he fears may ensue. But are his concerns valid?

It’s a perfect horror, if there’s such a thing. The concept is simple, although contains a couple of clichés. So, had it not have been for the amazing direction, vision and writing of Ciarán Foy the film would have fallen flat on its arse. Luckily that wasn’t the case and Foy was helped due to the fantastic acting of Aneurin Barnard and the supporting cast. Barnard depicts a chronic agoraphobia so well that there are moments when you could just break down and cry for him!

Fortunately, Foy manages to throw in some light comedic moments where you can get rid of any nervous energy that builds up inside. Which you will find will happen due to the extreme tension, fear and occasional moments of sheer horror. And isn’t that what it’s all about?!

Lynn Larkin