Doc Day @ Cork Film Festival


Inform. Debate. Inspire.


Friday 18 November | The River Lee | 1100 | €30


Doc Day is Cork Film Festival’s new rich and packed day exploring trends in Irish and global documentary.



  • Kim Longinotto (dir., Pink Saris, Dreamcatcher)
  • Sarafina DiFelice (Associate Director of Programme, Hot Docs)
  • Luke W Moody (Director of Film Programming, Sheffield Doc/Fest)
  • Laure Bonville (Documentary programmer, BFI London Film Festival)
  • Oli Harbottle (Head of Distribution, Dogwoof)
  • Mike Lerner (prod./dir., Roast Beef Productions, The Russian Woodpecker, Pussy Riot: A Punk Prayer)
  • Hamish Moseley (Head of Distribution, Altitude Films)
  • Rich Warren (Director, Encounters Short Film and Animation Festival)
  • Anna Berthollet (Festivals & Non-Theatrical Sales Executive, Taskovski Sales and Distribution)
  • Patrick O’Neill (CEO, Wildcard Distribution)
  • Maya Zinshtein (dir., Forever Pure)
  • Alan Maher (prod., Forever Pure)



Explores current trends and recent shifts in documentary programming worldwide.



This session poses questions to distributors on the global trends in documentary distribution and the current changes in the industry.


Social Change and the Campaigning Documentary

The outgoing Head of Film at BRITDOC, Luke W Moody, now Director of Film

Programming at Sheffield Doc/Fest, discusses the commissioning landscape of journalistic and social change documentaries.


Portrait of an Independent Production Company Roast Beef Productions (The Russian Woodpecker, Pussy Riot: A Punk Prayer) is one of Europe’s fastest growing and most impactful independents. Co-founder Mike Lerner will talk about his company’s practice, and why he’s big in Ukraine.



Renowned documentarian Kim Longinotto will present the keynote lecture to close out the day.


Book now: | 021 427 1711


Alt.Fund at the Cork Film Festival


Thursday 17 November | The River Lee | 1100 | €20


Exploring innovative new models of film finance and audience engagement.


This session will revolutionise the way you think about getting your film financed and seen.


This day-long event looks beyond traditional models of film finance – from working with brands, nonprofits and creative agencies to lessons in targeting your audience and securing distribution.


This is an opportunity to experiment, push the boundaries, think about the way films are told and present true life in bold and innovative ways.


Speakers include Luke W Moody (Director of Film Programming, Sheffield Doc/Fest), Matt Diegan (producer, Just So London), Pegah Farahmand (Editor, Random Acts, Channel Four), and many more TBA.


To book tickets and for more information, please click here:


‘Trailers’ in Cork Film Festival


Rouzbeh Rashidi’s latest feature film Trailers has been selected to screen in the 61st International Cork Film Festival and will have its premiere on Sunday November 13th 201620:15 at Triskel Christchurch Cinema, Cork Ireland.

Book tickets HERE

Trailers unites the most personal and experimental aspects of underground filmmaking with a scope that is as cosmically vast as a science fiction epic. Rashidi’s ongoing exploration into the nature of cinema sees a group of characters adrift in space, each locked into their own sexual rituals while a cataclysm of universal proportions unfolds. Humanity has become a mysterious burlesque show for alien eyes: the gaze of the film camera. This visionary spectacle uses multiple formats and visual textures in weaving an erotic anti-narrative suspended in its own space and time.

Featuring: Vicky Langan, Maximilian Le Cain, Anja Mahler, Jann Clavadetscher, Dean Kavanagh, Cillian Roche, Julia Gelezova, Jennifer Sharpe, Alicja Ayres, Eadaoin O’Donoghue, George Hanover, Klara McDonnell, Martin Berridge.

An Experimental Film Society production, Trailers was shot over one year with the support of an Arts Council of Ireland Project Award.

Trailers (180 Minutes, DSLR, Stereo, Colour, Ireland, 2016)

Book your ticket HERE

-13 November 2016 @ Cork Film Festival (Premiere – Ireland)
-16 November 2016 @ Film Panic @ Maus Hábitos (Portugal)
-10 December 2016 @ The Reading Room Bangkok (Thailand)
-14 December 2016 @ Lichtblick-Kino Berlin (Germany)

More info:
Film’s Blog



Cork Film Festival Shines Spotlight on Irish Cinema



Irish film is in the spotlight at this year’s Cork Film Festival, with the European premiere of I Am Not a Serial Killer (pictured) among the highly acclaimed homegrown productions to be screened from 11-20 November.

The psychological thriller directed by Cork’s own Billy O’Brien, produced by Nick Ryan (The Summit, Cork Film Festival 2013), and starring Back to the Future‘s Christopher Lloyd and Max Records (Where the Wild Things Are), will be screened on 17 November, and is one of 80 Irish films included in this year’s Festival. The film, which was partially funded by the Irish Film Board, scooped three nominations this week in the 2016 British Independent Film Awards (BIFAs), up for Best Screenplay, Best Actor and Best Supporting Actor. Both O’Brien and Ryan will attend the screening in Cork, and participate in a Q&A.

The strong Irish representation continues across the 61st Cork Film Festival with the poignant Out of Innocence on 13 November at the Triskel Christchurch, starring acclaimed Cork actress Fiona Shaw, in a powerful drama in which a link is wrongly made between the secret birth of a stillborn baby and the brutal murder of another found 50 miles away.

Other stand-out Irish films include the world premiere of epic surf film, Between Land and Sea. The documentary by director Ross Whitaker is about a year in the life of Clare surfing town Lahinch and the screening on 19 November will be followed by a Q&A with the cast and crew. Irish/Belgian co-production Brother (Broer), starring Bond actress Alison Doody and filmed in west Cork, will be screened 20 November while Crash and Burn on 19 November will tell the tale of Drogheda’s Tommy Byrne – also attending the Festival ­– who, for a fleeting moment in the 80s, was the world’s greatest Formula 1 racing driver. In View, an Irish independent feature film to be screened 12 November, focuses on depression and features a towering performance by Love/Hate actress Caoilfhionn Dunne, and is directed by Ciaran Creagh.

RTÉ documentaries set for the big screen include Power on the Box (17 November), which looks at how television changed Irish politics; and Know All (18 November), following Mashable’s UK editor Anne-Marie Tomchak as she explores how digital fingerprints are rapidly becoming the most valuable commodity on the world’s economy. Peter McVerry: A View From the Basement (November 16) tells the story of the Jesuit priest’s 40-year fight against the devastation of addiction and homelessness, and will see Fr McVerry attending the screening.

The festival will also screen 39 Irish short films, with submissions this year, both nationally and internationally, exceeding 1,500. Cork short Oíche Nollaig na mBan, which is a visual response to the famous poem by Irish language poet Seán Ó Ríordáin and features a schoolgirl choir and intergenerational cast of Cork-based women, is included in the selection. The winner of the Grand Prix Irish Short, presented by RTÉ Cork, and the winner of the Grand Prix International, will automatically qualify for the Academy Awards® longlist.

Festival Creative Director James Mullighan said: “Irish film has been flourishing in recent years with a host of outstanding home-grown features, documentaries and shorts, receiving critical success on the international stage. We are very proud to celebrate the accomplishment of the country’s film industry, with screenings of some of the year’s most insightful and trailblazing Irish films.

In total, there are more than 200 films – both home-grown and international – in this year’s programme, offering a rich and varied selection of films that challenge, amaze, evoke debate, and above all, entertain.”

Check out our preview of the Irish films screening here

For full details of all films and bookings see, call 021 4271711, or visit the Cork Film Festival box office at 119 Patrick Street, Cork.

For social media see –

Facebook: @CorkFilmFestival

Twitter: ‪@CorkFilmFest

Instagram: ‪@CorkFilmFest


Cork Film Festival Unveils 2016 Programme



The Cork Film Festival launches its 2016 programme today, with this year’s event showcasing home-grown talent alongside international features, and a strong focus on documentary film. Ireland’s oldest film festival takes place 11-20 November and will screen more than 70 feature films, including Kelly Reichardt’s Montana drama Certain Women which won the best picture prize at the recent London Film Festival. There are 52 documentary films, over 100 shorts, and 55 countries represented throughout the programme. For over 80% of the movies featured, this will be the only chance to see them on a big screen in Cork.

Over 15,000 people are expected to attend the festival, which generates €2.5 million in revenue locally.

Opening night of the 2016 refocused Cork Film Festival features the stunning new documentary, Dancer, profiling bad-boy ballet star Sergei Polunin, directed by Academy Awards® nominee Steven Cantor, while the acclaimed A United Kingdom, starring David Oyelowo and Rosamund Pike, will close the 61st Cork Film Festival. For full details of the programme and tickets visit

Continuing to nurture home-grown talent, the festival will screen 39 Irish short films, with over a quarter from Cork. Submissions this year, both nationally and internationally, exceeded 1,500 and the winner of the Grand Prix Irish Short, presented by RTÉ Cork, and the winner of the Grand Prix International, will automatically qualify for the Academy Awards® longlist.

Speaking ahead of the launch at The River Lee, Festival Creative Director James Mullighan said: “Films have the ability to entertain, challenge, exhilarate, and surprise, and this year’s Cork Film Festival is encouraging audiences to regard features and documentaries as equally valid films. We are delighted to announce the addition of Doc Day, Ireland’s premier documentary industry event, presented in partnership with the Irish Film Board and Screen Training Ireland on 18 November. This flagship occasion at The River Lee brings together Irish and international industry leaders to explore the landscape in which projects are conceived, developed and distributed.”

James added: “From a special presentation of one of the most widely discussed films of 2016, Nate Parker’s The Birth of a Nation, to the world premiere of the thoroughly engaging Irish surf documentary Between Land and Sea, the Festival accurately reflects the fantastic diversity of global, contemporary cinema.”

Films will be screened at four locations across the city, The Everyman, Gate Cinema, Triskel Christchurch, and a special visual and audio experience, fLux, at St Fin Barre’s Cathedral, with musical innovators, Eat My Noise.

This year will see an increased family programme, including two major films, Rock Dog and The Eagle Huntress. In deference to Roald Dahl’s 100th birthday and as a tribute to the late Gene Wilder, there will be screenings of the much loved Willy Wonka & the Chocolate Factory.

Other highlights include Mumford and Sons’ new music documentary We Wrote This Yesterday at The Everyman on 19 November, hosted by Donal Gallagher, brother of music legend Rory Gallagher. Donal will be joined by special guests on the night.

Acclaimed screen star Fiona Shaw will attend the showing of the poignant Out of Innocence on 13 November at the Triskel Christchurch, based on the controversial events in Kerry in the 1980s which linked the secret birth of a stillborn baby and the brutal murder of another.

The Festival’s major Irish films include thriller I Am Not a Serial Killer on 17 November from Irish producer Nick Ryan (director, The Summit) and Cork native writer/director Billy O’Brien; along with Forever Pure on 18 November, a feature documentary about the most symbolic football club in Israel, Beitar Jerusalem.

On November 16, human rights activist Fr Peter McVerry will take part in a panel discussion with Fiona Dukelow of the School of Applied Social Studies, UCC after a screening of the RTÉ documentary Peter McVerry: The View from the Basement. The Cork Film Festival also welcomes the return of Illuminate, a series of film and discussion events, which use film to explore different aspects of mental health. This is presented in association with Arts+Minds and the HSE Cork Mental Health Services.

One of the award highlights will be the Ford-sponsored Award for Cinematic Documentary, with the films in competition including And We Were Young, LoveTrue, The Space In Between – Marina Abramović and Brazil, Tempestad, and Wolf and Sheep. Once again, the Audience Award will be presented by Festival partner, The River Lee.

Festival Producer Fiona Clark added: “We are hugely grateful to all our funders, sponsors, partners, patrons, friends, and colleagues who have enabled this year’s programme, and who continue to support this significant Festival. It is clear that there is huge respect and love for the Cork Film Festival, and we look forward to welcoming new and returning audiences, from home and abroad, to enjoy what promises to be a wonderfully rich, diverse and entertaining programme here in Cork city.”

For full details of all films and bookings see, call 021 427 1711, or visit the Cork Film Festival box office at 119 Patrick Street, Cork.




Call For: Staff for Cork Film Festival


Cork Film Festival requires a number of staff to help deliver this year’s festival, taking place from 11-20 November. See below for job roles and descriptions.


Duration: October – end of November

The Festival requires a production manager to oversee all aspects of non standard screenings/events.


  • Production planning of all events during the festival (excluding standard screenings);
  • Liaising with Festival Producer, Tech Manager and relevant staff regarding events;
  • Working with Technical Production team, developing creative solutions to meet technical and budgetary requirements;
  • Presence at and oversight of all Industry events;
  • Creating documentation and communicating same of all production details;
  • Coordination and scheduling of equipment, technicians and production schedules for projection and sound set-up of Festival venues;
  • Technical logistics for special events including coordination of equipment, technicians, rehearsals, deliveries, rentals, and the timely creation of production schedules;
  • Procurement of equipment where necessary;
  • Performing other duties and responsibilities as assigned.


Duration: 1 October – end November

The Festival requires a Box Office Manager to oversee the financial management, staffing and general operation of the box office. This role would suit someone with financial and human resource management experience, as well as being able to work long hours in a high-pressured environment. Knowledge of Ticketsolve would be a distinct advantage.


  • Staffing: create staff roster each week pre- and during the Festival, ensure the box office team are motivated to provide a high level of customer service and provide clear communication and training where needed to the team.
  • Finances: oversee all financial management. Arrange floats each morning, balance finances with appropriate accounting procedures and organise cash lodgement at end of day.
  • Liaise with all relevant personnel (Festival Producer; Creative Director; Marketing Manager) where necessary.
  • Other duties as needed.


Duration: September/October (approx 4 weeks)

Responsible for contacting Cork city and county businesses to coordinate and sell advertising for the Festival brochure. Must have proven previous sales experience and friendly outgoing manner.


Duration: Aug/Sept (PT) – end of November

The Festival requires a Protocol Manager who will oversee all guest bookings and movements; along with hospitality liaison and other protocol issues as they arise.


  • Book all travel and accommodation for guests;
  • Liaise with hospitality partners to secure good Festival rates;
  • Act as first point of contact for all attending guests;
  • Organising guest itineraries and other activities;
  • Other duties as they arise.


Duration: 11-20 November

The Festival requires a venue manager, a role for someone with knowledge of venues, front of house, event planning and people management.


  • Ensuring that all technical elements of each screening are communicated to cinema staff;
  • Oversee volunteers in the venue are located and fulfilling the daily plan;
  • Festival guests and customers have the best experience of that venue during the festival.


Duration: Mid-October / November

The volunteers manager oversees all 100+ volunteers of the Festival, allocating shifts and positions pre- and during the Festival itself.


  • Organising and addressing volunteers at the volunteer introduction evenings;
  • Creating schedules and assigning tasks and positions to volunteers in accordance with their availability and task preferences;
  • Monitoring of volunteers to ensure scheduling is maintained;
  • Point of contact for volunteers including availability on the volunteer mobile phone;
  • Liaison between Festival staff, venue staff and volunteers;
  • Overseeing the allocation and processing of volunteer tickets in conjunction with relevant.



Duration: October – November

The Festival requires Box Office staff to work pre- and during the festival. Knowledge of Ticketsolve an advantage as well as an ability to work in a busy environment with high levels of customer service.


Duration: 11-20 November, with a small amount of prep pre-festival

This role is an assistant to the Production Manager in implementing the full production plan.


This role is an assistant to the Protocol Manager in implementing the protocol strategy for the festival.


Duration: Oct/Nov

General assistants to help with the delivery of the Festival, covering all departments.


Duration: Oct/Nov

General interns to help with the delivery of the Festival, covering all departments.



Call For: Submissions for Cork Film Festival


Running from 11-20 November 2016, the 61st Edition will see Cork City and County play host to some very special events and screenings.

In 2014, the Festival inaugurated a new prize for feature length films: the Gradam Spiorad na Féile / Spirit of the Festival Award. Details are here.

Submission deadlines and fees:

Early bird: Until midnight GMT Saturday 16 January 2016 – CorkShorts (always) €12.50 / Shorts Irish, International, Documentary (not Cork) €15 / Features €25.
Regular submissions: Until midnight GMT Saturday 2 July – CorkShorts (always) €12.50 /Shorts Irish, International, Documentary (not Cork) €20 / Features €35.
Late submissions: Until midnight GMT Saturday 6 August – CorkShorts (always) €12.50 / Shorts Irish, International, Documentary (not Cork) €30 / Features €50.


There are eleven prizes at the Festival, including seven with cash prizes. Two qualify for the Academy Awards® long list. Each jury is independent of the Festival.

The International Jury will select:

  1. Grand Prix International short, Academy Awards® qualifying;
  2. Gradam Spiorad na Féile / Spirit of the Festival Award; and
  3. the Cork Film Festival’s nomination to the 2017 European Film Academy Awards.

The Irish Jury will select:

  1. Grand Prix Irish short, presented by RTÉ Cork, Academy Awards® qualifying; and
  2. Best Cork Short award.

The Documentary Jury will select:

  1. Gradam na Féile do Scannáin Faisnéise / Award for Cinematic Documentary;
  2. Best Irish Documentary short; and
  3. Best International Documentary short.


  1. the Creative Director’s Award for Best Feature Film;
  2. the Youth Jury Awards for feature films; and
  3. the Audience Awards for feature films

Click here or here to submit your film


Categories for entry
Entries are invited in the following categories: Feature Films, Documentaries, Short Films and CorkShort Films. We welcome all forms of film production – animation, experimental, student work, digital work, etc. All films will be Cork premieres. All films in competition will be Irish premieres.

Conditions for Entry
The following screening formats are eligible for inclusion: DCP & Pro Res. Films should be presented in their original versions with English language subtitles or commentary where necessary.

To be eligible for the short film competitions, films must have been completed since 1 July 2015 and be 30 minutes or less in duration;

To be eligible for the feature film competitions, films must have been completed since 1 July 2015 and be 60 minutes or greater in duration;

Criteria for CorkShorts
Filmmakers not from and from Cork and who are based in Cork;
Filmmakers from Cork but based elsewhere; and/or
Films shot by non-Corkonians throughout the county (not country).

Non-English language films
To qualify for selection, all non-English language films must have an English-subtitled screening copy available.

How to send your film
Please submit your film on Reelport or Flock. (Both platforms have the same fee structure.)

Due to the large amount of submissions received, CFF will only contact those filmmakers with work selected for the festival.
The selection of films will be announced on the Cork Film Festival website in mid October when the programme is launched.
Due to the large amount of submissions received, CFF cannot offer feedback regarding films that are not selected for the Festival.

Shipping prints

If selected, prints must arrive at the Festival by Tuesday 18 October. By prior arrangement, prints may be delivered by hand by the filmmaker. Please mark the aspect ratio of the film clearly on the container of the screening copy. The cost of shipping prints to the Festival is borne by the sender. The Festival will pay for one-way onward shipping of prints. By prior arrangement, prints can be forwarded to another festival immediately after Cork. The Festival does not pay screening fees for films submitted to the Festival.


All prints will be insured for the period that they are in the festival’s possession. In the case of loss or damage during this period, the festival is only responsible for the replacement value of the print. Only prints in perfect condition for projection will be accepted under these conditions.

Using extracts of the films for promotion
The entrant agrees that up to three minutes of their film may be used by Cork Film Festival in promotional activities including screening a clip on television and on the festival’s website.

Acceptance of these regulations implies that you will abide by them in your dealings with the festival and also that you are legally entitled to submit this film for consideration. Entry to the Cork Film Festival implies that the entrant has the right do do so, has pre-cleared all materials that comprise the film, and is an authorised representative of the team that holds the intellectual property in the film.

Entering a film in the Cork Film Festival implies the acceptance of these regulations.

Please do NOT send a DVD directly to the festival.

– See more at:


Looking for funding?  Want to submit your work to festivals. Keep an eye on upcoming deadlines here.


Review of Irish Film at Cork Film Festival: Deoch An Dorais


Loretta Goff reviews Paddy Hayes’ Deoch An Dorais, which brings to life the legend of Mike Malloy, the man who wouldn’t die.

Irish language documentary Deoch An Dorais tells the very unique story of one Irishman in New York City, while at the same time reflecting upon the larger emigrant experience. Mike Malloy, alternatively referred to as the “Rasputin of the Bronx”, “Durable Mike Malloy”, and “the man who couldn’t be killed”, fell victim to speakeasy owner Tony Marino and his friends as part of their plan to make some quick money during the Prohibition and Great Depression era in the Bronx. These men, learning Malloy (who was an alcoholic regular in the speakeasy) had no friends, family, or home in the city, decided to take out a life insurance plan on him and subsequently cause his “natural” death (a plan that had already worked on Marino’s girlfriend). What they didn’t expect was the resilience of Malloy. Between December 1932 and February 1933, they attempted the murder 20 times before finally succeeding, and in the process turned the story of Mike Malloy into a legend of sorts.

After hearing the story in a two-minute segment of comedy quiz show QI, director Paddy Hayes was inspired to explore it further. In his documentary we follow Anthony Molloy, former Donegal GAA Captain, and another Molloy from Mike’s home County (the ‘o’ was changed to an ‘a’ in America) as he travels to New York to speak with a variety of people about the “indomitable” Mike. From academics and journalists to a lawyer, pathologist, genealogist, homeless veteran, and Italian undertaker, these interviews develop Malloy’s story as they take us through the various attempts on his life and speculate on his circumstances. Accompanying these, and weaving in characters as they are mentioned, are reconstructions of scenes from inside Marino’s speakeasy. Though these were filmed in a pub in Galway and use actors from Mayo, they succeed in their 1930s NYC aesthetic and create a more immersive experience for the viewer.

Though there are many comedic moments throughout this tale (and its reconstructions) which are entertaining, they are smoothly woven in with more serious subject matter. Interspersed with scenes of contemporary New York is archival footage of men sleeping on the streets and drinking, reflecting the difficult times experienced in the city and providing context for why people resorted to criminality. Discussion surrounding Malloy’s experience also turns to various struggles he and many other emigrants may have faced, including loneliness, homelessness, and a turn towards alcoholism.

Molloy reflects on his own emigrant experience to New York in the 1980s where he felt a sense of Irish community. He goes on to express his horror and heartbreak at the fact that Malloy’s only “friends” were trying to kill him and questions why he would continue to stick around them rather than seek help. An historian interviewed explained that to many homesick men, bartenders were seen as their only friends, Priests, counsellors or caretakers. In the Q&A after the screening Hayes expanded upon this sentiment referring to the “element of Stockholm Syndrome with drink. You know it’s killing you, but you love it.”

While Malloy’s tale is very bizarre, and often unbelievable, little trace of him remains. Buried in an unmarked grave, the only tribute to him is a mosaic on a lamppost in the city. If not for the fact that the insurance scammers were caught, resulting in a court case which provided the details of Malloy’s death, he could easily have become one of many “unknown emigrants.” Producer Ciara Nic Chormaic, also in attendance at the screening, commented on the amount of research that went into the film and finding people to speak with about Malloy. Discussing her initial trip to Donegal in an attempt to find out more of Malloy’s story she remarked that there is a “bit of private detective work involved in being a producer.” The work paid off here as, in its uncovering of Malloy’s story, the documentary succeeds in being both entertaining and a powerful piece on emigration.


Deoch An Dorais screened 14th November as part of the 60th Cork Film Festival (6 – 15 November 2015)

Deoch An Dorais will air 25th December on TG4



Review of Irish Film at Cork Film Festival: Homegrown- New Shorts from Cork’


Nicholas O’Riordan checked out ‘Homegrown – New Shorts from Cork’ at the Cork Film Festival, which showcased the best new shorts from Cork. 


“The official opening of the 60th Cork Film Festival is, of course, later this evening, but I think everyone here knows that the real opening of the festival is this programme, ‘Homegrown – New Shorts from Cork’”

This is how festival shorts programmer Colm McAuliffe (The Guardian, Sight & Sound) introduced the festival’s first programme of 7 shorts, kicking off 10 days of film in Cork. Always a popular feature of local film festivals, and notably absent from last year’s festival, the ‘Homegrown’ section showcases the work of local filmmakers, selected by McAuliffe to give the audience a taste of the various cinematic styles being employed by local practitioners.


The evening’s programme began with AiR, a non-narrative piece directed by Sonya Keogh, creative director of ARTlifeCULTURE. Utilising songs and rhythms from the traditional Irish repertiore and reworking them into innovative and rich soundscapes, Keogh’s film evokes notions of spirituality and connection to nature. In this dream-like non-narrative short, the camera floats across the scenery of the ‘Wild Atlantic Way’ lingering on the landscape, on expressions, on moments, all without romanticising the setting, partly through the film’s subtle and fitting use of drone cameras. However, due to the quite intensely avant-garde nature of this project, one cannot help but think, as the credits roll, that this is a piece more suited to an exhibition/gallery space.

Kennedy Quay

Originally produced for the Cork, Like film project, Naoimh Ní Luanaigh’s Kennedy Quay is a powerful and evocative piece of local cinema. Perfectly paced through the film’s use of jump cuts, actor David Cooney’s face commands the attention of each viewer until the final frame, particularly in a careful and deliberate look into the lens. It must be said that Cooney takes the initial few seconds to fully capture the audience but once he does the viewers are under his spell, with the initial ‘performed’ nature of the performance soon replaced by a strikingly natural and confident performance. Kennedy Quay brings to mind the recent viral hit Just Saying, utilising a similar confessional style, however, Ní Luanaigh’s film boasts a more singular, character-based, personal, and less hopeful focus all accentuated by a meandering, fitting score composed by Athos Tsiopani. This simple yet effective and confident film is sure to secure Ní Luanaigh’s name on the Cork film scene.


The evening took a more sinister turn with ‘one to watch’ director Brian Deane (Volkswagen Joe, Céad Ghrá) moving towards the horror genre with his new short Blight (produced as part of the Irish Film Board ‘Signatures’ funding programme). This latest contribution to the somewhat shaky Irish horror scene features both confident direction and a polished aesthetic, as well as some strong performances, particularly the very physical performance by Alicia Gerrard. With a narrative centred around a young priest sent to battle dark supernatural forces, obvious connections can be drawn to several contemporary ‘possession’ horror films, however, Deane’s approach stands alone in its strong production value, well considered sound design and suitably foggy, misty mise-en-scene. This film certainly further establishes Deane’s position as a director on the rise, and is sure to be remembered as one of the few genuinely unnerving Irish horror shorts of recent years.

The Great Wide Open

A welcome relief from the tension and horror of Deane’s film, Ciarán Dooley’s The Great Wide Open (pictured) is a heartwarming 10 minutes based around the relationship between a young girl and her grandfather. Beautifully shot, with credit due to cinematographers Eamonn Murphy and Burschi Wojnar, this film lacks a very strong narrative thread, however, its tone and imagery, as well as a wonderful rapport between the two lead actors champions human connection and family without over-egging the sentimentality. After screening his wonderful short I’ve Been a Sweeper at the Cork Film Festival last year, and having recently been awarded a ‘Warner Brothers Creative Talent’ scholarship this certainly isn’t the last we’ll see of Dooley’s subtle and beautiful cinematic style.


[EDITOR’S NOTE: Unfortunately, due to technical problems at the screening, we were unable to provide a review of Static]

An Shawlie, An Clog agus an Meall Ime

The sixth film of the evening was undoubtedly one of the most avant-garde local film seen in recent years at the festival. Maria Young’s film, produced by choreographer Tina Horan is a bizarre, comic, and visually diverse tribute to Cork’s butter-making shawlie shufflers of past years. Young demonstrates a directorial confidence in the her manipulation of temporality, and absurd comedy, and credit is also due to the film’s interesting soundscape which furthers the sense of the uncanny in the piece.

Comic Potential

Making the rounds at festivals home and abroad, the seventh and final film of the programme, Comic Potential, directed by Ross Carey (The Trouble with Aoibhe) and Emmett O’Brien (A Novel Approach to Dating) is the perfect way to end a programme of local shorts. Set in the small town of Bantry, West Cork, Comic Potential introduces us to the ‘Bantry Blossom’, a self-appointed superhero who vows to aid the people of her fair (and altogether peaceful) town. After successful screenings in the U.S., Comic Potential truly feels at home at the Cork Film Festival with the audience responding enthusiastically to the film’s narrative and setting. With prolific Cork short film actress Irene Kelleher in the lead role, Kelleher is on top form and perfectly suited for the part, bringing an endearing, sweetness to the role. A noteworthy performance is also given by Peadar Clancy, who delivers a considered and understated performance, playing excellently opposite Kelleher. The film’s soundtrack (Athos Tsiopani) and title designs, as well as costume design and cinematography are all well handled and leave the film with a polished and cinematic aesthetic. Carey & O’Brien’s latest short is a warm, and witty glimpse into the life of a super-hero with no one to save.


‘Homegrown – New Shorts from Cork’ screened 06 November as part of the 60th Cork Film Festival (6 – 15 November 2015)



Review of Irish Film at Cork Film Festival: Yo Cambio


Loretta Goff reviews Peader King’s documentary Yo Cambio that explores El Salvador’s prison system, which screened at the 60th Cork Film Festival. 

With RTÉ as the new principle partner of the Cork Film Festival during a year where half of the programming consists of documentary screenings, it is fitting that Peader King’s Yo Cambio would see its world premiere here. Part of RTÉ’S 9th series of “What in the World?”, this documentary falls very much in line with the “Ideas” strand of the Festival, designed to provoke debate and raise awareness of global issues.

In Yo Cambio Peader King takes us inside El Salvador’s prison system, notorious for its violence. The director first became interested in the topic of prisons in 2002 while working on a film about the death sentence in Alabama. As the “reputations of prisons in Latin America are brutal, violent, overcrowded, […and] difficult to change”, he turned his focus there with an interest in seeing “how do you assert the rights of those who have been deprived of their liberty.” The documentary explains that El Salvador has one of the highest rates of murder in the world (many of which are violent deaths), largely as a result of serious economic inequality in the country which leads to exclusion. Meanwhile, the prisons cannot sustain the numbers of those arrested.

Through a series of interviews with both prison officials and those detained inside we learn about the reputation of these prisons and their poor conditions. One prisoner relates that “as soon as you entered you were told: you see nothing, you hear nothing, you say nothing.” Others had fears entering, knowing only of the gangs, massacres and violence. Though we do not see this violence (nor any victims of it), a series of startling shots do demonstrate the cramped conditions inside where many mattresses line the floor of a single room, personal items are stacked and hung wherever space can be found, and garbage overflows.

However, the documentary offers hope as the focus shifts to El Salvador’s prison reform movement, Yo Cambio (or I Change) which began in 2010. The three main principles of this movement are to make amends, work, and create a better society. This has been implemented in the prisons through classes ranging from reading, writing and English to yoga and dance (some of which are even taught by other inmates), along with a crèche programme, and fishing and farming work designed to ease the transition back to life outside of the prison. Interviews with participants in the programme elucidate the variety of ways it has helped them.

Though prison officials mention the fact that there are two elements inside the prison—one open to the reform programme and one not—we are largely given a one-sided impression from those who do participate. Though this is somewhat unavoidable as partaking in the filming was voluntary, it is the one shortcoming of this documentary. It was surprising to learn afterwards that only about 5% of the prison population participates in Yo Cambio (a sense not given in the film). Ultimately, however, as we are told by one participant, “Yo Cambio is about wanting to change yourself”, and this documentary champions the rights of those inside prisons to be given the opportunity for this change.

Following the screening, a Q&A panel consisting of director Peader King, incoming Cork Prison Governor Patrick Dawson, Executive Director of the Irish Penal Reform Trust Deirdre Malone, and UCC Law Lecturer Fiona Donson was moderated by RTÉ’s Colm O’ Callaghan to shed further light on the issues raised in the documentary and discuss how they relate to Ireland.

Discussing the filming process, Peader King related that “one of the difficulties was the volatility of the prisons themselves.” Filming had to be pushed back, and was almost cancelled, due to movement on incarcerated gang leaders which created instability inside. Conditions were also set with prison officials in advance, including that no prisoners could be named in the documentary and that any child who was under the age of 12 months had to have their face blurred out. However, despite thinking his camera would be an impediment inside the prison, King said people got used to him being around and he is “always amazed how relaxed people are in front of cameras.”

Deirdre Malone pointed out that many of the issues raised in the documentary resonate with prisons in Ireland and explained that rather than “warehousing” problems in prisons we need to know effective responses to crime. She went on to say that “media values are at odds with criminal justice values.” The media often tends to report on the worst crimes to sell their stories, which leads the public to believe that crime rates are worse than they are. In fact, the statistics on crime are very complex, with Malone reporting that some have gone up while others went down. One statistic she gave was that 9,000 people were incarcerated in Ireland in 2014 for failing to pay court ordered fines.

Patrick Dawson discussed the drain on resources that it is to process these incarcerations, despite most of them being released soon after. He also explained that “communities need to understand how prisons work.” This is something Yo Cambio helps to do at a global level, and the panel, along with similar discussions, do in Ireland. Fiona Donson mirrored this sentiment, explaining that “these types of documentaries are needed to give insights into prisons”, and to show the public that not all prisoners are the same.

In addition to informing the wider community, Dawson noted the importance of seeing how community is built within the prison. He went on to discuss similar developments being made in Irish prisons, including the offering of classes and incentivised programmes designed to encourage good behaviour. He explained that the important thing is to know the people you are working with and adapt the services accordingly.

One sentiment that was mirrored by the entire panel was that “there is no one fix” to issues surrounding the prison system. Reform programmes are helpful and offer hope, particularly in dire situations such as the El Salvadorian prisons, but they are not the panacea. There are many social issues that also need to be addressed. However, documentaries on the subject and community discussion are a good place to begin tackling these.

Yo Cambio will also be shown in Cork Prison followed by a Q&A, and there are hopes to take it to other prisons around the country in order to extend the discussion to include those who are incarcerated. Meanwhile, the general public will be able to watch it on RTÉ on December 1st at 11:15pm.


Yo Cambio screened 8th November as part of the 60th Cork Film Festival (6 – 15 November 2015)


Illuminate @ Cork Film Festival


The 60th Cork Film Festival presents its mental health strand, Illuminate, which is a film and discussion series that explores a wide range of mental health topics. Illuminate is now in its second year and proved to be hugely successful last year.

Topics in the programme this year are depression and homelessness with  films such as Good Girl. Good Girl is an autobiographical documentary which explores Norwegian director Solveig Melkeraaen’s journey through acute depression. It focuses on the weight of her depression not only on herself but also on her loved ones. It also looks at the controversial topic of Electroconvulsive Therapy.

Heidi Schneider is Stuck is another screening within the series. It tells the tale of Heidi who has a seemingly perfect life. She has a loving husband, a beautiful son and is about to embark on an adventure. After suffering a debilitating panic attack, the balance of their happy lives becomes much more fragile. The film deals with Heidi’s battle with her illness and her dependency on medication and highlights an issue that could interrupt any of our lives.

Dead when I got here (pictured) is a moving film about Josué who was cast out of the streets of Juarez, Mexico into the desert and dumped in a mental asylum run by its own patients. It’s a tale of sorrow and hardship but also one of healing and redemption.

Dead When I got here screens  Thursday, November 12th at 6pm in the Triskel Christchurch.

Good Girl: Friday screens Friday,November 13th at 4pm in the Triskel Christchurch.

Heidi Schneider is Stuck screens  Saturday, November 14th at 1.30pm in the Triskel Christchurch.

There will be post screening discussions after each film with a selection of industry experts such as Dr. Peter Byrne (University College London), Ann O’Connor (Arts and Minds), Richard Walden (Scottish Mental Health Film Festival) along with many other specialists in the field.


View the full programme for Cork Film Festival 2015.


View the digital brochure here.



Review of Irish Film at Cork Film Festival: 11 Minutes

fot. Robert Jaworski tel. +48 501 37 22 40
Loretta Goff took time out to attend 11 Minutes, which opened this year’s Cork Film Festival.

The Opening Gala for the 60th Cork Film Festival, 11 Minutes (a Polish co-production with Ireland’s Element Pictures and support from the Irish Film Board), kicked off the week of films with a bang. The anxiety-ridden latest film from veteran Polish director Jerzy Skolimowski (Essential Killing) takes the audience on a fast-paced, head-spinning ride through the lives of several characters during the same 11-minute period in the city of Warsaw.

The narrative jumps forward and backwards to weave together fragments of the various characters’ lives to their ultimate connection in the film’s final moments of catastrophe. Perhaps the calmest of these threads, and certainly the central one, follows a slimy Hollywood director, played by Richard Dorner (Good Vibrations) auditioning an actress (Paulina Chapko) in his hotel room with plenty of sexual insinuations. We also follow her jealous husband (of one day) who desperately tries to find her in the hotel, an ex-con hot dog vendor (who used to be a professor) outside the hotel, a group of nuns, the hotel window cleaner who sneaks into a room with his girlfriend on a break, a drug courier on a motorbike, a teenage boy attempting to commit a robbery, and elderly painter, a dog and his recently broken-up owner, men monitoring CCTV traffic cameras, and paramedics having a difficult time reaching a pregnant woman.

These characters are cleverly woven together, and their relationships developed (though many are only spatially linked), through background appearances in one another’s central moments, contact with one another, and the repetition of the same events from different perspectives (showing the importance of perception). However, the speed at which we hurtle through the glimpses of their lives before moving frantically to the next leaves much of the narrative underdeveloped. Many questions arise in these fragments which are left unanswered. While it could be argued that these questions are unimportant in regard to the path the film takes, the quick switches between loosely developed narratives can make the film difficult to follow, particularly in the beginning.

Rather than steadily building its pace, the film is frenzied from the off, instead choosing to slightly ease up the pressure for moments, only to plunge straight back in. In this sense it has the feeling of an exercise class, with high intensity bursts followed by moments of catching your breath before another burst. Indeed, the film does leave the viewer with a sense of exhilaration and mental exertion. This pacing lends to the sense of anxiety created throughout the film, both in the narratives of individual characters and in the overall sense of an impending boiling point in the film where all the built up pressure will explode. A feeling that is mirrored by a close-up shot of a floating bubble in front of the city’s skyscrapers which suddenly bursts.

Key to the success of the film’s pacing and dizzying, full-throttle thriller atmosphere are the well-executed sound design and cinematography. Diegetic sounds make up a large portion of the film’s soundtrack, with revving engines, city traffic, sirens, chiming bells, street music, heavy breathing and the dog’s panting often taking an overwhelmingly loud prominence. Particularly significant is the recurrence of a low-flying plane over the city, the booming sounds of its approaching engine punctuating the film throughout, drawing the viewer back to that particular moment across the different characters’ narratives and simultaneously adding to the looming sense of foreboding. Overlaying the diegetic sounds at times are pulsing beats, ticking, and fast-paced music which all serve to increase the film’s tempo.

Despite the opening moments of the film which make use of gritty CCTV footage, shaky camera phones, and webcams, taking a found footage approach, the rest of the film is smoothly and aesthetically shot in widescreen. Still, throughout the film there remains a sense that in today’s world part of all our lives (and stories) are caught on camera, by our choice or not. Particularly drawing attention to this are the shots we see of the director and actress through the screen of the camcorder he has set up in his hotel room, and the shots of footage from a CCTV screen that pull back to reveal multiple screens of relaying images, glances into many lives as they go about their daily business. Meanwhile, angular shots of skyscrapers from below, pulsing close-ups and lighting, and blurred, quick shots all add to the sense of disorientation throughout the film.

Everything slows down in the film’s inevitable final moments, weaving all the frantic threads into a single event that leaves the viewer with the sense that the unexpected can occur at any moment in our lives. While the narrative strands leave something to be desired in this film, many of the performances are strong and its technical composition is very well done, creating an exhilarating, atmospheric film that leaves a lasting impression.


11 Minutes screened 6th November as part of the 60th Cork Film Festival (6 – 15 November 2015)



Talent Development Campus @ Cork Film Festival


This year’s Cork Film Festival hosts the Talent Development Campus which teaches budding filmmakers all they need to know about the business of the industry.

Over four days the Talent Development programme will see over forty industry experts from Ireland, the UK, Europe and the US share their knowledge in over ten training events.

One of the most popular events is FUND – aimed at producers and directors, this seminar teaches participants about traditional and non-traditional methods of funding a film.

BRANDED CINEMA looks at the rise of branding in filmmaking and cinema. Brands such as Red Bull, Marriott and Starbucks all producing documentaries, shorts and web spots. The keynote speaker is Brian Newman, one of the world’s leading media distribution consultants. He is the founder of Sub-Genre, a consulting company focusing on developing and implementing new business models for film and new media.

Other events will include INCUBATE and INTERACTIVE@CORK. INCUBATE focuses on providing filmmakers with the skills necessary to enable them to get their work out there and find their place in the international film business.  INTERACTIVE@CORK which is part show and part conference, will explore new innovations in the digital world of film discussing the new opportunities it brings to the industry.

RTE broadcaster Claire Byrne will also be on hand as moderator in a public conversation event on The Relevance and Future of Irish content in the Broadcast media.

The Talent Development Campus nurtures filmmakers and allows them to discuss, learn and network with industry professionals and peers.


If you would like more information on the programme see:


LUX Film Prize @ Cork Film Festival


The European Parliament LUX Film Prize places a spotlight on films which go to the heart of European Public Debate.  The Cork Film Festival, along with the European Parliament, believe that cinema can be used as a medium to discuss and debate topical issues.

This year there are three screenings as part of the 60TH Cork Film Festival in the category. Mediterranea, Toto and His Sisters and The Lesson/UROK. All three of these screenings are free.

Mediterranea tells the tale of Ayiva who travels from his native Burkina Faso to Italy in  search of a way to provide for his sister and daughter. He takes advantage of his position in an illegal smuggling operation to get himself and his best friend off the continent. It is massively topical given the current refugee crisis. There will also be a Q & A with cast and crew live from the film’s Brussels presentation.

Mediterranea screens on Wednesday, November 11th  at 6pm in the Triskel Christchurch

Toto and His Sisters is the compelling story of three siblings whose mother is imprisoned. During this time Toto passionately learns dancing, reading and writing all the while his sisters try to cope and keep the family together. The film explores topics like poverty, drugs and the importance of family.

Toto and His Sisters screens on Tuesday, November 10th at 4 pm in the Gate cinema

Finally, The Lesson/UROK (pictured) is set in Bulgaria and centres around a young teacher searching for a robber in her class while at the same time she is falling into further debt with loan sharks.

The Lesson/UROK screens on Tuesday, November 10th at 6.15pm in the Gate cinema


View the full programme for the Cork Film Festival 2015.

View the digital brochure here.



Filmbase at Cork


Included amongst the line-up of Irish films at this year’s Cork Film Festival (6 – 15 November) are a number of projects coming out of Filmbase.


The Filmbase/RTÉ-funded short film Love is a Sting screens on 7th November at 10.00 as part of  Family Shorts  and in Irish Shorts 4: Dead Heat on 12th November at 13:45.

At his lowest point, struggling children’s book writer Harold Finch gains an unexpected house guest in the form of Anabel Shine: a 20 year old, hyper-intelligent mosquito.


The Filmbase/RTÉ-funded short film Foxglove screens as part of Irish Shorts 2  on 11th November at 18:45 and again in Ireland on Screen on 15th November at 13:00.

In the wilds of Connemara, an engineer and his daughter are targeted by an ancient and angry force from within the earth itself.


The Filmbase/RTÉ-funded short film Leave screens as part of Irish Shorts 3 on 12th November at 12:00.

A film about random events and their consequences; a film about how your life can change without warning.


The Filmbase Masters feature film Monged screens at Cork Film Festival on 13th November at 15:30.

Dave is a wannabe drug dealer stuck with a batch of experimental new pills, Ray is a failing club DJ getting by on a daytime radio slot, and socially awkward office worker Bernard just turned up to the wrong party by mistake. When Dave enlists Bernard’s help to test out his new consignment, the weekend descends into a riotous cocktail of narcotics, booze, clubs and parties. Embarking on a series of drug-fuelled misadventures, the three lads get more from the weekend then they’d ever bargained for.


The Filmbase Masters feature film Fading Away screens on 14th November at 20:45.


Ardi, the front-woman in a struggling rock band, has a die-hard belief that her music will change the world – the problem is finding enough of an audience that agrees.


Click here for info on all the Irish feature films screening at this year’s festival.

View the full programme for Cork Film Festival 2015.

View the digital brochure here.



Cork Film Festival: Irish Shorts Announced


37 Irish shorts will compete for the Grand Prix for Best Short film at this year’s Cork Film Festival. This year the winner will be put forward to the Oscar long-list for award consideration. The 37 Irish shorts competing for the Grand Prix Irish short presented by RTÉ, which includes a prize of €1500, are:

2 Roads Marie Brett
AiR Sonya Keogh
An Shawlie, An Clog agus an Meall Ime Maria Young/Tina Horan
Aonrú Dominic de Vere
Back Home Eoin Naughton
Barróg Beir Gavin Fitzgerald
Blight Brian Deane
Caught Sarah Ahern
Children & Animals Hugh O’Conor
Cleansed Paul Caddell
Cóbh’s Lusitania Lauren Fee
Coil Stephen Kenny
Comic Potential Emmet O’Brien/Ross Carey
Death of a Projectionist Jonathan Beer
Discordance Chris O’Neill
Foxglove Brian Deane
Girona Paul McGuigan
Grey Area Jon Barton
Hen Pecked Gerardine O’Flynn
Introducing Brian Nicholas Keogh
Joseph’s Reel Michael Lavers
Lamps Patrick O’Mahony
Leave Mike Hayes
Liar Viktor Kaczmarczyk
Looks Like Rain Kevin O’Farrell
Love Is A Sting Vincent Gallagher
Meteorology – A Guide to the Weather Mark Kent
North Phil Sheerin
Pockets Lochlainn McKenna
Queen of the Plough Cara Holmes
Sineater Bertie Brosnan
Static Mary Keane
The Bookshop David Gordon/Anna Byrne
The Break Ken Williams/Denis Fitzpatrick
The Captors Chris Baugh
The Great Wide Open Ciarán Dooley
The River Man Richard Gorodecky
These Dog Days Paul Freaney
Time Yvonne McDevitt
Toasted Gregory Dunn
Vulture Tim McCullough
Waiting For Tom Ruth O’Looney


Talent Development Campus @ Cork Film Festival



The Talent Development Campus at this years 60th Cork Film Festival  (6 -15 November) will offer a range of courses for emerging filmmakers which teach best-practice methods for independent filmmakers and creatives looking to get a foothold in the film industry.


In 2015 the Campus will welcome a host of industry experts from festivals; the world of sales and distribution; marketing; and innovative digital creatives to share their wealth of experience with emerging filmmakers and to teach the “business” of being an independent filmmaker.


The Campus will welcome 100 filmmakers from across Ireland and the UK and offers 50 places to emerging filmmakers from mainland Europe and already have many participants from the UK, Norway and around Europe. The Campus offers an exciting opportunity to network with international peers and to forge international connections and collaborators.


More info and the application forms for the Talent Development Campus can be found here.


Please find a document below which gives details of last year’s Talent Development programme, and an overview of this year’s activities.



Call For: Executive Assistant for Cork Film Festival


Cork Film Festival is recruiting an Executive Assistant.

Duties include assisting Creative Director and Festival Manager at Cork Film Festival. Confident and good communication skills an advantage, and computer literate an necessity. This is a developmental opportunity, no experience is necessary. Accredited training will be provided to support your career.

Please note this is a CE Scheme position. Please ensure you are eligible for the scheme before you apply by contacting your local DSP Employment Services/Intreo Office to check your eligibility. This position has an immediate start, and is 19.5 hours per week.

Please send your CV to with the subject line ‘Executive Assistant’.

The closing date for applications is 4 March 2015. Interviews will be held the following week.


Fund, Incubate and Emerge at Cork Film Festival



Micheál O’Mahony reports from the “Emerge”,Fund”  and “Incubate” conferences at the recent Cork Film Festival, each of which provided its audience with an insight into different aspects of the filmmaking environment and equipped them with the skills and knowledge to further develop their film careers.


This year’s 59th Cork Film Festival encouraged filmmakers to finance and market their films more innovatively. As part of the festival, three talent development events were delivered; Fund, Incubate and Emerge, over three days. Speaking about the talent development events was James Mullighan, creative director of Cork Film Festival, “We are very pleased. We are growing and the event has doubled in participation since this time last year.”

The first programme, Fund, explored how filmmakers can get finance to produce and market their films. Leading figures from RTE, BAI (Broadcasting Authority Ireland), Filmbase and Fundit, spoke at the seminar. Funding is one of the major struggles which aspiring filmmakers have, as they do not have the financial resources like Martin Scorsese or Steven Spielberg, speakers said. Filmmakers were advised to use certain tools such as crowdfunding, grant applications and social media to generate funding for their film projects.

Emerge, a filmmaking marketing programme, was delivered on the second day of the event. Speakers included filmmakers, technologists, producers and artists from companies such as media giant VICE and Dublin based animation firm, Brown Bag Films. Innovative and creative ways were outlined, in how filmmakers could create and build an audience for their films. It stressed the importance for filmmakers to know what their audiences wanted and emphasised the power of using various social media platforms to connect with them.

Event speaker, Brian Newman, founder and CEO of Sub-Genre Media, says that filmmakers need to have their film “on as many platforms as possible, so that consumers can find them.” VICE Media, Executive Producer, Vida Tombs said that the key to creating a great film is to be “authentic, bold and audacious”

Day three of the talent development programme, Incubate, taught participants the business of being an independent filmmaker. Speakers included leaders from the Jameson Dublin International Film Festival, Irish Film New York, Paris Silhouette Festival, Irish Film Festival Boston and Screen Producers Ireland. Various channels in how to sell, market and distribute films were discussed at the seminar and a menu of approaches and tools, such as film festival strategies and developing a social media presence were explored.

James Mullighan, the festival creative director says the future for filmmakers is for them to become their own marketeers with online social media platforms.




Irish Film at the 2014 Cork Film Festival

cork film festival logo

The 59th edition of the Cork Film Festival (7-16 Nov, 2014) is packed to the rafters with ‘Films, Music and Ideas’. Amongst the bounties of film lies some great Irish treasure for your delight.


08th November, 14:00
Gate Cinema  |  Tickets € 6.00  |  87 mins
More info & tickets

08th November, 21:00
Cork Opera House | Tickets € 15.00 | 90 mins
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09th November, 14:30
Gate Cinema  |  Tickets € 6.00  |  110 mins
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09th November, 17:00
Gate Cinema  |  Tickets € 10.00 | 90 mins
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11th November, 16:30
Gate Cinema | Tickets € 6.00 | 76 mins
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12th November, 20:00
Gate Cinema | Tickets € 10.00 | 123 mins
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14th November, 11:30
Gate Cinema | Tickets € 6.00 | 83 mins
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14th November, 21:15
Gate Cinema | Tickets € 10.00 | 90 mins
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used to liveI USED TO LIVE HERE
15th November, 14:00
Gate Cinema | Tickets € 6.00 | 82 mins
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15th November, 18:30
Gate Cinema | Tickets € 10.00 | 95 mins
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15th November, 23:55
Gate Cinema | Tickets € 10.00 | 75 mins
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all is byALL IS BY MY SIDE
16th November, 15:30
Cork Opera House | Tickets € 6.00 | 118 mins
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16th November, 16:15
Gate Cinema | Tickets € 6.00 | 107 mins
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11th November, 11:30
Gate Cinema | Tickets € 6.00 | 84 mins
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08th November, 11:30
Gate Cinema | Tickets € 6.00 | 53 mins
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ar longDouble Bill:

09th November, 11:30
Gate Cinema | Tickets € 6.00 | 56 mins
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09th November, 16:15
Gate Cinema | Tickets € 6.00 | 90 mins
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09th November, 21:00
Triskel Christchurch | Tickets Free | 54 mins
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10th November, 13:45
Gate Cinema | Tickets € 6.00 | 94 mins
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14th November, 21:30
Gate Cinema | Tickets € 10.00 | 75 mins
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14th November, 23:55
Gate Cinema | Tickets € 10.00 | 62 mins
More info & tickets

15th November, 14:15
Triskel Christchurch | Tickets € 6.00 | 57 mins
More info & tickets

riverDouble Bill:

16th November, 11:30
Gate Cinema | Tickets € 6.00 | 62 mins
More info & tickets

16th November, 16:15
Gate Cinema | Tickets € 6.00 | 74 mins
More info & tickets


Short Film:

11th November, 21:30
Gate Cinema | Tickets € 10.00 | 74 mins
More info & tickets

12th November, 18:15
Gate Cinema | Tickets € 10.00 | 74 mins
More info & tickets

13th November, 19:30
Gate Cinema | Tickets € 10.00 | 78 mins
More info & tickets

14th November, 16:00
Gate Cinema | Tickets € 10.00 | 74 mins
More info & tickets

15th November, 11:30
Gate Cinema | Tickets € 6.00 | 87 mins
More info & tickets

12th November, 18:15
Gate Cinema | Tickets € 6.00 | 82 mins
More info & tickets


View the full festival programme


Cork’s 59th Film Festival; Emerge, Fund, Listen and Incubate



Cork’s world-renowned film festival is fast becoming known as far more than that: This year, for the first time, it will host four separate seminars to educate on and discuss the art of film through its Talent Development programme, presented with the support of Tiger Beer.


Keeping with its theme of Film, Music, Ideas, the Film Festival, which takes place from November 7th to 16th 2014, will host the “Emerge”,Fund” , “Listen” and “Incubate” conferences. Each of the conferences provides its audience with an insight into different aspects of the filmmaking environment and equips them with the skills and knowledge to further develop their film careers.


“Emerge”, taking place on Friday, November 14th from 10am to 3pm in the Stack Theatre, Cork School of Music, is returning for its second year at the Cork Film Festival. Following the success of its debut last year, the symposium will explore the convergence of art, digital technology and the media. This year there is a particular focus on audience building and digital brand enhancement. Guest speakers at the event will include Darragh O’Connell, Creative Director of Brown Bag Films, Vida Toombs, Executive producer of VICE Media Inc and Brian Newman, Founder of Sub-Genre Media.  This year the event will be partnered with the Cork Institute of Technology.


Fund”, which will run from 10am to 1pm on Wednesday, November 12th, takes place in the River Lee Hotel.  New to the programme for the festival this year, “Fund” is a half day short and feature film funding seminar.  The event aims to provide independent film makers with a greater insight into the funding landscape in all its forms, from more traditional methods and modern approaches to DIY. Key speakers on the day will include Jane Gogan (RTÉ), Alan Fitzpatrick (Filmbase), Ciarán Kissane (BAI) and Andrew Hetherington (FundIt, Business to Arts) among others. Case studies will feature representatives from the broadcasting, crowdfunding, product placement and digital agency communities and is likely to provide a fantastic insight into potential film funding options.


Listen”, a two day event, which begins Wednesday, November 12th and continues on Thursday, November 13th, brings together film sound professionals with composers to share expertise and ideas regarding the aural aspect of filmmaking.  Composer Stephen Warbeck will be a special guest and will discuss in depth his most famous film scores. Other aspects of “Listen” will include a sound design workshop and a screen composer masterclass.


“Incubate” takes place on Saturday, November 15th from 10am to 6pm in the River Lee Hotel. Making its debut at this year’s festival, the conference strives to inform filmmakers about the business aspect of being an independent filmmaker and covers topics from marketing, distribution, self-promotion, collaboration methods and industry practicalities. Represented at Incubate are JDIFF, Element Pictures, Distrify and many more. The session is presented with the support of Screen Training Ireland.


Speaking about the Talent Development programme, James Mullighan, Creative Director of the Cork Film Festival, said: “It is hugely important to us at the Film Festival to encourage and develop talent and to educate on filmmaking, so we are particularly proud to add the Talent Development seminars to the mix. It is a great addition to our programme, and we hope it will be of immense benefit to people involved in the industry. I am hugely grateful for the support of our partners Screen Training Ireland, Cork Institute of Technology, Cork County Arts Office and Tiger beer, and I would encourage anyone with an interest in filmmaking to book into the seminars.”


To book a place on the Emerge, Fund, Listen or Incubate festivals, or for further information, go to


Cork Film Festival 2014 Announce Early Details




The Cork Film Festival has released preliminary details of its programme for its 59th Edition (7 -16 November), which launches and goes on sale on Tuesday, 7 October, a month before its opening.


Highlights include the world premiere of comedy romance, Standby, directed by Rob and Ronan Burke, starring the IFTA-nominated Brian Gleeson and Jessica Paré . This film gives an account of Dublin airport worker Alan and standby passenger Alice whose previous romance came to a bitter end eight years ago.


John Boorman’s new feature Queen and Country has its Irish Premiere, after being chosen for the Director’s Fortnight section of the 2014 Cannes Film Festival. It stars David Thewlis, Richard E Grant, Sinéad Cusack and Pat Shortt.


Two other dramas are announced: Flight of the Conchord’s Jermaine Clement’s mockumentary vampire housemate comedy What We Do in the Shadows and the genuinely chilling Enemy from French Canadian Denis Villeneuve with a breathtakingly bravura ‘double’ performance from Jake Gyllenhaall.


The Festival will also screen Björk: Biophilia Live. A concert film and more by Nick Fenton and Peter Strickland it captures the human element of Björk’s multi-disciplinary multimedia project: Biophilia. The concert depicted was recorded at Björk’s show at London’s Alexandra Palace in September 2013.


This year’s Festival features an important new event series Illuminate that uses film and discussion to explore mental health issues, presented in partnership with Arts and Minds and the financial support of the HSE.


A key film in this series sees the return to Cork of four-time Emmy Award winning Canadian documentarian John Kastner, for a special presentation of his film Out of Mind, Out of Sight. It gives an account of four patients of Brockville Mental Health Centre, a forensic psychiatric hospital for people who have committed violent crimes. As with the other three events in the series, the film is then discussed by leading experts in the field; here John is joined by Professor Harry Kennedy, Clinical Director of the Central Mental Hospital in Dundrum and lecturer at Trinity College Dublin, and Aine Hynes, Chair of the Irish Mental Health Law Association and leading expert in Irish Mental Health law and law reform.


The full programme will be announced on Tuesday 7 October. At 10:00 Wednesday 8 October, tickets become available for Festival Friends for 48 hours, with full public access starting 10:00 Friday 10 October. The best way to guarantee access to these screenings and other key events at the Festival is to become a Festival Friend, details of which are at


For the full early release information on this year’s festival see

Call For: Festival Producer

Call for

Illustration: Adeline Pericart

Cork Film Festival is now recruiting the newly created position of Festival Producer, to lead the Company into its exciting future.  Reporting to the Festival Board, and working closely wih the Creative Director, this experienced arts producer will take lead responsibility for producing the Festival programme, and running the Festival organisation.

The ideal candidate will demonstrate a deep passion for and knowledge of the arts; exceptional experience of producing and managing performing arts events; strong general management, financial skills, and personnel management; experience at generating and managing sponsorship and partnership relationships; and an ability to collaborate, negotiate and influence at multiple levels.

Knowledge of the film sector, experience in festivals, and production of live music and arts events will be an advantage. All candidates will be considered, and the successful one will need to live in Cork. Salary dependent upon experience.

For further information, visit


Tips: The Viral Conundrum


Lorna Buttimer reports from the Fat Rat Films‘ retrospective, which took place at last year’s Cork Film Festival and found out how they managed to get 25 million views for their short, Act of Terror.

Last October at the Cork Film Festival I attended a talk with Fred and Gemma of Fat Rat Films. They make charity and documentary films, and in one day they managed to get 25 million views for their short, Act of Terror. Which God did they pray to, you ask? Well, no God. They planned the success of their short. Planned? Yes, they planned the whole damn thing. And you can too.

The idea, according to Gemma and Fred is to plan a whole experience. Give your audiences access to everything they could wish to know about your film. Give them an incentive and make it impossible for them to say no to your creation. To that end, here are some of their top tips, with a few embellishments from yours truly.

1. The Right Film at the Right Time
According to Fred and Gemma, having a topical subject always helps. So look at what is going on around you. Whether you are releasing a comedy, drama or a non-fiction, audiences, for the most part want to see stories that they can relate to life stories, experiences and emotions. So look at what is happening around you, look at your own life experiences; and question how you can use it to make a short film.

2. Contributors and Crew
The Fat Rat crew brought this to the forefront of their talk, and I am definitely highlighting it. While it may be mainly directed at those of you who have contributors, I believe the same can be said of the crew and cast. Don’t screw them over. Do so, and you might have already signed the mortician’s certificate on your film. Be very careful in how you represent and treat those you document, and those involved in your film. Make sure they know the terms of work and the intent of the film. You want all of these people to help distribute the film after. You never know who they might know, or be friends with on facebook!

3. Set a Release time and Time
Doing so will create excitement about your film, giving a sense of exclusivity. It will also give you the chance to create an audience through the press, social networking, etc.

4.Visual Art
Get a striking poster and/or logo to go with your release date. Whether it be a still from the film or something ad hoc; it will brand your film and help promote it to the press release and through social media accounts.

Fred and Gemma suggest creating a dedicated website for the release of your film. Have on it all the details you want the public to know; release date, production stills, the making of etc. You don’t have to employ someone. You can build your own with virb or wordpress.

6.Social Media
To follow that website link up facebook, Instagram and twitter accounts, (maybe even a snapchat if you’re inclined). Make sure you create an official hash-tag too. The Fat Rat Crew believe they may have lost out by not creating one. As their film grew larger on the day of release they feel they may have actually have had enough tweets/views to officially list as ‘trending’ on twitter, but they couldn’t as they didn’t have an official hashtag. So make sure you have one to promote your film!

7.Email Database
Remember all those festivals, screening and networking events you went too? Well now is the time to pull out those business cards. Create a press package with all the details of the film: website, social media, release date etc. Gemma and Fred suggested personalizing these depending on your relationship with the recipient. You don’t want to spam a future employer or annoy a friend. Also investigate and target relevant groups that your film might connect to. Maybe include clients or former collages too. Email them on the day of launch as well.

Have a look around at blogs, websites and journalists who write about short films/the arts etc. Such writers will already have a following and will be able to help attract viewers to your film. Also research any related organisations or writers that your film may be relevant too. Send each of these a personalised email with your press package.

9.Start a Blog
Now this is a clever idea by the Fat Rat duo. By starting up a blog, you can personally keep track of the film’s success for later reflection. But, more importantly, it gives your audience and the media new content to spread after the release of the film. It will help keep the momentum of your film up after the release date.

10.Not to depress you…
…but after all that it may not work. So pick a God and pray anyway.

*The Peril of Advertising
Now, on a side note I want to mention something Gemma and Fred brought up in their talk. Be aware of others trying to make a buck from your film. It may happen, as in the case of Fred and Gemma, that a major organization will want to post your film on their website. This organization may feel, or sense, that your film is viral material, and attach an advert before it. Make sure, in your discussion with the website/organization that you investigate their intentions, and fight your corner for some of the cash if possible!

So, at the end of all that you might have noticed that going viral ain’t easy, it’s a lot of work. To achieve the success that Act of Terror rightly received, Fred and Gemma had to take a week out of work before their release date. But for them it was worth it, as they got their message and film out there.

So, plan, plan and plan again! I wish you good luck. By the way don’t forget to pick that God…

Check out Act of Terror here


Lorna Buttimer blogs for Dublin International Short Film And Music Festival


Preview of Irish Film at Cork Film Festival: The Lord’s Burning Rain

lords burning rain

The 58th Cork Film Festival (9 – 17 November)

The Lord’s Burning Rain

Sunday, 10th November, 14:00

Cork Opera House
Tickets €6.00
89 Minutes

Adapted from the 2005 short story of the same name, the Irish feature, The Lord’s Burning Rain, will screen at this year’s Cork Film Festival. The film draws on Homer’s Odyssey and is set in the Sheha Mountains of West Cork against a backdrop of Ireland’s war of Independence.

The director, Maurice O’Callaghan, told Film Ireland, “Nineteen years after Maureen O’Hara launched my last international feature film, Broken Harvest, at Cork, I’m delighted to return with my latest feature, The Lord’s Burning Rain. The film is produced by my daughter Maud aged only 21 and written and directed by myself”.

The film tells the story of Donnchadh Diarmuid, a 16-year-old who sets out with his father and uncles to buy a horse. When they leave him to ride the horse home he embarks on a journey where he encounters a seductive tinker woman, a Protestant farmer and some ghostly apparitions, and takes tentative steps to adulthood.

Click here to book your ticket


‘Barzakh’ Selected for Cork Film Festival

Cork-based production company StormLight has managed to bring the wilds of Afghanistan (and the Eifel Tower) to Co.Cork for their latest short film Barzakh, which has been selected for the 58th Cork Film Festival. Based on true events, Barzakh follows Rabah’s (Moncef Mansur) escape from the horrors of war-torn Afghanistan through the rebuilding of his life under the Irish Asylum system.
“I knew that if I was going to tell Rabah’s story in a convincing way, we needed to root him in his home and show his original life and family. So we set about tracking down the right kind of quarry with locations manager Brian Oglanby, and then added some amazing VFX and Grading work from Jim Duggan and the guys at Screen Scene.” explained Barzakh’s director Donogh MacCarthy-Morrogh. 

The project was part of KASI’s (Killarney Asylum Seeker Iniative) awareness raising initiative and was part funded by the European Union .Produced by Odette Norman of StormLight, Barzakh premiered at the Corona Fastnet Short Film Festival in May, where it picked up two nominations for “Best in Cork” and “Best Original Score”. Barzakh went on to win joint “Best in Cork” at the Dare Media Underground Film Festival.


The Cork Film Festival runs 9-17 November


Cork Film Festival Kicks Off

The 54th Corona Cork Film Festival, Ireland’s oldest film festival which will take place from 1–8 November, launched its programme of events on Thursday, 22nd October. The festival will open with the screening of The Boys are Back starring Clive Owen (Closer).

For further information and tickets for screenings, please click here


Volunteers for Cork Film Festival

Cork Film Festival is currently looking for volunteers to participate in the 53rd edition of the Festival, which will take place 12–19 October, 2008.

Volunteer work is available in the following areas: Box Office, Venues, Print Transport, Production, Guest Reception, Press Reception and Market Research.

Benefits to be gained include free passes to screenings, meeting Irish and international delegates and learning new skills.

Deadline for application: 15th September. For further information, please click here.