Festival Report: Guth Gafa | International Documentary Festival

 

Maria Flood looks back on a busy Guth Gafa International Documentary Film Festival, showcasing the latest award-winning International and Irish documentary films on thought-provoking subjects, and promoting the art of great story-telling, through film, to rural Irish communities.

 

Guth Gafa, meaning ‘captive voice’ in Irish, is a documentary film festival based in Headfort House, in Kells, Co. Meath. Now in its 11th year, the festival originally started in Donegal and moved to its current location in the heart of the Meath countryside four years ago. Guth Gafa (pronounced ‘guh gafa’) includes over 40 features and shorts, and unusually, 20 of the 23 directors screened are present at the festival to answer audience questions after screening and in the morning ‘Meet and Greet’ session, ‘Coffee with the Filmmakers’. The festival also includes several kids’ workshops, a masterclass on distribution, and a late-night Festival Club with live music.

City of Ghosts

“We believe in citizen power”, festival directors Neasa Ní Chianáin and David Rane state, and the selection of films highlight their commitment to confronting many of the challenges faced in the modern world. This year’s theme is ‘Messages of Hope’, but this should not give the impression that the films screened are in any way maudlin or simplistic responses to global events. Chris Kelly’s A Cambodian Spring reveals the often-violent confrontations between citizens, the state, and the Buddhist hierarchy, and offers an eye-opening account of injustices in the region, while Irish-USA-UK co-production Eliàn (directed by Ross McDonnell and Tim Golden) highlights the heart-breaking plight of a generation of undocumented children in the United States, mostly from Latin America. Matthew Heineman’s City of Ghosts is a harrowing account of the ISIS occupation of the Syrian city of Raqqa and the activists who try to resist the terror caused the terrorists.

Eliàn

Music is an important theme at this year’s festival and a major hit of the festival is Nick Broomfield and Rudi Dolezal’s Whitney: Can I Be Me, about the rise and fall of pop icon Whitney Houston.. Many of the works screened highlight the power of music to change social attitudes and give people optimism in troubled times, as well as how dangerous it can be to follow a musical passion in some contexts. Brad Allgood and Graham Townsley’s moving and uplifting Landfill Harmonic looks at Paraguayan children who have turned landfill waste into musical instruments, while German co-production When God Sleeps (Till Schauder) charts Irani rapper Shahin Najafi’s poignant and sometimes hilarious distribution of phallic videos to provoke of the religious authorities in his home country — who place a $500,000 bounty on his head.

School Life

There are many family friendly options at the festival, including the breath-taking The Eagle Huntress by Otto Bell and a daring animation about autism and Disney, Life, Animated by Roger Ross Williams. By far the stand-out hit of this year’s programme was Ní Chianáin’s immensely popular School Life, an observational documentary about the life of the primary school age boarding students at Headfort School. Formerly known as In Loco Parentis but changed to School Life at the behest of American distributors, the film played three sold-out screenings, many of which included former pupils and teachers at the school. The principal subjects of the documentary, charismatic teachers John and Amanda Leyden, can also be found wandering through the grounds and hallways of Headfort throughout the festival.

The film has three screening areas, each more weird and wonderful that the last. The Adam Room, located in Headfort House, is named after pioneering neo-classical architect Robert Adam, and is a masterpiece of elegance and excess. The room is adorned with many fine examples of Georgian portraiture, and watching these contemporary films surrounded by the watchful eyes of denizens of worlds past is a unique experience. The Road House cinema is a bright-red mobile screening unit, offering comfortable cinema style seats, and the Hanger Cinema is located in a warehouse, converted to cinematic conditions, where the illustrious Lord Headfort himself would store his airplanes.

The festival is also committed to sustainability, and one of the food outlets is supplied by ‘Food Cloud’, who make delicious vegetarian treats like quiches and soups from produce that would otherwise be thrown out. All of the disposable food containers and cutlery at the festival are compostable, and the bar offers reusable drinks containers.

The festival is an annual event, and they are always looking for volunteers. The full festival programme and further detail are available on their website here

 

Maria Flood is a lecturer in Film Studies at Keele University
 
The 2017 Guth Gafa International Documentary Film Festival runsruns 4 – 7 August. 
Share

Report from Rome: Celebrating Ten Years of the Irish Film Festa

 

Áine O’Healy takes in the celebrations at the Irish Film Festa tenth anniversary.

This year’s iteration of the Irish Film Festa in Rome, which ran from March 30 to April 2, marked the tenth anniversary of its inception. Unfolding as usual at the Casa del Cinema in the splendid surroundings of the Villa Borghese, it featured an impressive line-up of screenings, interviews, and other ancillary events. The Festa is entirely a grassroots organization, nurtured by the creative vision and organizational skills of Susanna Pellis, who had written two books on Irish cinema before devoting her energies to directing the festival. Far from a random sampling of new Irish titles, her screening selections invariably offer a coherent insight into Ireland’s contemporary cultural production.

Speaking to the audience on the opening night, Irish Ambassador Bobby McDonagh noted with irony how the dates of this year’s Festa coincided with the implementation of Brexit, a process that will bring unknown consequences to the people of Ireland, now confronted with the strong possibility of a re-instated border and with the material and symbolic restrictions it will impose. In contrast to the isolationism signalled by Brexit, the transnational spirit embodied in events like Rome’s Irish Film Festa suggests a salutary openness and a quest for reciprocal cultural enrichment.

Jim Sheridan & Susanna Pellis

The 2017 Festa was particularly rich and varied, showcasing several new feature films of different genres and production budgets, as well as two “classics” (John Boorman’s The General and Jim Sheridan’s The Boxer). Since 2010, the festival has included a competition of short films, the visibility of which has grown over the years, attracting entries of increasingly high quality. This year, following a record number of submissions, fifteen finalists were screened in competition, running the gamut from documentary to drama, comedy, horror and thriller. The winners, announced on closing night, were Vincent Gallagher’s Second to None (animated) and Ian Hunt Duffy’s Gridlock (live action).

Martin McLoone

Also on the programme was a range of stimulating supplementary offerings, including a lecture on cinema and the Troubles by Martin McLoone, professor emeritus of media and film at the University of Ulster; interviews with numerous actors, directors, screenwriters, and producers active in Irish filmmaking; question and answer sessions that produced genuine conversations among the filmmakers and a very attentive audience; a literary event featuring Dublin writer Dermot Bolger; and a photo exhibition featuring highlights of the Festa’s ten-year history.

The broad cultural sweep reflected in the programme makes this event strikingly different from the handful of Irish film festivals held annually in the United States. The Festa has built a strong following in Italy, not only in the Irish expatriate community, but also among growing numbers of Italians, who return each year to discover a new crop of Irish releases and to mingle with the invited guests. The relative smallness of the venue (with just two screening spaces) creates an intimacy unimaginable at larger festivals, facilitating communication among participants, industry specialists, and viewers alike. Most screenings and events were packed to capacity.

Caoilfhionn Dunne, In View

Pellis always comes up with a broad mix of films, reflecting the speed with which Irish filmmakers have accommodated a range of genres, styles, and themes over the past quarter century. The 2017 programme showed the remarkable variety of contemporary Irish film production, with titles that included the caper film The Flag (Declan Recks), the zany road movie The Young Offenders (Peter Foott), the recession-themed thriller Traders, and the finely observed psychological drama, In View (Ciarán Creagh). In the dramatic feature films screened at the festival a richly reflective meditation on social life in Ireland emerges with striking force through stories offering insight into contemporary social problems such as suicide, alcoholism, and the inadequate accommodation of intellectual disability. While the Irish landscape, both north and south of the border, is very much in evidence, views of Dublin no longer sharply dominate images of urban life in the Republic. Instead, there are alluring glimpses of urbanized Galway in Sanctuary, directed by Len Collin, and a lovingly fetishized Cork in Foott’s The Young Offenders).

Another important aspect of the Festa’s attention to diversity and inclusiveness is evident in Pellis’ consistent effort to bring filmmaking in Northern Ireland into dialogue with the cinema of the Republic by inviting film professionals from both constituencies to the festival each year. The section devoted to Northern Ireland in the 2017 programme featured two very different but equally accomplished short films, Two Angry Men (Toto Ellis) and Starz (Kevin Treacy and Martin McCann). The former is a period piece based on real events, which packs considerable force into just under seventeen minutes of running time. Its story focuses on the struggle of shipyard-worker-turned-playwright Tom Thompson and theatre director James Ellis, to bring the play Over The Bridge to the Belfast stage in 1959. Inspired by a sectarian dispute in the Harland and Wolff shipyard, which many now see as a prelude to the Troubles, Thompson’s play was initially censored by the Belfast establishment because of its political content. Two Angry Men recounts the ultimately successful efforts of Thomson and Ellis to resist this censorship and to stage Over the Bridge in its original form. Directed by Toto Ellis—son of the now deceased James Ellis—and starring seasoned actors Adrian Dunbar and Mark Shea, this surprisingly compact work powerfully evokes the mood of the period and the political tensions that underpinned it.

Martin McCann & Gerard McSorley

Starz offers comedic contrast to the darker tones of Two Angry Men. A 30-minute low-budget mockumentary, it follows the maniacally self-deceptive antics of a theatrical agent down on his luck in contemporary Belfast. In the lead role, Gerard McSorley delivers a rare comic performance that is laced with subtlety and nuance. Martin McCann, one of the co-directors of Starz and a guest of this year’s festival, took part in the lively post-screening discussion alongside McSorley.

McCann also played a role in the most important documentary screened at the 2017 Festa, Brendan Byrne’s Bobby Sands: 66 Days, where he provides a poignant voiceover reading of Sands’ “hunger diary.” This is the diary written during the first 17 days of Sands’ highly publicized slow death by self-starvation in 1981. Co-produced by Northern Ireland, Ireland, Denmark and Sweden, the film exemplifies the hybridity and vitality of contemporary documentary practices. Mixing animation, reenactment, interviews and archival material to retell the story of Sands, it provides fresh insights not only into the personality of this now legendary figure but also into the historical context and eventual political effects of the hunger strike.

One of the highlights of the Festa’s tenth anniversary edition was the presence of Jim Sheridan, acknowledged in the programme notes for having “kick-started” Irish cinema at the end of the 1980s. In the course of a generous, wide-ranging interview with Pellis, Sheridan shared reflections on his artistic process, his international career, and the dynamics of transnational reception. A striking moment occurred in the discussion with the audience when Carlo Carlei – a well-known Italian director attending the screenings – acknowledged Sheridan’s formidable talent as a storyteller, so powerfully reflected in The Boxer. Sheridan’s gracious capacity to interact with people of different backgrounds made the interview and open mic discussion with him one of the festival’s most memorable elements.

The two Sheridan films on the programme, The Boxer (1997) and The Secret Scripture (2016), offer a fascinating sample of the director’s work at different stages of his career. Set on the cusp of the Northern Ireland peace agreement and highlighting tensions among supporters of the Republican cause, the earlier film has not lost its ability to rivet audiences to their seats, even if the circumstances it recounts have by now receded into distant memory. The Boxer’s enduring power is clearly due to Sheridan’s keen sense of timing and direction, as well as the stellar performances of Daniel Day-Lewis, Gerard McSorley and Emily Watson.

The Secret Scripture is a more complicated work, in part because of the challenges of adapting a widely acclaimed novel with a complex narrative structure. Opening at the Toronto Film Festival last year, the film has largely perplexed festival audiences and overseas reviewers. Adopting the novel’s dual narrative track, it is set both in rural Sligo in the 1940s and in a crumbling psychiatric hospital in the Celtic Tiger era. Rooney Mara plays the youthful embodiment of the leading character, Roseanne, who becomes a victim of misogyny, bigotry, sectarian prejudice, and fanatical nationalism in the Sligo village to which she has fled after the Belfast bombings of 1941. Eventually institutionalized for life on suspicion of infanticide, she reappears fifty-odd years later in the guise of Vanessa Redgrave. Now a tormented old woman who has painfully recorded her memories in the margins of a bible, she refuses to leave the hospital that is slated for demolition. Like the novel, the film offers a last-minute twist that builds toward an improbably happy resolution, in spite of the overwhelming pessimism inherent in the narrative as a whole.

Both Mara and Redgrave deliver fine performances, but there is little that unites their respective styles. Furthermore, the sectarian divisions and political tensions that drive much of the violence in the story may well be lost on non-Irish viewers, as the contextual elements are minimally developed. However, thanks to the striking cinematography of Mikhail Krichman, The Secret Scripture is a visually arresting film, where the beauty of the Irish landscape (and of the actors) is in sharp contrast with the brutality and mean spiritedness of the characters inhabiting this provincial world.

Gerard McSorley tickles the ivory

Gerard McSorley, who has collaborated with Sheridan over the years, also proved to be an extremely popular guest at the Festa, appearing in three of the films on this year’s program (The Boxer, In View, and Starz) in widely contrasting roles. Interviewed after the screening of In View alongside the talented leading actress Caoilfhionn Dunne, he offered the audience some fascinating insights into his career, personal life, and some of the social problems currently afflicting Ireland. Later, much to the delight of the festival audience, he launched into a spontaneous performance on the grand piano.

Peter Foott, The Young Offenders

Among the films screened at the 2017 Festa, a clear audience favourite was Peter Foott’s The Young Offenders, which focuses on a pair of 15-yeard old working- class adolescents intent on tracking down the huge shipment of cocaine “misplaced” by smugglers off the coast of West Cork. Highlights of the film are the impeccable comic performances of newcomers Alex Murphy and Chris Walley as the titular “offenders,” and a remarkable chase scene – on bicycles – through the bucolic landscape of Co. Cork. Though the plot unfolds to a large extent in rural surroundings, the characters are decidedly urban, and Cork itself is presented as a rough-edged, but entirely distinctive contemporary city, whose charms are highlighted at every possible turn. Foott noted in the Q & A following the screening that The Young Offenders has drawn record numbers of viewers in Cork, playing to packed houses for weeks on end.

Perhaps the most original feature film shown at the festival this year was Len Collin’s Sanctuary, which tells the story of a trip to the cinema by group of young, cognitively disabled individuals and their carer. Based on a play of the same title produced by the Blue Teapot Company in Galway, it features a fine ensemble of actors, with the lead performers drawn from the original theatrical cast. All members of the group (excluding the carer) are played by actors with real cognitive disabilities, lending a vibrant sense of authenticity to the unfolding events. The two characters at the centre of the plot, Larry and Sophie, have arranged, with the paid complicity of the carer, to dodge the cinema and spend some time together, unsupervised, in a hotel room, a move that leads to tragicomic consequences for all. The film raises many fascinating ethical, legal, social and psychological issues. What stands out, however, is Collin’s remarkable directing skill and the bracing performances elicited from his extraordinary cast.

That Pellis continues to bring films like these to Rome year after year – along with many filmmakers, writers, and actors – is a remarkable achievement. A huge debt of gratitude is owed to her and to her small, dedicated team for offering audiences a demonstration of genuine cultural transnationalism at a time when the growth of isolationist rhetoric and xenophobic sentiment seems to threaten the fragile peace of our globe.

 

Áine O’Healy is a professor in the Department of Modern Languages and Literatures at Loyola Marymount University in Los Angeles, where I teach Italian cinema, Irish film, transnational film, and cultural studies.

 

La 10a edizione di Irish Film Festa, dal 30 marzo al 2 aprile 2017 alla Casa del Cinema di Roma.

Share

Corona Fastnet Short Film Festival – Report Page

The Corona Fastnet Short Film Festival was launched last night in the Village Hall in Schull, Co Cork and will continue through the weekend.  For a list of events see here.

Tuesday May 31st

The 2011 Corona Fastnet Short Film Festival has been a wonderful success, even more interesting and challenging than in previous years. The guest speakers, attending filmmakers, sponsors, tourists and locals all had a wonderful time and the overall consensus was that “Distributed Cinema” was a very inclusive idea that suited Schull and embedded the festival into the local community in an innovative way.

The festival created an Intranet network in the village of Schull, a pilot scheme to connect a large number of premises to our server enabling streaming of the short films to these premises, and the addition of wifi access allowed attendees to the festival view short films of their choice, in venues of their choice. This was done with the help of Brendan Hurley of Digital Forge, West Cork Development Partnership, Granite Consulting and Martin Levis.The most remarkable thing was how the technology disappeared leaving simple access for the audiences and the filmmakers. They used that access in ways that we had not anticipated by becoming interactive with it, showing their films, discussing techniques and comparing ideas. The venues became places of spontaneous workshops with groups of filmmakers showing their films, drinking coffee, getting feedback and comparing notes.

The network remains in place for visitors to log on to and view the submitted films throughout the village of Schull. Visitors to the village can pop into the book shop, one of the pubs or restaurants,  take out their laptop, smart phone or iPad and enjoy the competition films at any time. ‘Our Village is our Cinema’.

For further information please contact Hilary McCarthy on 085 1588 309 or check out our website on www.fastnetshortfilmfestival.com

Sunday May 29th

The weekend has been amazing in Schull with very positive reviews coming from contributors and spectators alike. The tented village has been in full swing all weekend with short films being screened in the horse box cinema, reels on the bus, cycle cinema, art installations and visiting story tellers recounting their favourite stories in the bell tent.  Ten venues around town have been streaming the submitted films and the village hall has been really popular receiving consistently packed audiences.

Friday’s Screening of As If I Am Not There was followed a discussion with the Director Juanita Wilson and Marika Griehsel.   Set during the Bosnian War, this powerful drama is based on true stories brought to light at the International War Crimes Tribunal in The Hague, one of the difficult topics covered at the festival this weekend. Joan Giller introduced the screening of Resolution with reference to her own experiences working in Africa among survivors of sexual violence and the film was followed by a discussion with the director, Marika Griehsel and Juanita Wilson.

Saturday began with a true Shakespearean Masterclass with Jack Gold and Chris O’Dell with full audience participation. Fran Keaveny from IFB then had a frank discussion about how best to go through the application process and explained the importance of getting it right. Snap was introduced by the former classifier John Kelleher and you could hear a pin drop throughout the screening. The discussion that followed with director Carmel Winters peeled back some of the layers of this very unsettling but brilliant film. Gerard Stembridge interviewed three Irish directors; Carmel Winters, Juanita Wilson and Rebecca Daly, about some of their past work in short film, what interests them and continues to motivate and inspire their work. The evening closed with 3 wonderful shorts from Nick Kelly and some very mellow live music.

The short listed films were be screened on Sunday May 29th all over town followed by an audience with David Puttnam, Sandy Liebersen and Greg Dyke at 5pm. Next, the Award Ceremony and Reception and to top off a fantastic weekend It’s a Wrap Street Party until late with films screened onto the side of buildings and Cinematic Music.

Master Class with Jack Gold

Early on Saturday morning, a full Village  Hall met Jack Gold, Master Director, for a Master Class on Directing. Using most of Act Scene 1 of MacBeth we were treated to an exploration of such a text for film. Joan Giller as Lady MacBeth and Pat Bracken as MacBeth, two accomplished local actors, firstly played the scene in a theatrical way and then little by little, step by step in the hands of the Director we analysed the script for emotion, ‘hinge points’ and intensity and we saw the immense skill and experience of Mr. Gold.

Fascinating too was the subtlety and connection with his Director of Photography, Chris O’Dell. The performances of the actors were pared back and the impact of various angles and focus of attention on one and then the other was interesting to observe. Did we really pack all that in in two and a half hours!

Karen

Saturday May 28th

The Corona Fastnet Short Film Festival announced their shortlist.

CFSFF 2011: Shortlisted Films in no particular order

BEST OF FESTIVAL (CFSFF)

Cash prize of €2,000 and an original Pat Connor sculpture

El último Canto del Pájaro Cú (10m, Mexico )  Alonso Ruizpalacios

Happy Birthday Timmy (3m, Ireland)  Johnny Cullen

‘Shoe’ (13m, Ireland)  Nick Kelly

La Mina De Oro (10m, Mexico) Jacques Bonnavent

Cured (12m, Ireland) Mary Redmond

BEST IRISH SHORTFILM  (CFSFF)

Cash prize of €2,000

Nietzsche No. 5 (6m, Ireland)  Shaun O’Connor

Rat’s Island (12m, Ireland) Mike Hannon

Pentecost (11m, Ireland)   Peter McDonald

Crossword (13m, Ireland)  Vincent Gallagher

‘Shoe’ (13m, Ireland)  Nick Kelly

Happy Birthday Timmy (3m, Ireland)  Johnny Cullen

Cured (12m, Ireland)  Mary Redmond

Deep End Dance (6m, Ireland) Conor Horgan

BEST YOUNG FILMMAKER (U22) (Martin Levis)

Cash prize of €2,000

Happy Birthday Timmy (3m, Ireland)  Johnny Cullen

Jittertree (10m, United Kingdom)   Tom Bailey

Low Battery (9m, Canada)   Zoe Slusar

Tick Tock (5m, USA)   ien chi

Flipping Channels (7m, Ireland)  Fiona Riordan

BEST IN CORK  (CFSFF)

Cash prize of €500

Sponsored by Cork County Council & Schull Initiative

Rat’s Island (12m, Ireland) Mike Hannon

Nietzsche No. 5 (6m, Ireland)  Shaun O’Connor

The Christening (14m, Ireland, UK)   Oonagh Kearney

All Night Long ( 13m, Ireland)  Mark Cogan

The Watchmaker’s Time (15m, Ireland) Peter J. Andrews

Baby Boots (15m, Ireland) Daniel O’Connell

BEST DRAMA  Kirsten Sheridan

Cash prize of €200

Mamis kleiner helfer (11m, Germany)  Michael Lavelle

‘Shoe’ (13m, Ireland)  Nick Kelly

The Christening (14m, Ireland, UK)   Oonagh Kearney

BEST COMEDY   Patrick McCabe

Cash prize of €200

Know Your Enemy (9m, Ireland)  Eamonn Colfer

Pentecost ( 11m, Ireland)   Peter McDonald

Nietzsche No. 5 (6m, Ireland)  Shaun O’Connor

Happy Birthday Timmy (3m, Ireland)  Johnny Cullen

BEST DOCUMENTARY   (Tony Barry)

Cash prize of €200

Library In My Mind (10m, UK)   Jamie Hamer

Rat’s Island (12m, Ireland) Mike Hannon

The Bookbinder’s Daughter (7m, Ireland) Denis Murphy

Under the Influence with Stephen Mensah (9m, UK)   Corey Macri

BEST EXPERIMENTAL   (Steve Baker)

Cash prize of €200

The Streets of the Invisibles (14m, Austria)   Remo Rauscher

For Peace Comes Dropping Slow (12m, Ireland)   Lisa Vandegrift Davala

BEST DANCE (CFSFF)

Cash prize of €200

Deep End Dance (6m, Ireland)   Conor Horgan

Admit One (6m, Ireland)   Steve Woods

BEST ANIMATION   (Davey Ahern, Synth Eastwood)

Cash prize of €200

43 – Forty Three (2m, UK)   Jonathan Mortimer

Luna (8m, Mexico) Raúl Cárdenas, Rafael Cárdenas

Martyris (8m, Mexico)   Luis Felipe Hernandez Alanis

The Gentleman’s Guide to Villainy (1m, Ireland)   Aidan McAteer

BEST DIRECTION   (Gerard Stembridge)

Cash prize of €100

La Mina De Oro (10m, Mexico)   Jacques Bonnavent

Happy Birthday Timmy (3m, Ireland)  Johnny Cullen

El último Canto del Pájaro Cú (10m, Mexico )  Alonso Ruizpalacios

Him Himself (11m, Lebanon, United Arab Emirates) Jack Gravina

The Calculus Of Love (14m, UK) Dan Clifton

Pentecost (11m, Ireland)   Peter McDonald

BEST SCREENPLAY  (Donal Beecher)

Cash prize of €100

Him Himself (11m, Lebanon, United Arab Emirates) Jack Gravina

Pentecost (11m, Ireland)   Peter McDonald

The Interview (7m, USA)  Reinaldo Marcus green

Nietzsche No. 5 (6m, Ireland)  Shaun O’Connor

BEST ORIGINAL MUSIC   (Maurice Seezer)

Cash prize of €100

The Line Joseph Conlan

El último Canto del Pájaro Cú (10m, Mexico )  Tomás Barreiro

Cured Ray Harman

Martyris Alejandro de Icaza

Him Himself (11m, Lebanon, United Arab Emirates) Jack Gravina

BEST CINEMATOGRAPHY   (Chris O’Dell)

Cash prize of €100

El último Canto del Pájaro Cú (10m, Mexico) Emiliano Villenueva

The Calculus Of Love (14m, UK)  Dirk Nell

Him Himself (11m, Lebanon, United Arab Emirates)  Charbel Aouad

Thursday May 26th

Festival Co-Chair Maurice Seezer had this to say:

‘We’re back, and our festival welcomes all visitors to Schull, whether filmmakers, guests or interested spectators. CFSFF 2011 has a wonderful line-up, all thanks to the commitment of our guests, the generosity of our sponsors, the dedication of our voluntary committee and the support of the community of Schull. By supporting us they have supported the development of filmmaking talent in Ireland and by bringing the best of this talent to Schull every year you help sow the seeds for a new generation of filmmaking talent in County Cork.

The festival got off to a flying start with screenings all over town. Everyone knows at this point that Schull has a film festival but no cinema. Short films don’t have many outlets in Ireland, but in Schull our short film submissions became available to view on smart phones, laptops, on HD TVs in more than 10 venues, projected in our Village Hall, in a horse box cinema, a cycling cinema, a darkened bus and many other weird and wonderful places. Welcome to “Distributed Cinema”, Schull’s very own Intranet network dedicated to Short Film. The pieces are falling into place…we hope you enjoy our noble experiment.’

Share

Newport Beach Film Festival 2010 – Call for entries

The Newport Beach Film Festival is celebrating its 11th year of bringing the best in independent cinema to Orange County. Showing over 350 films, the Newport Beach Film Festival presents a unique blend of features, documentaries, international spotlighted films, youth, action sports and short films in one programme. The festival will run from 22-29 April 2010 and it’s now open for submissions.

Since its beginnings, the festival has presented many acclaimed films and as a result the Newport Beach Film Festival has quickly gained recognition both from filmmakers and audiences, and has attracted more than 50,000 attendees in 2009.

The festival also offers the opportunity to meet the filmmakers. Directors, screenwriters and cinematographers eager to share their work will provide an exclusive inside look at the industry during post-screening Q&A’s and as a part of the free Seminar Series.

For more information visit www.NewportBeachFilmFest.com

Share

Cinemagic Festival 2009

The Cinemagic Film and Television Festival for Young People is coming back to Dublin. From 6–13 May young film and TV enthusiasts will have a wealth of screenings, masterclasses with film and television industry guests, workshops for schools, a cross border jury panel and Q&A’s to chose from. All of these aim to entertain, motivate and create opportunities for young people aged 4–25.

To view the festival programme online please visit www.cinemagic.ie

Share

Irish Short Defaced Selected by Onedotzero

Lorcan Finnegan’s short film Defaced has been selected by onedotzero (adventures in moving image) to screen in their ‘cityscapes’ programme. The festival begins in Buenos Aires on the 26th September before moving to Zurich, followed by Moscow, before returning to London for a 3-day festival at the BFI South Bank in November. The film will then screen as part of the onedotzero global tour over the next year, with screenings taking place at over 150 national and international events around the world.

Defaced can be viewed here: http://www.vimeo.com/986679

Share