Bord Scannán na hÉireann/the Irish Film Board Publishes 2018 Funding Guidelines

Bord Scannán na hÉireann/the Irish Film Board (IFB) wishes to notify applicants that the 2018 Guidelines for its Production and Development Funding schemes have been published. These provide important information including details of the IFB’s criteria and requirements, funding levels available and deadlines for submissions.

A number of changes will be introduced for 2018 including:

Development Funding

  • The introduction of a new development budget template for use with all submissions to the relevant schemes.
  • The deadline for applications to the International Television Drama Development scheme will be 28th February, 29th June and 31st October 2018 only.

Production Funding

  • The introduction of new funding levels for Fiction: Irish Production
  • The addition of enhanced production funding for female directing talent attached to projects which qualify for Documentary Production

Applicants are required to familiarise themselves with the Production Funding Guidelines and Development Funding Guidelines which are downloadable from the relevant sections of the Funding page on the IFB website in advance of making a submission to the IFB

 

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IFB Announces Successful Teams for SHORT STORIES 2

Bord Scannán na hÉireann/the Irish Film Board (IFB) has announced the successful teams for its short filmmaking scheme, SHORT STORIES 2.

SHORT STORIES are live-action or animated fiction films between 2–5 minutes in length and this year, the IFB invited filmmakers to examine the theme of IDOLS.

The successful projects are:

Frida Think, to be written and directed by Maya Derrington and produced by Paul Rowley of Still Films. Frida Think will tell the story of a woman who walks into a party dressed as Frida Kahlo, only to find that her version of unique has mass appeal.

Procession, to be written and directed by Jeda de Brí and produced by Claire McCabe of 925 Productions. The film is to be set in a bedraggled community of misfits who gather to mourn one of their own, the only way they know—a raucous, elaborately eccentric, brass-band funeral.

Mary, to be directed by Shaun O’Connor, written by Jonathan Hughes and produced by Sharon Cronin of Character Films. The short will centre on Charlie, who, after managing to destroy the town’s beloved Virgin Mary statue, does the only thing he can do: frames his older brother.

Quest for Love, to be written and directed by Antonia Campbell-Hughes and produced by Ailish Bracken of Against the Grain Films. Quest for Love will see Eve and her son Max move to Paris: but does Eve want motherhood or freedom?

Honest, to be written and directed by Matthew Roche and produced by Hazel Cullen of TW Films. The film features a young boy whose confrontation with the Son of God makes him question his faith and helps restore his honesty.

SHORT STORIES 2 will premiere at the 2018 Galway Film Fleadh. 

 

http://www.irishfilmboard

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IFB Announce New Funding Initiatives for Female Writers and Directors

 

Bord Scannán na hÉireann/the Irish Film Board (IFB) has announced a number of new funding initiatives at the Galway Film Fleadh specifically targeted at incentivising female writers, directors and producers, in order to directly increase female representation in the Irish film, television and animation industry

The IFB stated its intention in the 6-point plan to achieve 50/50 parity of funding within three years. However, the actual number of funding applications received by the IFB on an ongoing basis, with female writers and directors attached remains relatively low. Therefore, the IFB will roll out a number of funding initiatives focused on increased production and development funding for female led projects and a female focused low budget production funding initiative. These initiatives are aimed at incentivising female talent into the sector and encouraging Irish production companies through the provision of additional funding to develop Irish female talent.

Commenting on the new initiatives Dr Annie Doona, IFB Chair said “These initiatives represent the continued commitment of the IFB to achieving gender parity within the film, television and animation sector. We are of the view that whilst a lot of been achieved in developing the careers of female writers and directors, not enough has been achieved in relation to increasing the actual funding applications received by the IFB, with female talent attached. I believe these direct funding initiatives will incentivise an increased number of applications from female led talent and will support, empower and elevate Irish female talent working within the Industry. 50/50 parity of funding remains our goal.”

 

The new funding initiatives are:

 

➢ Low Budget Film Production & Training Scheme for female talent
In the coming months, BSÉ/IFB will launch a new low budget production programme aimed exclusively at emerging and established female Writers and Directors. Following tailored workshops, mentorship and training, talent will have the opportunity to apply for support to produce a feature film with a budget of up to €400,000 fully funded by BSÉ/IFB and S481.
 
➢ Enhanced Production Funding for female initiated and driven feature films
Increased support of up to €100,000 (subject to meeting BSÉ/IFB prescribed criteria) will be made available for projects under BSÉ/IFB’s Fiction: Irish Production funding for feature films that are creatively lead by an Irish female Writer(s), Director(s) or Writer/Director with effect from September 2017.

 

Across all other BSÉ/IFB funding schemes, including the BSÉ/IFB Short Film schemes, gender parity across all creative roles will be monitored and encouraged within any applications for support.
 
➢ Development Focus for female initiated feature films
The IFB has recently appointed a new team of project managers who have taken up their positions in the Production & Development team at the IFB. The team is currently reviewing the Screenplay Development scheme for writers, writing teams and writer and director teams, and amendments to the scheme will be announced shortly. As part of the planned amendments to this scheme, all efforts to ensure gender parity across funding awards will occur. In addition, the IFB plans to pilot one round annually available to female applicants only.

 

The team is also discussing the introduction of a supplemental funding award for feature films originated and written by Irish female writers with effect from September 2017.

 

In terms of BSÉ/IFB’s other development funding schemes gender parity across all creative roles will be monitored and encouraged within any applications for support.
 
➢ Establishment of the Gender Equality and Diversity Subcommittee
A new Gender Equality and Diversity Subcommittee will be appointed by the IFB board, who will consult with external bodies, will be introduced with effect from September 2017. The Subcommittee will establish ongoing policies and guidelines in relation to the application process and funding arrangements and will be responsible for their implementation and delivery.

 

➢ Promotion and dialogue focused on female talent
BSÉ/IFB will continue to monitor our progress on gender equality and to conduct our dialogue with the relevant stakeholders and partners including RTÉ, the BAI, SPI, Directors Guild, Writers Guild and Animation Ireland. Particular attention will be given over the coming period to dialogue with the major Irish production companies to discuss actions they could take to increase gender equality within the industry.

 

IFB will introduce a targeted strategy to promote female talent in the sector increasing their visibility, celebrating achievements, supporting their work and promoting gender equality widely to new and existing practitioners as well as the public.

http://www.irishfilmboard.ie/

➢ Note that comprehensive information on each of these Initiatives (the exact details of which are subject to change) will be announced in the coming months and will be made available on the IFB website.

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Irish Film Board AFTER ’16 Shorts to screen at Collins Barracks

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Bord Scannán na hÉireann/the Irish Film Board is partnering with National Museum of Ireland, Collins Barracks this June for a series of screenings of After 16, a programme of short films which were specially commissioned to commemorate the 1916 Rising. The screenings will be complemented by a bespoke panel discussion with filmmakers.

After ’16 is a creative response by Irish filmmakers to the events of Easter 1916. This collection of nine shorts films is a mixture of live action, animation and documentary and includes both contemporary and period pieces.

On Sunday June 12th, the National Museum of Ireland, Collins Barracks will hold a panel discussion with four of the After ’16 filmmakers, including directors, producers and writers, hosted by Dr Kevin Rockett, Professor in Film Studies at Trinity College Dublin. Panel members will introduce their films with a focus on their research and share their reflections on utilising a historical topic for a creative piece. A discussion will follow which promises to be an insightful look at research methods adopted by creative practitioners working in a historical context.

‘Proclaiming a Republic: The 1916 Rising’, one of the largest exhibitions of materials from this period is now open at the National Museum of Ireland, Collins Barracks. Many of the exhibited objects have never been on public display before while others, such as the Irish Republic flag which flew over the GPO, have been specially conserved. Through the combined effect of the objects, words and imagery of the period, visitors to the exhibition will be confronted with the physical reality of the events of Easter Week, following the stories of those caught up in the events of that momentous week – civilians, combatants and survivors alike.

After ’16 will screen at the AV Lecture Theatre, National Museum of Ireland – Decorative Arts & History, Collins Barracks, D7 on each Friday in June from 11am – 1pm and from 2pm – 4pm. Visitors are welcome to watch the full programme or to drop in as they wish. Admission is free and booking is not required.

The panel discussion will take place on Sunday, June 12th at 2.30pm. Admission is free, booking is required by emailing booking@museum.ie or phoning 01 6486453.  www.museum.ie 

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Statement from the IFB on Gender Equality Six Point Plan

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Bord Scannán na hÉireann/the Irish Film Board have ended the year by making a  statement on their Gender Equality Six Point Plan:

Bord Scannán na hÉireann/the Irish Film Board confirms our ongoing commitment to addressing the issue of gender inequality in Irish film. We are announcing a six point plan addressing gender imbalance in Irish film. This follows on from Acting Chair Dr Annie Doona’s public statement on gender equality in November 2015. The statement addressed the underrepresentation of women in Irish film and the plan now sets out to create an agenda to address this imbalance. The six point plan is as follows:

1.       Information

IFB funding statistics are now published on the IFB website. Combined figures for 2010 to 2015 show that 16% of production funding applications came from projects with female writers attached, 14% came from projects with female directors attached and 36% of production funding applications came from projects with female producers attached. For projects which are completed productions in the same period, 21% had a female writer attached, 18% had a female director attached and 55% had a female producer attached.  We are committed to continued collection and publication of data to highlight inequalities and enable us to address them.  Each IFB Board meeting will review and monitor the latest statistics on gender.

2.       Funding

There needs to be a holistic and integrated approach to achieve real change. The aim is to stimulate applications for development and production funding with female creative talent attached. The target is to achieve 50/50 gender parity in funding over the next three years. We will engage with production companies who have obtained or are seeking IFB funding with a view to raising awareness about gender imbalance and achieving this target. We will also engage with organisations who will provide training to executives involved in funding decisions in gender equality specifically and on cultural diversity generally. The intention is to address issues of unconscious bias within Irish film.

3.       Training and Mentorship  

This will be organised through Screen Training Ireland (STI) who will be announcing a series of initiatives to provide meaningful development, support and career progression for female talent including emerging talent. This will include two international placements for female writers and female directors as well as mentorships for female directors of TV drama and female directors on feature films funded by the IFB in 2016. STI will also be promoting seminars and conferences as well as panels at events and will be seeking to achieve an ongoing consciousness at these events of the need for gender equality and cultural diversity generally and will be seeking to ensure that the panels and speakers themselves also represent that equality and diversity.

4.       Education

Early intervention in the education process is an initial part of change of mind-sets. We will be working with the National Film School at IADT organising events for female transition year students to introduce and encourage them to consider courses in film related areas particularly screen writing, screen directing and screen producing.

5.       Enterprise

We will be working with Enterprise Ireland on their entrepreneurship start-up scheme to include dedicating space at existing incubation centres for female creative talent and encouraging female creative talent to engage with Enterprise Ireland’s existing schemes.

6.       Partnership

We will also be working with other funders in media including the BAI Sound and Vision Fund and the public service broadcasters RTÉ and TG4 so that gender equality is embedded within the decision making process in screen content and that cultural diversity generally is promoted in production which is publically funded. We will also be working with Women in Film and Television Ireland and other bodies nationally and internationally to progress gender equality.

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Skills Development in the Audiovisual Industry

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Bord Scannán na hÉireann / the Irish Film Board and the Broadcasting Authority of Ireland have announced the appointment of Crowe Horwath as Consultants to draw up a new Strategy for Skills Development in the Audiovisual Industry.

The development of skills within the audiovisual production sector is integrally linked to Ireland’s capacity to scale and grow the industry.   The film and broadcasting sector is undergoing tremendous turbulence and change as technology changes how content is made and consumed.  The recent introduction of the new and enhanced tax credit will also act as a stimulus to growth.  This strategy will provide an important policy framework for further growth and capacity expansion.

Alongside the development of professional skills within the sector, the strategy will also map the provision of production-related courses at third and continuing level and how they interact with industry.  Other key issues to be addressed will be current and future trends within the industry, influencing workforce skills.

The development of the strategy will comprise interviews with industry stakeholders and an on-line questionnaire to ensure full industry participation.

To register your interest in participating in the online survey please email trainingstrategy@crowehorwath.ie and you will be contacted by Crowe Horwath in due course.

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Irish Film Board to be Renamed as Screen Ireland

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The Minister for Arts, Heritage and the Gaeltacht, Heather Humphreys TD [pictured] has announced her intention to put legislation in place to change the name of the  Irish Film Board to Screen Ireland.

Minister Humphreys said, “The Irish Film Board is our premier agency for promoting and supporting the audio visual sector. Its work extends far beyond the traditional realm of ‘film’ and encompasses the domestic and international TV sector, as well as our growing animation sector. The Irish audio visual sector has been going from strength to strength in recent years, and I believe there is huge capacity for growth. I want the agency tasked with expanding the sector further to have a name that easily communicates its responsibilities”.

 

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Australia and Ireland Partnering on Film

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With the imminent release of Strangerland, Glen Falkenstein takes a look at the production partnership between Ireland and Australia.

Co-operation between the Irish and Australian film industries is set to reach a milestone this year, with the release of Strangerland following on the back of various co-productions between the two countries.

Supported by Screen Australia and the Irish Film Board, Strangerland follows a couple (Nicole Kidman and Joseph Fiennes) whose children disappear in the Australian desert right before a massive dust storm arrives at their town. Hugo Weaving (The Matrix) plays the policeman charged with bringing them home.

Co-written by Irish screenwriter Michael Kinirons, the production was filmed in various locations in rural Australia, including Canowindra, a town with a population of about 2,000. Producer Macdara Kelleher commented, “It’s great to be able to bring such talented Irish crew including cinematographer P J Dillon, sound recordist Rob Flanagan… as well as many others, as part of the Irish-Australian co-production.”

Strangerland screened at the Sundance Film Festival earlier this year and will see its Australian premiere at the upcoming Sydney Film Festival in June.

Co-operation between the two industries has not been limited to productions but has also included cultural exchanges. Earlier this year, the inaugural Irish Film Festival took place in Sydney to great success and looks set to continue next year. The festival, which featured a number of Australian premieres, screened An Dubh Ina Gheal (Assimilation), which explored the existence of Indigenous Irish Australians and the dispossession of Australia’s Indigenous population.

In 1998, both Ireland and Australia signed a co-production treaty to help foster film and television projects, including drama, documentary and animation features.

Strangerland is not the only Irish production to premiere at the Sydney Film Festival – Song of the Sea, a hand-drawn animation feature inspired by Celtic folklore will be screened multiple times throughout the festival’s 12-day run. Nominated for Best Animated Feature at this year’s Oscars, Tomm Moore’s latest, according to the festival organisers, still weeks away from its June start date, will be one of the first films to sell out.

 

Glen writes film reviews, features, commentary and covers local festivals and events. Glen lives in Sydney. He tweets @GlenFalkenstein

 

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Irish Film Board Scholarship offered at The National Film School, IADT

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The National Film School at the Dun Laoghaire Institute of Art, Design and Technology (IADT) is now accepting applications for a new research scholarship made possible by funding from the Irish Film Board. The Irish Film Board Research Scholarship will commence in 2014.

 

The new National Film School building is a major strategic development for IADT.  It positions the Institute in the forefront of teaching, research, training and professional development for the Film Industry in Ireland.  To mark this occasion the Irish Film Board Research Scholarship is being offered within The National Film School.

 

Donald Taylor Black, Head of Department of Film and Media at IADT and Creative Director of The National Film School, had this to say of the scholarship:

“IADT is delighted to collaborate with the Irish Film Board on this scholarship. The Irish Film Board have always been very supportive of the work we do in The National Film School”.

 

This scholarship will complement the existing research strengths of IADT and will involve academic staff in the Faculty of Film, Art & Creative Technologies and the Faculty of Enterprise & Humanities.

 

Speaking about the scholarship, James Hickey, Chief Executive of the Irish Film Board, had this to say:

“We are delighted to work in partnership with The National Film School at IADT to support research and development within the Irish film industry. Research, education and training are fundamental to a successful strategy for growth within the Irish audiovisual sector.”

 

Applications for the scholarship are invited from those with an Honours degree or equivalent in a relevant discipline and must include a CV and a brief two page proposal on one of the following areas:

 

1.      Economic Development in the Irish audio-visual production sector since the PWC Report in 2008.

2.      Recent development of creative talent and creative entrepreneurs in feature film, TV drama and animation in Ireland in the context of the recession.

3.      Developing audiences both in Ireland and internationally in cinemas, broadcast media and online for audio-visual content created in Ireland 2014-2019.

4.      Gender equality in the audio-visual production sector in Ireland.

 

All applications received by the deadline of October 1st 2014 will be evaluated. Interviews will take place after the closing date. The most successful application received will have their fees, currently set at €4500 per annum, waived for the two years of study.

 

Please contact IADT for more information by emailing postgraduate@iadt.ie.

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Successful Frameworks teams announced

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Bord Scannán na hÉireann/ the Irish Film Board have announced that the latest round of successful Frameworks teams have been selected.

This is the 18th year of the Frameworks short film scheme, which is dedicated exclusively to the production of animated films.  The scheme was established to develop new talent and skills in the field of animation and has been extremely successful in encouraging innovative and novel work from Irish animators.

Previous Frameworks success stories include Brown Bag Films’ Give Up Your Aul Sins and Granny O’Grimm’s Sleeping Beauty which were both nominated for Oscars in the Best Animated Short Film category and Cartoon Saloon’s Old Fangs which was officially selected for the prestigious Sundance Film Festival.  Kealan O’Rourke’s The Boy in the Bubble picked up the Audience Award for Favourite Animation Short at the Palm Springs Shortfest in 2012. Tony O’Donoghue’s Irish Folk Furniture has enjoyed enormous success on the international festival circuit having won the Best Animation Award at this year’s Sundance Film Festival.

The successful projects selected for funding this year combine creative exploration with an ability to appeal to a broad audience. This year’s successful projects are:

  • The Worry Word written and to be directed by Jack O’Shea and produced by Damien Byrne.
  • Somewhere Down the Line written and to be directed by Julien Regnard and produced by Jonathan Clarke for Cartoon Saloon.
  • Deadly written and to be directed by Aidan McAteer and produced by Shannon George for Kavaleer Productions.
  • Where is Eva Hipsey written by Justin Spooner, to be directed by Orla McHardy and produced by Nicky Gogan for Still Films.

 

Frameworks is co-financed by Bord Scannán na hÉireann/ the Irish Film Board, RTÉ and the Arts Council.  The projects will premiere at the Galway Film Fleadh 2014.

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Countdown to Galway Film Fleadh: Real Deal Film Conference

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Bord Scannán na hÉireann/the Irish Film Board together with the Galway Film Fleadh have announced the details for the 2013 Real Deal Film Conference which takes place onThursday July 11th.

This year the conference is focused firmly on the new international trends emerging in filmmaking, taking an encompassing look at what producers should be doing to meet the new demands of the marketplace from development through to production and market exploitation.

The Real Deal will be moderated by Angus Finney and will feature an exciting line-up with speakers from the Irish and international industry.

Please note that places will be limited at the conference as the venue has been changed to the Veranda Lounge at the Radisson Hotel in Galway.

You must sign up to secure your place at info@irishfilmboard.ie by Friday July 5th at 5pm.

A full conference schedule can be found on the Irish Film Board website

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New Deadline Announced for Reality Bites scheme

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Bord Scannán na hÉireann/ the Irish Film Board have announced the new deadline for submissions for the next round of the Reality Bites. Applications will be accepted until Friday July 5th.

Reality Bites aims to encourage experimentation and a fresh approach to short non-fiction filmmaking. We are looking for something new in the use of the documentary form, whether the projects are journalistic or creative, observational or aesthetic, objective or personal. Documentaries can be produced in either the English or Irish language.

The Reality Bites scheme will provide funding for up to three films between 10 and 12 minutes in duration.

For more information on making an application and to download an application form visit the Funding Programmes section of this website.

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The Animation Hub to Produce New Short Film Inspired by Terry Pratchett

 

Set in the Unseen University of Terry Pratchett’s Discworld, The Duel is a new animated short film being produced by the Animation Hub, a collaboration between staff and students of the Irish School of Animation (ISA) at Ballyfermot College of Further Education (BCFE), staff and students of Trinity College Dublin’s Creative Arts, Technology and Culture (CATC) initiative and the Irish animation studio, Giant Creative.

With this new project, the Animation Hub intends to build on the global success of their first animated short, the multi-award winning, The Last Train.

The aim of the collaboration is to combine the skills and talents of students from both institutions and have them work with Giant Creative to create a high quality animated short, giving the students the chance to experience working on a high-end project in a professional environment.

World-renowned fantasy and science fiction novelist and Adjunct Professor of English at Trinity College Dublin, Sir Terry Pratchett is hands-on engaged with the production, working with Giant Creative on both character and story development. The team is blending fantasy and reality, with notable Irish landmarks set to cameo in the unreal environments of this animated adventure.

Talking about his engagement on the project, Professor Sir Terry Pratchett said The Duel is something new from something old – Discworld is being borrowed by our students in the Animation Hub to produce a wholly new adventure – where some familiar elements from our world will appear, but not quite as we know them. It’s wonderful to see this type of project supported and made real – and we intend to have a lot of fun while we’re at it.

Speaking together, the programme leads from BFCE and TCD, Gareth Lee and David Lloyd, said “It’s great to have the next Animation Hub project up and running with the valued support of the Irish Film Board. It’s very exciting to have both Terry Pratchett and Giant Creative involved. ‘The Duel’ is a very ambitious project that will provide great scope for many of our students across a range of disciplines to gain valuable professional experience.”

Emma Scott, Production Executive with the Irish Film Board, added “The Animation Hub is an exciting partnership of students from two very important and creative institutions. We are delighted to support this initiative which provides students with excellent and very valuable experience working on high-end productions. We look forward to seeing all involved build on the success of last year’s very successful collaboration”.

The Duel is supported through funding from the Irish Film Board, Trinity College Dublin and Ballyfermot College of Further Education and will premiere in early 2013, as part of the Tercentenary Celebrations of Trinity College’s Old Library.

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Bord Scannán na hÉireann/the Irish Film Board Announces New Structure

Bord Scannán na hÉireann/the Irish Film Board (BSÉ/IFB) has announced changes to the organisation of the creative decision making structures in the Agency.

The current roles of two Production Executives and a Development Executive are to cease once the current contracts expire on a phased basis from now to the beginning of next year. In their place, three Project Managers will be retained to manage projects across all genres from the initial concept stage right through to the project launch onto the market. The new structure will provide multiple access points for applicants who will have the option to approach any one of the three Project Managers with a development or production application for their project.

One of the Project Managers will be based in Galway and two will be based in Dublin.

The new arrangements will further enhance the development and production process of projects supported by BSÉ/IFB. They will provide a greater focus from the start on support for all the creative talent in each project and a renewed focus on the audience throughout the whole process.

James Hickey, Chief Executive of Bord Scannán na hÉireann/the Irish Film Board said “I believe that the new structure will provide applicants with access to a broadly experienced creative team. A member of the team will assist applicants in taking their project from the first stage of development to full scale production and distribution of the film with a focus on delivering high quality projects with strong Irish creative talent behind them and a focus on audiences both local and international”.

The changes will come into effect on a phased basis but will be fully operational by the beginning of 2013.

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Call For: Applications for Irish Film Board Frameworks Animation Scheme

 Illustration: Adeline Pericart

The deadline for the Irish Film Board short animation scheme Frameworks has been announced. Applications will be accepted until Friday, 20th April.

Frameworks is an established scheme for the making of animated short films which has been incredibly successful in stimulating ground-breaking new work from Irish animators. Projects selected for funding will combine creative exploration with an ability to appeal to a broad audience.

Irish animation has been drawing much international acclaim in recent years with Granny O’Grimm’s Sleeping Beauty being nominated for a Best Short Animation Academy Award, The Rooster, The Crocodile and The Night Sky being nominated for a prestigious ASIFA Hollywood Annie Award and Old Fangs receiving critical acclaim at the renowned Sundance, Annecy and the London film festivals.

The Frameworks scheme is co-funded by BSÉ/IFB, the Arts Council and RTÉ.

Films may be made in Irish or English with Irish applications being actively encouraged.

For more information on making an application and to download an application form visit the Funding Programmes section of the Irish Film Board website.

A Bheochantóirí!! Spriocdháta Nua Frameworks Á Fógairt

Tá áthas ar Bord Scannán na hÉireann spiocdháta nua a fhógairt do Frameworks – scéim na ngearrscannán beochana. Glacfaí le hiarratais go dtí an Aoine, 20ú Aibreán. Is scéim bhunaithe rathúil í Frameworks do léiriú gearrscannáin bheochana, atá ag spreagadh saothair nuálacha ó bheochantóirí Éireannacha.

Beidh taiscéalaíocht chruthaitheach i gceist leis na tionscnaimh a roghnófaí, agus ba chóir go mbeidh sé ar a gcumas acu lucht féachana leathan a tharraingt. Tá clú idirnáisiúnta bainte amach ag beochan Éireannach sna blianta beaga anuas, le hainmniúchán do Dhuais an Acadaimh – An Gearrscannán Beochana Is Fearr faighte ag Granny O’Grimm’s Sleeping Beauty a stiúraigh Nicky Phelan agus a scríobh Kathleen O’Rourke. Moladh freisin The Rooster, The Crocodile and the Night Sky, a scríobh agus a stiúraigh Padraig Fagan, don ghradam suntasach Annie de chuid ASIFA Hollywood. Taispeánadh Old Fangs de chuid Adrien Merigeau ag an bhféile cháiliúil Sundance, agus ag Féile Scannán Annecy agus Féile Scannán Londan anuraidh, le moladh óna léirmheastóirí.

Tá Scéim Frameworks maoinithe ag BSÉ, An Chomhairle Ealaíon agus RTÉ. Is féidir scannáin a dhéanamh as Gaeilge nó i mBéarla, agus cuirimid fáilte mhór go háirithe roimh iarratais as Gaeilge. Le tuilleadh eolais a fháil ar conas iarratas a dhéanamh agus chun foirm iarratais a íoslódáil, téigh chuig Clár Maoiniú Frameworks ar laithreán gréasáin BSÉ.

 

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Winner Of Untitled Screenwriting Competition 2012 Announced

The winner of the UNTITLED Screenwriting competition, run in association with Bord Scannán na hÉireann/The Irish Film Board (IFB) and the Jameson Dublin International Film Festival (JDIFF) was announced this weekend.

COME MONDAY, WE KILL THEM ALL written by Jamie Hannigan and Michael Kinirons, beat the other four finalists to take home the prize of a first draft development loan of €16,000.

Commenting on their win, Michael and Jamie said:  “”The Untitled competition is a great way to introduce a film like ours into 
the world, so we’re absolutely thrilled to have won, especially after seeing
how strong the other pitches were. It was incredibly encouraging to get such a strong response from an audience at this early stage.”

Michael Kinirons taught the Autumn 2011 Directing for Screen 8 week course and the 1-day ‘Getting the most from your outlines and treatments’ course  in Filmbase. Jamie Hannigan is a frequent contributor to Film Ireland magazine.

Whittled down from nearly 200 entries, the winning team was announced following a public pitching session chaired by Andrew Meehan (Development Executive, IFB) where the five finalists had to pitch their feature film idea on the theme of ‘1916’ to an industry panel consisting of leading Irish producer James Flynn, actor and writer Mark O’Halloran, talent agent Charlotte Kelly and JDIFF Festival Director Grainne Humphreys in front of a public audience.

COME MONDAY, WE KILL THEM ALL is a ‘Chinatown’/’Third Man’-inspired film 
noir, set in the murky wartime world of 1916 Dublin.

The four runners up were Jasmina Kallay with her drama Das Irland, Anne Marie Casey and Joseph O’Connor with their biopic Grace 1916, Hugh Travers with his black comedy The Players and Virginia Gilbert with her drama The Boys who will all receive season passes to next year’s film festival.

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‘Stories Worth Telling’ Free Animation Event as part of JDIFF

Animation has come a long way from Saturday morning cartoons for kids. It is now widely acknowledged that animation can connect with all ages and can deal with the most serious of issues. The audience and the technology may be constantly changing, but no matter where and how animation is made, or who it is made for, story is still the key ingredient. Story can bring us together, it can help us make sense of the world we live in and, most importantly, a good story keeps us watching and keeps us thinking.

But how do writers and directors decide what stories are worth telling? How do they find the right subject matter for the right audience? The guest panel will draw on their own unique and varied experiences of creating stories worth telling to discuss these and other story-related issues, such as the writing process, deciding on tone and style, and balancing the artistic collaborative nature of animation with writing and directing. Among the speakers confirmed are Brenda Chapman, Louise Ridgeway and Sydney Padua.

Panel Guests

Brenda Chapman

Brenda Chapman was the first woman to direct an animated feature from a major studio, when she directed The Prince of Egypt in 1998. Brenda is also the original writer and director of Pixar’s upcoming animated feature Brave. Brenda’s other film credits include Who Framed Roger Rabbit?, Beauty and the Beast, The Lion King, WALL-E and Up.

Sydney Padua

Sydney Padua is an animator, a graphic artist and author of the web comic The Thrilling Adventures of Lovelace and Babbage. She was a story development artist at Warner Brothers Feature Animation, and wrote and directed the multi-award winning short Agricultural Report for the Irish Film Board. Sydney’s film credits as a character animator include The Golden Compass, Open Season and The Iron Giant.

Louise Ridgeway

Louise Ridgeway has worked as an animator in the games industry for over 12 years. She is currently Animation Director at Rare Ltd and has been responsible for setting the direction for recent award-winning projects Kinect Sports 1 and Kinect Sports Season 2. She has worked on a wide variety of projects over the years including Conker’s Bad Fur Day, Viva Piñata, Banjo Kazooie and Kameo. She is currently working on a new and exciting project and feels very lucky to still be animating and doing what she loves after all these years.

Panel Chair

Barry O’Donoghue

Barry O’Donoghue is the founder of the award-winning animation studio Barley Films.

Organisers

This JDIFF event has been organised in conjunction with Gareth Lee, Irish School of Animation at BCFE; Donald Taylor Black, National Film School at IADT; and the Irish Film Board.

This special event takes place on Saturday February 25th at 12:00pm at the Light House Cinema, Smithfield.

Tickets are available here

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Irish Film Board announce Frameworks and Short Shorts Funding Winners

 

(Give Up Yer Aul Sins)

Bord Scannán na hÉireann/ the Irish Film Board is pleased to announce that the latest round of successful Frameworks and Short Shorts teams have been selected.

This is the 16th year of the Frameworks short film scheme, which is dedicated exclusively to the production of animated films.  The scheme was established to develop new talent and skills in the field of animation and has been extremely successful in encouraging innovative and novel work from Irish animators.

Previous Frameworks success stories include Brown Bag Films’ Give Up Your Aul Sins and Granny O’Grimm’s Sleeping Beauty which were both nominated for Oscars in the Best Animated Short Film category and Cartoon Saloon’s Old Fangs which was officially selected for the prestigious Sundance Film Festival.  Kealan O’Rourke’s The Boy Who Lived in a Bubble also picked up two awards at its premiere at the Galway Film Fleadh last month.

The successful projects selected for funding this year combine creative exploration with an ability to appeal to a broad audience. This year’s successful projects are:

  • Coda to be written and directed by Alan Holly and produced by Ciaran Deeney for And Maps and Plans. Alan previously directed the Frameworks project The Red Ball.
  • Trid an Stoirm to be written and directed by Fred Burdy and produced by Sean McGrath for Windmill Lane Studios.
  • The Nonexistent Thoughts to be written and directed by Eoin Duffy with Alan Doherty producing.
  • Fear of Flying to be written and directed by Conor Finnegan. It will be produced by Brunella Cocchiglia and Lovely Productions who previously produced the short The Invention of the Light Bulb.

Frameworks is co-financed by Bord Scannán na hÉireann/ the Irish Film Board, RTÉ and the Arts Council. 

The Short Shorts scheme provides funding for up to seven, 3-5 minute films and aims to encourage the making of very short films that are innovative, provocative or in some way risky and rule-breaking. A unique feature of the scheme is that the films must conform to a particular genre or theme chosen for each year. This year’s Short Shorts, whether live action or animated, had to adhere to and explore a theme of food.

Some of the recent successful Short Shorts projects include the IFTA-nominated Headspace, directed by Patrick Semple, Ian W.Davis’ The Night-Nurse, which was selected for a host of international festivals such as the Short Short Film Festival Japan and the Irish Film Festival Boston to name but a few.  David O’Sullivan’s colourful Bollywood musical Moore Street Masala which was selected for the Clermont-Ferrand Film Festival and Ian Power’s Dental Breakdown, which scooped the Best Comedy Short at the Fastnet Film Festival and the Award of Excellence at the LA Movie Awards. 

This year’s successful projects are:

  • Bird Food to be written and directed by Richard Keane.  It will be produced by Laura Roche for Brown Bag Films, the two times Oscar® nominated animation production company. 
  • Pet Hate to be written and directed by Andy Clarke and produced by Sean McGrath.
  • Brown Bread to be written by Matt Roche, directed by Luke McManus and produced by Annemarie Naughton.  Annemarie previously produced the short films The Wednesdays and Atlantic.
  • Barry’s Bespoke Bakery to be written and directed by Denis McCardle and produced by Ben Keenan for Songway Films.
  • Seagull Wants to Fish to be written and directed Teemu Auersalo and produced by Nicky Gogan and Still Films, the same team behind the Frameworks short Trolley Boy.
  • The Tree to be written and directed by David Freyne and produced by Rachael O’Kane for Tilted Pictures. David and Rachael previously worked together on the two shorts The Man in 301 and The Mill.
  • Juste un Peu Plus to be written and directed by Conor Ferguson, produced by Ailish Bracken and Blinder Films, with Katie Holly as Executive Producer. Conor also directed the award-winning The Wednesdays and Atlantic.

Both the Frameworks and Short Shorts projects will premiere at the Galway Film Fleadh 2012.

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Large quantity of documents donated to Film Archive

To mark thirty years since the establishment of the Irish Film Board in July 1981, Michael Algar has donated his collection of Film Board documentation to the Irish Film Archive. Algar was first Chief Executive of the Board until it was wound-up in autumn 1987.

Amongst the documents are bound copies of the minutes of all ninety-one Board meetings, as well as memoranda, speeches, reports and discussion documents by the Chief Executive. Also included are reviews of the Board and proposals regarding production financing and Ardmore Studios. Algar has included personal correspondence regarding his own appointment and the termination of his contract. Much of the documentation has been digitised for easier access.

The collection includes memoranda produced during the passage of legislation to establish the Board, as well as previous documents such as the 1968 Huston Committee report, Louis Marcus’ 1967 articles regarding the film industry, and the original Film Industry Bill 1970.

Board publications include the report of a Public Hearing in 1982, annual reports and accounts, a review of statistical data in 1984, a survey of international procedures by Neville Presho in 1984, and the statement issued by the Board following the government decision to close in 1987. There are also bound scripts of “Angel”, “The Outcasts” and “Attracta”, which were the first three fiction films financed by the Board. Nineteen volumes of parliamentary debates are included, covering both the enactment of legislation to establish the Film Board in 1980 and debates regarding its closure in 1987.

Algar said, “I’m pleased that these important documents in the development of Ireland’s film industry will now be preserved and available for research in the coming years. The first Film Board laid the groundwork for the healthy film industry we have today. Over the six years of that Board, ten feature films were part-financed. Currently, more than that number is produced each year now. With very limited resources and a staff of three, the Board assisted a wide variety of film activity, from production and development finance to training and marketing.”

 

The documents in detail are:

Bound Minutes of Board meetings 1-91

Bound scripts:

Angel

The Outcasts

Attracta

 

Algar:

Letter of appointment as Board member

Warrant of appointment as Board member

Letter of appointment as Chief Executive

Letter to Department re consultancy

Response of Department re consultancy

Chief Executive:

1982 review

1983 Celtic Festival speech

1984 Cannes diary

1984 Ardmore Studios report

1985 review of Board activity

1985 review of Board operational methods

1985 European Film Festival speech

1986 memo re Board operational structure

1986 discussion document

1986 memo re tax incentives

1986 Eh Joe screening speech

1986 memo re Board executive structure

Film Board:

Board members 1981-87

1981-82 Annual Report and Accounts

1982 Proceedings of public hearing

1983 Annual report and Accounts

1985 “Irish Films” booklet

1985 review

1985 review additional information

1985 production financing proposal

1987 “Films in Focus” booklet

1987 statement re closure

1981-87 filmography

Miscellaneous:

1983 Presho report

1984 review of statistical data

1986 Huston telegram re Ardmore Studios

1992 report of Working Group

Pre Film Board:                 1967 Louis Marcus articles

1968 Film Industry Committee report

1980 “Yellow Book” amendments to Film Board Bill

Parliamentary debates on Film Board and Ardmore Studios – 19 volumes

Film Industry Bill 1970

Irish Film Board Bill 1979 with explanatory memorandum

National Film Studios of Ireland Limited Bill 1979

Irish Film Board Act 1980

 

 

 

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JDIFF: Co-Producers Panel in association with the Irish Film Board

circus-fantasticus

(pic: Circus Fantasticus)

Morrison Hotel, 4pm, Wednesday 23rd February

The Morrison Hotel was the venue for the JDIFF co-producers panel in association with the Irish Film Board. Chaired by outgoing IFB CEO Simon Perry, on the panel were the producers:

Jozko Rutar, Slovenia, Circus Fantasticus aka Silent Sonata.

László Kántour, Hungary, Iztambul.

Jean Luc Ormiéres, France, Dorothy aka Dorothy Mills.

Reinier Selen, Holland, Nothing Personal.

Katarina Krave, Sweden, of regional film fund Film I Vast.

Simon Perry began the discussion and was very pleased with the screening of the latest cut of This Must Be the Place that he attended in Rome the previous morning. This Must Be the Place is a co-production involving the Irish Film Board and is the first English language film directed by Italian Paolo Sorrentino, who as Simon pointed out, has the distinction of having his last three films screened in competition at Cannes. This was the latest cut of the film and according to Perry we are ‘in for a nice surprise, if you like cinema in the grand Italian style’ adding that ‘about 20-30% of the movie takes place in Ireland’ and that ‘it’s an Ireland that hasn’t been seen on screen before’.

The discussion proper started with Jozko Rutar Slovenian producer of Circus Fantasticus who discussed his experience of co-production. Circus Fantasticus is a Slovenian/Irish/Finnish production, then they added Sweden for post production. The crew was mixed, with a DOP from Czech Republic, the sound recordist was Irish and communication in the crew took place in 5 or 6 languages.

Simon Perry added that one of the reasons for co-producing is the use of locations, as Slovenia only has 30km of coastline, Ireland would have many more options in that regard and in practice co-producing works well between smaller countries.

László Kántour, the Hungarian producer of Isztambul spoke next, he looked for films or stories with eastern European roots. This was a Hungarian/Turkish/Irish/Dutch co-production and he felt it was important that all co-producers believed in it and that co-production is not the future of film making but that it is the present.

Reinier Selen, the Dutch producer of Nothing Personal, said he had the impression that Ireland is open to co-producing and appreciated the recognition that they were trying to make a beautiful film from Fastnet Films, their Irish co-producer, and the Irish Film Board.  A huge thing for them was that having someone like Stephen Rea in their film. Fastnet could approach him as he would be unreachable for a Dutch company, but having an Irish co-producer makes it realistic.

Jean Luc Ormiéres executive produced Dorothy Mills, later retitled Dorothy, in Ireland in 2008 and so is quite familiar with co-producing in Ireland.  Being French co-producing is less of a necessity for him as France is a large enough country that a budget can be generated through conventional means. Echoing Reinier’s comments he said with co-producing the casting range is huge, the scope of what you can reach is much wider.  However, half jokingly, he said the only thing Ireland doesn’t have is a good animal wrangler.  He said the French can relate to Ireland as we are a cultural country, we have well known singers, actors, writers, artists, architects as do the French.  However there are differences, and he cited the role of an assistant director in Ireland is a part of the crew whereas in France they are the personal assistant of the director.

Katarina Krave of Swedish regional film group Film I Vast, based in western Sweden, said it is easier to get a producer from somewhere like Denmark to come and visit them rather than a Swedish producer from Stockholm and that it is easier to co-produce with small countries as they are more pragmatic.

Simon Perry repeated the idea of reciprocity saying ‘we like to keep the balance if we can’, that an Irish co-production such as Lapland Odyssey which has no Irish themes and is not in English would still have an Irish crew, but that the favour would be repaid by Finnish crew coming over to work on an Irish shot film.  Morgan Bushe of Fastnet Films in the audience was keen to point out that the Irish money would be spent on Irish crew.

Many well-known co-producers attended as audience members and contributed from the floor, as well as Morgan Bushe there were Dominic Wright and Jacqueline Kerrin of Ripple World, whose co-productions include Parked and Lapland Odyssey and Andrew Lowe of Element Pictures, Essential Killing.

All participants agreed that meeting your co-producers and getting on with them as people first and foremost is of paramount importance rather than agreeing on working on a project before meeting, Jozko Rutar said he uses his intuition a lot. However everyone agreed that the strong indications coming from the EU that the Media fund will be slashed by 2014  would be a very worrying development.

Gordon Gaffney

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'Swansong, The Story of Occi Byrne' on release in selected cinemas on Friday 10th September

swansong

The feature film Swansong, Story of Occi Byrne, written and directed by Conor McDermottroe, goes on release in the Light House Cinema, Dublin and in select cinemas in the Sligo/Leitrim area from today Friday 10th September.

Swansong, Story of Occi Byrne portrays the life of Austin ‘Occi’ Byrne who is brought up in Sligo by his alcoholic mother and who suffers traumatic bullying at the hands of a local gang because he has no father. Occi grows up plagued by anger, confusion and pain. In the hopes of unlocking his own identity and overcoming the past that haunts him, he sets out to find his father and discover the secret of his birth. Remaining fiercely loyal to his mother, Occi is consistently tested on his journey, but eventually learns the true power that comes with love, friendship and most of all, a sense of belonging.

This emotional film stars Martin McCann (The Sound of People, Killing Bono) in the lead role as Occi, with Jodie Whittaker (Perrier’s Bounty), Marcella Plunkett (Once), Gerard Mc Sorley (Wide Open Spaces), Brid Brennan (Dancing at Lughnasa) and Owen Roe (Intermission) all included in the cast.

Produced by Edwina Forkin and Tom Maguire for Zanzibar Films in Ireland and Hermann Florin for Florin Films in Germany, it was co-financed by the IFB, RTÉ, Eurimage, Kinowelt and ZDF/Arte and was shot entirely on location in Sligo.  The film premiered at last year’s Galway Film Fleadh where it picked up the runner up prize for Best Irish Feature Film.

Swansong, Story of Occi Byrne will be released in the Light House Cinema, Smithfield and in selected cinemas in the Sligo/Leitrim area and will also be showing in towns through the North-west cinemobile. Conor McDermottroe will be in attendance for Q&A sessions.

Film Ireland will have an exclusive podcast interview with Conor McDermottroe online next week.

Find out where you can catch the film at the official website http://www.swansongthemovie.com

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The Irish Film Board Comment on the 2010 Budget Allocation

The 2009 budget for Bord Scannán na hÉireann/the Irish Film Board (IFB) has been announced by the Department of Arts, Sport and Tourism as €19.3 million for 2010 which represents a 5% cut from the 2009 budget allocation.

Following the recommendations in the Report of Special Group on Public Service Numbers and Expenditure Programmes (‘An Bord Snip Nua’) for the abolition of Bord Scannán na hÉireann/the Irish Film Board in August 2009, a detailed examination of the strategic importance of the Irish film and television sector was carried out. This process resulted in a clear affirmation of the economic importance of Ireland’s content production industries in the context of the emerging Smart Economy in Ireland and the key role the IFB plays in developing this sector.

Commenting on the Government decision to continue the existence of Bord Scannán na hÉireann/the Irish Film Board, the Chairman, James Morris, said: ‘I would like to acknowledge the role of the Minister for Arts, Sport and Tourism Martin Cullen in supporting the Irish Film Industry and the work of the Irish Film Board as the industry development agency.  The support of the Government for Bord Scannán na hÉireann/the Irish Film Board is a strong endorsement of the economic value of the film and television production sector to the emerging digital economy. It is also an acknowledgement of the cultural value of Irish artistic and creative work in building Ireland’s international profile that emerged as a major conclusion of the Global Irish Economic Forum in Farmleigh earlier this year.’

Government funding, provided directly to the sector through the IFB is a key component of the entire audiovisual content industry. The 2010 budget for the IFB will ensure that the core work of the agency to support the development and production of indigenous film to be sustained at 2009 levels.

The continuation of Section 481, the Irish tax incentive for film and television, which has also been retained until the end of 2012, will also further help to restore Ireland’s competitive edge as a location for international film production, generating economic activity well in excess of any cost incurred.

A recent survey by PriceWaterhouseCoopers valued Ireland’s audiovisual content industry at over half a billion euro per annum and found that it now offers permanent employment to over 6,000 individuals. The industry in turn supports an ecology that generates many other indirect employment benefits arising out of production activities around the country.

The funding provided through the IFB in turn allows Irish companies working within the sector to attract additional international investment, which is spent on Irish jobs and local services. The audio visual industry is an important aspect of the Irish economy and has the potential to create growth and jobs in the future.

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Issue 131 – The Irish New Wave

enboard
Photos: Stills from 'His & Hers', 'Swansong', 'Zonad', 'Savage', 'The Mill', 'The Man Inside', 'One Hundred Mornings' (left to right, top to bottom).

Guest editor Hugh O’Conor revels in the current abundance of excellent Irish film.

It was a strange feeling. A strange, spooky, unqualifiable feeling. I was on my way to the Galway Film Fleadh to see the premieres of six new Irish features, as well as a whole slew of new Irish shorts, and I was genuinely, palpably excited. What the hell was going on? Maybe it’s just gas, I thought. But I was wrong. It wasn’t gas. For here’s the twist – advance word on the six films in question, as well as the shorts, was really, really good.

Okay – that’s happened before, you say, and they’ve still mostly turned out to be rubbish. But this was different. These filmmakers were part of a new wave of Irish talent and had notched up great work already. We were all waiting to see what they had come up with, and we were pretty sure that this time we weren’t going to be disappointed. When has that ever happened before?

It’s long been an easy target, the Irish film industry, and for much of the time the spirit of weary disappointment in its criticism has been largely justified. But it seems that things really have begun to change. And it may sound strange in the current climate, but I’m going to go out on a limb here and say that our film industry is in the most exciting state it’s ever been. The record number of Irish films selected to screen in the recent Toronto Film Festival is just one example. That a small film like Eamon, made under the Film Board’s Catalyst Project scheme, can earn a rave review in Variety can only be a good, exciting thing.

The full article is printed in Film Ireland 131.

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Writing Comedy For The Screen: IFB Event at Dingle Film Festival

The Irish Film Board is supporting this year’s Dingle Film Festival (10–13 September), which has a special focus on comedy in film.

Industry events billed for the festival include a special panel event entitled Don’t Make Me Laugh which will specifically explore the art of writing comedy for the screen and a special presentation of IFB award-winning comedy short films. This year the festival is presenting a programme of new and archive films from Ireland and around the world as well as workshops, discussions and seminars over the duration of the weekend.

Don’t Make Me Laugh will be chaired by IFB Development Executive Andrew Meehan and panelists will include Emmy award-winning screenwriter Marc Flanagan; stage, radio, screen and TV writer Pearse Elliott, (Man About Dog); and producer Ned Dowd. The seminar will explore the challenges of writing comedy for the screen, different ways of developing character, the role of TV in developing talent as well as looking at what makes comedy travel. The panel will take place in the Festival Marquee, Garden Café on Friday 10th September.

Following on the theme of comedies there will be a special screening of award winning Irish short comedies on Sunday 13th September at 11am in The Phoenix Cinema.

For more information please click here: www.dinglefilmfestival.com/

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€750,000 Awarded In Cinema Digitisation Grants

The Arts Council and the Irish Film Board have announced that seven cinemas will share an award of €750,000 between them as part of the Cinema Digitisation Grant Scheme.

The Scheme, which is an initiative of the Cultural Cinema Consortium, seeks to provide grants that will allow Irish cinemas to purchase and install digital projection equipment.

The seven cinemas awarded grants are Light House Cinema (€200,000); Irish Film Institute (€150,000); Screen Cinema (€110,000); Cinema North West (€75,000); The Cinemobile (€75,000); Mermaid, Wicklow Arts Centre (€70,000); and Town Hall Theatre, Galway (€70,000).

The Digital Cinema in Ireland Report can be downloaded here.

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Ireland to Sign Co–Production Agreement with Hungary

Representatives of Bord Scannán na hÉireann/the Irish Film Board and the Hungarian Motion Picture Public Foundation are to sign a co–production agreement in Berlin on Sunday February 8 with the aim to foster co–productions between the two territories.

The deal includes a reciprocal feature whereby producers from both countries will take turns acting as majority co–producers.

This agreement would work on the basis that when a co–production in which the majority of the budget comes from the Irish side occurs, this will be followed by a co–production in which the equivalent percentage comes from the Hungarian side.

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Documentary Chippers to Screen at the IFI

The Filmbase documentary Chippers is to premiere on Saturday 27th September at 12 am, at the IFI as part of the Stranger Than Fiction festival. Nino Tropiano’s hour-long documentary made its Italian premiere at the Hai Visto Mai documentary festival in Siena, where it was awarded a Special Mention.

Chippers tells the story of Dublin’s well-established community of four thousand Italians who have owned chip shops in the city since the 1900s. Five different families tell their stories and offer insight into the experience of how a small community has preserved their cultural identity and link with their country of origins, while at the same time seamlessly assimilating into their host country.

This film features archive footage of the city of Dublin and extracts of short documentaries sourced from the Irish Film Archive and from Istituto Luce (Italy). It is a nostalgic, melancholic and at times funny portrait of the early struggle and integration of this unique community.

The film was initially funded through the Filmbase/RTÉ Short Film Award scheme with additional funding by the Irish Film Board.

To book tickets, please go to www.ifi.ie

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