Irish Film Festa Full Programme Announced

 

Full line-up revealed for the 12th Irish Film Festa, the only Italian film festival completely dedicated to Irish cinema and culture, which is taking place from 27-31 March 2019, at the Casa del Cinema in Rome.


Northern Irish actor John Lynch will attend the festival as a guest of honour. Lynch has a special bond with Italy, since his mother is from Trivento, Molise; at IFF he will take part in a public interview and look back over his career, from Pat O’Connor’s Cal (1984) and Michael Rymer’s Angel Baby (1995, to be screened at the festival) to Mary McGuckian’s Best (2000), and more. John Lynch will also hold an acting workshop, open to students and professionals.

This year’s opening film is The Drummer and the Keeper, directed by Nick Kelly and winner of Best First Feature at the 2017 Galway Film Fleadh: Gabriel (Dermot Murphy), recently diagnosed with bipolar disorder, and Christopher (Jacob McCarthy), who is suffering from Asperger’s Syndrome, are two teenage boys who meet each other as players in a special football team and develop a strong friendship.


As previously announced, IFF will host the Italian premiere of Lance Daly‘s Black ’47, the historical drama set during the Great Famine which was a big hit at the Irish box office last year. The cast features Hugo Weaving, James Frecheville, Jim Broadbent, Stephen Rea, Freddie Fox, Barry Keoghan, Moe Dunford and Sarah Greene. The screenplay of Black ’47 – written by Daly with PJ Dillon, Pierce Ryan and Eugene O’Brien – is partly inspired by the Irish-language short film An Ranger, directed by Dillon and also screened at the IFF in 2010.

Metal Heart marks the debut as a director of Irish actor Hugh O’Conor: young twin sisters Emma (Jordanne Jones) and Chantal (Leah McNamara) are worlds apart, and when their parents go away for the summer, their simmering rivalry threatens to boil over. A photography exhibition will also be held at the Casa del Cinema during the festival, featuring 18 portraits of Irish directors and actors (Andrew Scott, Moe Dunford, Barry Keoghan, Nora Twomey, among the others) taken by O’Conor himself.


Hugh O’Conor is also linked to this year’s Irish Classic, Colin Gregg’s Lamb (1985), where ten-year-old Hugh was cast opposite Liam Neeson.

 

The Dig, a Northern Irish tense thriller directed by Andy and Ryan Tohill, won the 2018 Galway Film Fleadh as Best Irish Feature: after serving fifteen years for murder, Callahan returns home to find Sean, his victim’s grieving father, searching for the body in an endless bog. Ryan Tohill and the two lead actors, Moe Dunford and Lorcan Cranitch, are expected to attend the Italian premiere of the film.

Michael Inside is the new film by Frank Berry, following I Used to Live Here, which also screened at IFF in 2016. The titular character Michael (Dafhyd Flynn) is an impressionable 18-year-old sentenced to three months in prison after he is caught holding a bag of drugs for a friend’s older brother. The cast also includes Lalor Roddy, Moe Dunford and Robbie Walsh.


The 12th IFF gives more space to documentaries, organising a panel discussion on the topic, as well as a series of dedicated screenings.

The Lonely Battle of Thomas Reid, by Feargal Ward, brings on screen the story of unyielding Irish farmer Thomas Reid who refuses to sell his 300-year-old farm to the multinational microchip manufacturer Intel. The film premiered in the main competition at IDFA Amsterdam in 2017 before screening at Hot Docs and Sheffield DocFest.

Directed by Seán Murray and narrated by Stephen Rea, Unquiet Graves details how members of the RUC and UDR, (a British Army regiment) were centrally involved in the murder of over 120 innocent civilians during the recent conflict in Ireland. Belfast-born Murray, whose previous work Ballymurphy screened at IFF in 2015, will take part in this year’s documentary panel.


Also expected to attend, Northern Irish director and producer Brendan J Byrne: IFF will screen his short documentary Hear My Voice, a touching tribute to those who suffered a loss during the Troubles. The film combines Colin Davidson’s portrait collection “Silent Testimony” with the spoken words of the people, victims and survivors of the conflict, featured in the paintings.


The Mam Trasna Murders (Murdair Mhám Trasna), a docu-drama written and directed by Colm Bairéad, tells the story of barbaric murders committed in the midst of a rural

community in Joyce Country, in 1882. The truth about those crimes was only recently unveiled and established. Lead actor Dara Devaney will attend the screening.


This year, the short film competition also focuses on documentaries, with a dedicated section, and includes Bog Graffiti, the latest experimental work by veteran author Bob Quinn.

 

The special screening of three episodes from hit comedy series Derry Girls (Channel 4), created by Lisa McGee, will close the festival: set in Derry in the early 90s, this sit-com is a warm, laugh-out-loud funny and honest look at the lives of ordinary people living under the spectre of the Troubles, all seen through the eyes of 16-year-old Erin and her friends.

 

As part of the IFFbooks section, dedicated to literature and authors from Ireland, the festival will host a conversation with Irish-born writer Karl Geary. He’s also an actor (Jimmy’s Hall by Ken Loach) and a screenwriter (Coney Island Baby, 2003), and published his first novel, Montpelier Parade, in 2017.

www.irishfilmfesta.org | #IRISHFILMFESTA


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‘Hold the Line’ Screens @ Irish Film Festa

Laura O’ Shea’s short film Hold the Line has been selected to screen at the Irish Film Festa in Rome (March 27 – 31, 2019).

Em works in a call centre. She faces a day more difficult than the usual ‘customer care queries’ and is on the brink. That’s until: she picks up the phone to Patsy.
The film stars Laura O’ Shea, Lesa Thurman Russell, Tony Doyle.
Co-directed by Laura O’ Shea & Karen Killeen.
Written & Produced by Laura O’ Shea.
Cinematography by Conor Tobin.
Editing by Philip Shanahan.
Sound recording by Rían Mahood Gallagher.
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Call For: Submissions for Irish Film Festa

                                                                                               

The 12th IRISH FILM FESTA, which will take place in March 2019, is now open to submissions for short films from Ireland. In order to be eligible for IRISH FILM FESTA competition, films must be under 20 minutes in length, and produced or co-produced in Ireland.

Accepted categories are Drama (all genres), Documentary and Animation (all techniques).

Entries must be submitted as an online screener to submissions.IFF@gmail.com or as a DVD to
Associazione Culturale ARCHIMEDIA
via Segesta 16
00179 Roma (Italia)

Deadline is January 10th, 2019.
No fee requested. DVDs sent by post will not be returned.

Out of all the accepted entries, IRISH FILM FESTA will select – at its sole and absolute discretion – a shortlist of films for the competition. IRISH FILM FESTA will notify all the authors of selected films; not-selected applicants won’t be notified.

Within a week after admission, authors of selected films must provide:
• a high-definition copy of the film for the festival screening (DCP/DVD/Blu-Ray);
• a timecoded dialogue list *;
• a high-resolution still from the film, a brief synopsis, and a full-credits list to be used for the festival catalogue.
* Please note that this is mandatory. If the timecoded dialogue list won’t be provided, the short film will be disqualified from the competition.

 

 

http://filmireland.net/2018/06/30/festivals-funding-schemes-deadlines-2015/

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Call For: Submissions for Irish Film Festa

 

The 11th Irish Film Festa, which will take place in March 2018, is now open to submissions for short films from Ireland.

 

In order to be eligible for Irish Film Festa competition, films must be under 20 minutes in length, and produced or co-produced in Ireland.

 

Accepted categories are Live Action (all genres) and Animation (all techniques).

 

Entries must be submitted as an online screener to submissions.IFF@gmail.com or as a DVD to

Associazione Culturale ARCHIMEDIA

via Segesta 16

00179 Roma (Italia)

 

Deadline is January 10th, 2018.

No fee requested. DVDs sent by post will not be returned.

 

Out of all the accepted entries, IRISH FILM FESTA will select – at its sole and absolute discretion – a shortlist of films for the competition. IRISH FILM FESTA will notify all the authors of selected films; not-selected applicants won’t be notified.

 

Within a week after admission, authors of selected films must provide:

  •    a high-definition copy of the film for the festival screening (DCP/DVD/Blu-Ray);
  •    a timecoded dialogue list *;
  •    a high-resolution still from the film, a brief synopsis, and a full-credits list to be used for the festival catalogue.

 

* Please note that this is mandatory. If the timecoded dialogue list won’t be provided, the short film will be disqualified from the competition.

 

Prizes will be awarded by a professional jury to the Best Live Action Short Film and to the Best Animated Short Film.

 

 

 

 

 

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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.

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Irish Film Festa Announces Short Films Competition Line-Up

 

SECOND-TO-NONE_IFF10

 

The 10th Irish Film Festa, the only Italian film festival completely dedicated to Irish cinema, will take place from March 30th to April 2nd, at the Casa del Cinema in Rome.

 

The competition section, reserved for short films produced or co-produced in Ireland, comprises 15 works this year, spanning various genres and techniques: three animated shorts (A Coat Made Dark, The Lost Letter and Second to None), a documentary (Seán Hillen, Merging Views), a mockumentary (Starz), a horror (Blight), a thriller (Gridlock), a fantasy (The Clockmaker’s Dream), a humorous and contemporary adaptation of an ancient Gaelic poem (The Court, directed by actor Seán T. Ó Meallaigh who attended the last edition of IFF), a biopic (Two Angry Men), a romantic comedy starring children (The Debt), a formative tale with an LGBT theme (Lily), and three dramas (Homecoming, Pause and Today).

 

Also of note is the presence of big names among the cast of the selected short films: the protagonist of Gridlock is Moe Dunford (guest at the festival in 2015 with Patrick’s Day by Terry McMahon, and actor in the series Vikings); Gerard McSorley offers an extraordinary performance in Starz, whose co-director, Martin McCann, is himself an actor (as we saw last year in The Survivalist by Stephen Fingleton); Two Angry Men sees Adrian Dunbar in the shoes of the Northern Irish playwright Sam Thompson, and newcomer Michael Shea in those of a theatre director James Ellis (the son of Ellis, Toto, is the director of the short); Jared Harris and Kate Winslet are, respectively, the narrators of The Clockmaker’s Dream and The Lost Letter, directed by the winner of the IFF in 2012 (with The Boy in the Bubble, narrated by Alan Rickman) Kealan O’Rourke.
“The short film competition, which we launched in 2010, becomes more interesting and attracts a greater following each year: both by the filmmakers (this year we received nearly 100 submissions) and the public. Moreover, as the names of the actors appearing in the selected short films attest, this is an area that Irish film industry considers highly important, and in which is reflected the vitality and richness of Irish cinema. ” says artistic director Susanna Pellis.


IRISH FILM FESTA 10 – SHORT FILMS COMPETITION

 

Blight (2015), Brian Deane

with George Blagden, Alicia Gerrard, Joe Hanley, Marie Ruane, Matthew O’Brien, John Delaney, Tristan Heanue, Donnacha Crowley
A young priest is sent to a remote island off the Irish coast to help protect an estranged fishing community from dark supernatural forces, but nothing is as it seems.

 

An Chúirt (The Court, 2014), Seán T. Ó Meallaigh 

with Séamus Hughes, Michelle Beamish, Joanne Ryan

A modern adaptation of the epic Irish poem Cúirt An Mhéan Oíche / The Midnight Court, written in the 1700s by Brian Merriman.

 

The Clockmaker’s Dream (2015), Cashell Horgan

with Joe Mullins, Jared Harris (narrator)

A Clockmaker, in an automata world, tries to build the perfect woman to replace his lost wife but finds his creations are proving more difficult than he imagined; he must find a solution before his time runs out and his world stops forever…

A Coat Made Dark (2015), Jack O’Shea [animation]

with the voice of Hugh O’Connor, Declan Conlon, Antonia Campbell Hughes
A man follows the orders of a dog to wear a mysterious coat with impossible pockets.

 

The Debt (2015), Helen Flanagan

with Lee O’Donoghue, Susie Power, Eabha Last
When lovestruck ten year old Daithi falls for his classmate Jessica, he turns to his best friend Penny to help win her heart.

Gridlock (2016), Ian Hunt Duffy

with Moe Dunford, Peter Coonan, Steve Wall

When a child go missing during a traffic jam, her distraught father form a search party to find her. But soon everyone is a suspect.

Homecoming (2016), Sinéad O’Loughlin 
with David Greene, Johanna O’Brien
A young man struggles to find his place in life after returning to Ireland. A familiar face makes him wonder if things are about to change.

 

Lily (2016), Graham Cantwell

with Clara Harte, Dean Quinn, Leah McNamara, Amy-Joyce Hastings
Lily, a girl with a secret on the cusp of becoming a young woman, is faced with the greatest challenge of her young life.

 

The Lost Letter (2016), Kealan O’Rourke [animation]

with Kate Winslet as the narrator

The tale of a young boy as he prepares his neighbourhood for Christmas.

Pause (2016), Niamh Heery

with Janine Hardy
A woman arrives on an island in an altered state to confront her past. As she listens to old family tape recordings her surroundings begin to take on new life.

 

Seán Hillen, Merging Views (2016) Paddy Cahill [documentary]
This portrait observes artist Seán Hillen as he creates a beautiful new photomontage – he shares thoughts about his work and recent personal discovery.

 

Second To None (2016), Vincent Gallagher [animation]

A dark comedy about the world’s second oldest man.

 

Starz (2016), Kevin Treacy, Martin McCann

with Gerard McSorley, Martin McCann, Michael Smiley, Tierna McGeown, Shane Todd, Laura Webster, Gerard McCabe
A documentary film crew follows hopeless actors agent Dan Cambell as he tries to save his sinking business from another industrial tribunal.

 

Today (2015), Tristan Heanue

with John Connors, Lalor Roddy
A hard hitting drama about a man who wakes up one morning in his car, disorientated, with no recollection of how he ended up parked in the middle of nowhere. The harsh reality soon comes flooding back once he gathers his thoughts.

 

Two Angry Men (2016), Toto Ellis

with Adrian Dunbar, Michael Shea, Conleth Hill, Michael Smilie, Julie Dearden, Lalor Roddy, Stefan Dunbar
The battle of James Ellis and Sam Thompson to stage the play Over the Bridge in face of censorship in 1950s Belfast.

 

 


 

 

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Extended Deadline: Short Film Submissions for Irish Film Festa

logo IRISHFILMFESTA copia

 

The 10th  Irish Film Festa , the only Italian film festival completely dedicated to Irish cinema, will take place from March 30th to April 2nd, at the Casa del Cinema in Rome.

Submissions for the short films competition are open until January 15th: films must be under 30 minutes in length and produced or co-produced in Ireland. Entries must be submitted as an online screener link to submissions.IFF@gmail.com. Complete rules are available on the festival website.

 

“In the past ten years we showcased the best of contemporary Irish cinema, screening films unreleased in Italy but highly awarded abroad. We also were honored by the presence of guests such as Stephen Rea, Fionnula Flanagan, Lenny Abrahamson, Adrian Dunbar, and many more. The 10th  Irish Film Festa will be a special occasion to celebrate the past and give new strength to the future of the festival” (Susanna Pellis, artistic director).
Irish Film Festa, founded and directed by Susanna Pellis, is produced by the cultural association Archimedia in collaboration with the Irish Film Institute; with the support of Culture Ireland, the Irish Film Board, Tourism Ireland; and the patronage of Ireland’s Embassy in Italy.

 

 

www.irishfilmfesta.org

 

Facebook: facebook.com/irishfilmfesta

Twitter: @IrishFilmFesta

Instagram: @irishfilmfesta

YouTube: IrishFilmFesta Roma

 

 

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Call For: Submissions for Irish Film Festa

 

 

rp_Callfor-Final154-150x150.jpg

The 10th edition of Irish Film Festa, which will take place in March 2017, is now open to submissions for short films from Ireland.

 

In order to be eligible for Irish Film Festa competition, films must be under 30 minutes in length and produced or co-produced in Ireland.

 

Accepted categories are Live Action, Documentary, Animation.

 

Entries must be submitted as an online screener link to submissions.IFF@gmail.com or as a DVD to

Associazione Culturale ARCHIMEDIA
via Segesta 16
00179 Roma (Italia)

 

Deadline is December 20th, 2016. No fee requested.

 

DVDs sent by post will not be returned.

 

Out of all the accepted entries, Irish Film Festawill select – at its sole and absolute discretion – a shortlist of films for the competition. Irish Film Festa will notify all the authors of selected films; not-selected applicants won’t be notified.
Within a week after admission, authors of selected film must provide:

  • a high-definition copy of the film (Digibeta/DCP/DVD/Blu-Ray)
  • a timecoded dialogue list
  • a high-resolution still from the film to be used for the festival catalogue


Please note that this is mandatory. If a timecoded dialogue list won’t be provided, the short film will be disqualified from the competition.

 

 

 

 

 

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