Film Ireland Podcast: Episode 39 – Farewell 2019!

 

Richard Drumm and Sarah Cullen cast an eye over 2019 and reveal some of their high and lows of the year. Also under the hammer of discussion in this pod is

  • the adequately anti-capitalist agenda of Knives Out
  • how American horror is black horror
  • tree motifs in The Souvenir you may not have twigged
  • weird sex stuff in High Life and The Lighthouse
  • manufactured misfortune in Gwen 
  • a naked Mads Mikkelsen firing guns in flagrante
  • Charlie’s Angels crushing Richard’s soul
  • Ari Aster’s reductive filmmaking
  • environmental activism v parenting in Woman at War

 

 

Film Ireland Podcasts

Share

Film Ireland Podcast: Episode 38 – Crime is Cool Kids

Our podders return after a Film Ireland funded extended holiday to look back on the last couple of months in cinema. Dividing their time between tropical islands and cinemas in Dublin, Sarah Cullen and Richard Drumm take out their film scalpel and get under the skin of Extra Ordinary, Joker, Harriet, The Irishman, The Laundromat, La Belle Époque, Hustlers, Gemini Man and Ready or Not.

 

 

Film Ireland Podcasts

Share

Film Ireland Podcast: Episode 35 – Drop Kick a Puppy

 

Sarah Cullen and Richard Drumm address the nation and share their latest jibber jabber on some new films that people have made for you to see, including dream-chasing and drug-taking in Wild Rose,  spotting Dublin streets in Greta, and high-school yarns in 8th Grade and Book Smart.

Sarah takes a look at three Netflix films with women drinking in Wine Country, a lack of murders in Who Would you Take to a Desert Island, and alive ghosts in Suzzanna: Buried Alive.

Richard takes his seat at the High Table and discusses the endless shoot-outs of John Wick: Chapter 3 – Parabellum, nonsense in the cinema at Pokémon: Detective Pikachu, and the pointlessness of Vox Lux.

And finally there’s the glass cliff of Avengers: Endgame (were they tears Richard?)

Listen…

Film Ireland Podcasts

 

 

 

 

 

Land Without God screened on 28th February 2019 as part of theDublin International Film Festival (20th February – 3rd March).

Share

Film Ireland Podcast: Episode 33 – Sandblasted and Dehydrated

 

Sarah Cullen and Richard Drumm are back in your ear to deliver their take on the Oscars. Plus amongst their reviews, Sarah implores you not to see Dragged Across Concrete, Richard ponders the point of Cold Pursuit, starring Liam Neeson as an avenging Mr Plough and there’s love for If Beale Street Could Talk and a look at… a look at… a look at Happy Death Day 2U. Outside of the cinema, there’s a bit of Netflix chats and on the Irish cinema front Richard finds himself liking Cellar Door.
 

 

Film Ireland Podcasts


 

Share

Film Ireland Podcast: Episode 31 – A Giant Pile of Falsehoods

In this end of year peachy pod, Sarah Cullen and Richard Drumm reflect on 2017 and pick out their top movies, plus their worst moments – including Richard’s newly diagnosed persicaphobia.

There’s also a round up of some recent films, including It Tolls for Thee, Battle of the Sexes – featuring Sarah’s tennis rant, The Death of Stalin, Thor: Ragnarok, The Disaster Artist, Call Me By Your Name, The Last Jedi – and all its sex scenes.

Happy new year…

Film Ireland Podcasts

 

Share

Film Ireland Podcast: Episode 30 – Meat House

 

 

Sarah Cullen and Richard Drumm return to aurally go where no pod has gone before bringing both chit and chat to the latest Film Ireland Podcast.

In this episode our dastardly duo bring you news and gossip and enter the world of TV to ponder Game of Thrones and The Handmaid’s Tale.

Under the cinematic microscope is The 34th, an Irish doc that tells the story of the people who formed Marriage Equality in Ireland, the hirsute War for the Planet of the Apes, Nolan’s Dunkirk, the capered Logan Lucky, the punch a white man inducing Detroit, the bravely bleak Wind River, the fingerbanging Kingsman: The Golden Circle and ermmmm mother!

Hear ye! Hear ye!

 


 

 

Film Ireland Podcasts

 

Share

Irish Short Film Review: ‘January Hymn’

 

Richard Drumm sings the praises of January Hymn, Katherine Canty’s short film exploring grief.

Written and directed by Katherine Canty, January Hymn is a short film exploring grief. Specifically an examination of the intangibility of grief and how one experiences it. We are shown this through the subjective visuals of Clara (Niamh Algar) as she returns home for the anniversary of her father’s death. Arranged semi-linearly, the film offers us fragmentary moments and memories as Clara processes her situation. Numerous lingering shots, occasionally of abstract visuals, keep the viewer slightly detached from Clara’s experience. The often symmetrical, quite clean framing, further reinforces this separation of viewer and subject.

While it can be a slightly over-used term, it rarely feels as appropriate to call something quasi-Lynchian as it does here. The powerfully evocative visuals are strikingly stark, especially in their construction of simple images with a distinctly heightened sense of reality. Adding to the Lynch-like nature of the piece – aside from a penchant for ambiguously menacing shots of trees – is the sensation of watching it is akin to having someone attempt to explain their dream to you.

The sparse dialogue means we have to rely on Algar’s subtly expressive face as a guide for the emotional weight of the imagery. The combined effect of all of these deliberately distancing techniques is a powerful viewing experience and what feels like an authentic interpretation of grief, or rather an admirable attempt to abstract such a deeply personal experience into something more broadly emotionally relatable.

It’s undeniably a piece carried by mood, a mood anchored by Kate McCullough’s arresting cinematography. The atmosphere of ambiguity and uncertainty, while highlighting the emotional vulnerability of the protagonist, lends the film an almost horror-like quality. Unease permeates every shot and the loose temporal/spatial zone the film occupies means you’re never quite sure where it’s going. Haunting and memorable shots such as Clara and her aunt sitting at a table at the centre of a void of total blackness give proceedings a heightened and unnerving quality.

January Hymn is a bold and confident statement of intent from Katherine Canty. A highly engaging and opaque journey through grief, peppered with unsettling moments and imagery which genuinely linger long after the credits have rolled. Additionally, it’s another fine example of why Niamh Algar continues to be a formidable screen presence and absolutely a talent to keep a close eye on.

January Hymn is presently touring festivals with three upcoming showings at Still Voices in August and an appearance on 4th September at The Bleeding Pig Short Film Festival. Check out their online programmes for more details and follow @katherine_canty for updates.

 

 

http://filmireland.net/2017/06/09/film-festivals-2017-here-abroad/

Share

SuperPod: Wonder Woman & Spider-Man

 

Our latex-wearing superpodders, Richard Drumm and Paul Farren, return to their headquarters to plot the rescue of their missing partner Scott Adair. Whilst plotting, our crime-fighting duo discuss the two latest DC and Marvel films to hit the big screens, Wonder Woman and Spider-Man: Homecoming.

 

 

Share