Review of Irish Film @ Galway Film Fleadh 2019: Irish Talent: New Shorts 1: Documentary 

Farmer Michael (The Life and Times of a Social Media Pariah)

Seán Crosson took in a selection of  documentary shorts at this year’s Fleadh, featuring works from both established and debut directors, showcasing the best of Irish talent. 

A key component of the Galway Film Fleadh’s focus on new and emerging talent is the series of short programmes featured across the festival. In total there were nine sessions dedicated to shorts at the Fleadh, covering documentary, fiction, and animation and as always the organisers deserve great credit for the focus and space they allocate to young Irish filmmakers in the programme. 

The films included in the first programme covered a wide range of topics from reflections on Irishness, to profile pieces, and considerations of aspects of the natural world.

El Hor

The programme began with the visually stunning and evocative El Hor directed by Dianne Lucille Campbell. Inspired by the beautiful Saluki dog, the film combines mythology, nature imagery, and dynamic cinematography, with otherworldly musical accompaniment. In the surreal landscapes and images created, the film is reminiscent of Maya Deren’s work, but also in its imagining of the world from the perspective of the animals featured, the work of Stan Brakhage. Overall Campbell has produced an extraordinary cacophony of sound and image, impossible to categorise but rather oddly included in a section dedicated to short documentaries; this was a work much closer in form to experimental film.

Our Land

More in keeping with documentary form was Eoin Harnett’s Our Land, an impressively realised reflection on what makes Ireland distinctive. Featuring seven contributors, each of whom provide engaging, humorous and at times insightful commentary on the topic, the documentary was excellently paced, moving effectively between its contributors and supporting footage from the streets of Galway.

Recommend Rapper

The subsequent films Recommend Rapper (Caoimhin Coffey) and Farmer Michael (The Life and Times of a Social Media Pariah) (Gerard Walsh) each provided profiles of intriguing characters from Galway. Recommend Rapper focuses on would-be rapper Danny Rock from Kinvara in Galway and his efforts to produce his first music video. While generally well produced, there is an uneasy tension (never entirely resolved) evident in this work between the director’s concern to sympathetically portray the subject and Rock becoming himself a figure of fun. Farmer Michael concerns the man (Steven Timothy) behind the comic character in the film’s title who has achieved a considerable following in recent years for his entertaining and idiosyncratic YouTube videos. This is an entertaining and at times moving account of the challenges Timothy has faced in his life. However, it is also a somewhat unbalanced piece that would have benefited from either a longer profile to accommodate the tonal changes apparent or a more focused production. 

Squared Circle

Squared Circle is an interesting chronicle of a group of wrestlers setting up and performing  on Waterford promenade, accompanied by an evocative commentary of the events concerned, written by Dublin-based wrestling promoter Simon Rochford, and recited by actor Ger Carey. In its day-in-a-life structure, the documentary is an informative account of the wrestlers featured and the effort involved in the events they organise and participate in.

Making Tom

Big Tom McBride was a legendary figure in Irish country music, above all for people from his native Castleblayney in Co. Monaghan. Táine King and Lorraine Higgins’ Making Tom is a sensitively produced study of the making of a statue to commemorate the country and Irish legend, and the impact of its unveiling on residents of his home town.

Pigeons of Discontent

The final documentary featured in this programme was Paddy Cahill’s Pigeons of Discontent – this was amongst the strongest works featured in this section, imaginatively engaging with the divided opinions among local residents of Stoneybatter in Dublin city towards the large number of pigeons that gather in the area. Cahill rightly chooses to focus his camera almost entirely on the pigeons themselves and the, at times, striking and beautiful shapes they create in flight, accompanied by comments (both positive and negative) from those who share Stoneybatter with them. 

Seán Crosson


The Irish Talent: New Shorts 1: Documentary programme screened 10th July as part of the 2019 Galway Film Fleadh (9 – 14 July).




Short Film Review: Stephanie

David Deignan takes a look at Fergal Costello’s short horror film Stephanie starring Moe Dunford. 

Moe Dunford must be the busiest actor in Ireland right now. He has five feature films releasing this year – including a magnetic turn in Paddy Breathnach’s recent Rosie – in addition to significant parts in two TV series and, now, the leading role in Stephanie, the frenetic new horror short from writer/director Fergal Costello.

Stephanie is an ambitious, deliberately ambiguous story which wrenches the viewer by the collar and refuses to let go from the first frame to the last. The narrative begins with Joe (Dunford) determinately struggling to protect the titular character, portrayed by Aoife Spratt, from the murderous intentions of Walsh (Joe Rooney). As tensions quickly escalate between the trio, it soon becomes clear that the secretive Stephanie is not all that she seems to be.

The abrupt opening quickly cultivates a tantalising sense of mystery: it doesn’t waste a second on exposition, instead preferring to drop the viewer without warning straight into the middle of the conflict. Violence looms like an ugly shadow throughout the opening sequences, threatening to burst to the fore at any moment. Costello’s clever script subtly balances the reveal of important information with intentional misdirection early on.

The film clocks in at just under 9 minutes in length and is impressively shot in one uninterrupted take. Costello’s staging is confident and plays out seamlessly while Philip Blake and Padraic Conaty deserve props for their work on the cinematography. The camera weaves its way dynamically around the characters on screen, reacting imaginatively to plot developments as they play out. Its eye is often trained on Dunford and he doesn’t miss a beat, ensuring that the internal rhythm plays out smoothly.

Mark Murphy’s pulsating musical score works well, plunging and escalating sharply as the action does. It comes to a crescendo in the third act, as the intensity increases, and contributes importantly to the film’s all-action finale.

The narrative’s initial hook is enticing and the opening minutes deftly draw the viewer into the story, with the early exchanges engrossing. But it falters somewhat in its second half, when it runs out of reveals and the execution of a key sequence becomes a bit messy, the film becoming caught up in its own franticity. The ambition on show, however, is undoubtedly admirable and the overall technical prowess on show serves to smooth over the plot’s weak points.

Stephanie feels like a sequence cut from a larger concept. While this is a testament to the world being built by Costello and crew, it also stops the story from fully resonating in its current form. It’s a shame – considering how effectively it starts – but this is still an enjoyable, stylishly executed short that’s well worth watching. And, with the director’s website listing his next project as a debut feature currently called Untitled Awesome Horror Film, I’d hope to see more of this story on screen soon. Lord knows Dunford could use the work.

Fergal Costello on Vimeo



Call For: SHORT STORIES Submissions


The Irish Film Board are acceptong submissions for SHORT STORIES, which invites filmmakers to use their imagination, creative story-telling and visual talent to excite audiences with succinct, inspiring and even entertaining films.

SHORT STORIES are live-action or animated fiction films between 2 to 5 minutes in length and have a budget of €20K.

Films may be made in the English or Irish language. If produced in the Irish language, subtitling will be necessary for festivals and sales worldwide.

The deadline is 1pm Friday 23rd March.

Parameters of the Scheme

– Number of films:                  Up to 4 per year

– Duration:                               2-5 minutes maximum

– Budget per film:*                Maximum €20,000
– Delivery:                               DCP, Prores, BluRay

The application budget should reflect costs for delivery as above and subtitling if applicable.


Further Details at


Kate Dolan: Little Doll

Kate Dolan tells Film Ireland how she wants to change people’s perspectives with her film Little Doll.


I first wrote the script for Little Doll in 2013. I was thinking a lot about my first crush on a girl in my class when I was about 7. I remember not really understanding my feelings at the time, but that was definitely the beginning of my journey as an LGBTQ person. So, I began to wonder when other people may have had their first inkling that they may be attracted to someone of the same-sex. I surveyed some of my LGBTQ friends and I was astounded that most people had feelings like this from as early as 4 years old. I thought that it was strange that I hadn’t seen any films that depicted this particular time in your life and so I started writing.

I was unsuccessful with many funding applications. I am unsure why, perhaps the content was a little bit too risqué for some people or maybe it just wasn’t what people were interested in at the time. I was about to give up hope when I got turned down for about the…6th time, when I decided to apply for Berlinale Talents 2014. They had a Short Film Script station there and to my surprise Little Doll and myself were in. There I was paired with a mentor who gave me lots of great notes, it was an amazing experience and most importantly it made me feel like the film was good and should be made. So when I got back I asked my friend from college Claire Nolan if she would produce it.

We set up an IndieGoGo campaign after another couple rejections from short film funding bodies, and we raised 3000 euro altogether. It wasn’t a lot considering it needed to be a 4-day shoot with a Toy Shop location, a school, and “two” houses technically. Luckily, at the time, Claire lived in a huge house where we shot all the house interiors, and a friend of mine worked at an Educate Together school and they were really eager to help after reading the script. We were surprised that we managed to get Toymaster on Mary Street to allow us to shoot there after hours – that was a really fun night actually all us got a bit giddy running around a Toyshop at 10pm. We went into production in early 2015.

Casting was great fun but also quite tough. The girls we did cast were amazing and so relaxed, and had no qualms about the content of the film. However, due to the content of the film some drama schools refused to even send the script out to parents. One girl also dropped out in the final stages of casting because she was afraid that her friends would think she was gay if they saw her in the film. Things like that were disheartening and made me sad at first but then I remembered – that’s why we are making this film, to change people’s perspectives.

We had an amazing crew all of whom gave their time absolutely free. I think again it was a belief that it was a special film with an important message that drove a lot of people to help us out. My long-time collaborator Philip Blake shot it on his RED (that he luckily had recently acquired), another IADT graduate Kevin Corry edited it over a very long 2015 summer, meeting up on weekends when we weren’t working. Also Steve Lynch, a composer I had worked with on some commercials at the time, said he would score the film for free. It is so encouraging when people want to give their time and creativity to a project like that free of charge. It makes you feel like “Yeah, this is a great film!”

We were really lucky to have our premiere at Berlinale 2016. They were really happy to have a Talent Alumni back and the festival opened loads of doors to us. We didn’t really have to pay submission fees to festivals because once you’re in Berlinale, festivals just ask you for screeners. It was quite a trip, going from being rejected constantly to now getting asked to screen at festivals all over the world.

Overall there are a lot of things I wish we could have done differently, our hands were tied with budget, time, etc. – but I forget all that when somebody comes up to me at a festival and tells me that the film has affected them in a positive way. I have had some parents come up to me and say that they want to open up a dialogue with their children about what it means to be LGBT.

Little Doll was a very personal project to me and I am so grateful to all the people along the way who believed in it enough to give their time to see it to fruition – otherwise it would still be an old Celtx file saved in an “Ideas” folder somewhere on my laptop.



Little Doll screens at IndieCork in Programme 1 of the Irish Shorts selection @ 12.00pm on Friday, 13th October 2017.  

IndieCork runs from 8 – 15 October 2017




Nathan Fagan, Director of ‘Hum’


Director Nathan Fagan talks to Film Ireland about his film Hum, an intimate portrait of artist and singer-songwriter, Kevin Nolan, which recently won the inaugural Guth Gafa Short Lens competition.


How did the project come about for you?

I first learned about Kevin Nolan from an article he wrote in The Irish Times. He discussed the challenges he has faced as a result of his diagnosis with schizo-affective disorder and how writing and performing music has helped him through some seriously dark times. I just remember being fascinated by his story and music and so I got in touch with him shortly after.

Initially, I’d been considering trying to do a radio documentary on Kevin and his music. After our first meeting, he invited me along to a performance he was giving as part of the ‘First Fortnight’ festival, at St. Patrick’s hospital, where he’s been a service user in the past. I remember watching him walk on stage, quietly sit down in front of a keyboard, and launch into this unbelievably powerful and theatrical performance of one of his songs, ‘Drowning’. By the end of the song, I’d pretty much decided to try and make a film about him.


Can you describe your relationship with Kevin over the filming period?

Before we started shooting anything, Kevin and myself spent quite a bit of time together just having conversations about anything and everything. We actually share a lot of the same interests in books, art and music. So, by the time we actually introduced a camera into the situation, we were both fairly used to each other’s company.

Although the film is only 19 minutes, we actually shot it over the course of about a year, with considerable breaks in between shoot days. Initially, I think Kevin was probably surprised at how much time it takes to get enough material for a documentary. I think there were definitely times where he wanted to get back to making music without having us hanging around filming him. It was worth it in the end, however.


How was it for you to witness Kevin’s creative process at work?

His creative process is fascinating. He works unbelievably hard at his art – treating it like a 9 to 5 essentially – but his productivity is often interrupted by his illness.

During the writing of his debut album,’Fredrick and the Golden Dawn’, he developed this routine for himself. He would wake up around 4 or 5 am, put on a full suit, and then sit down at his desk for the entire day creating songs. This went on for close to eight years – with breaks in between where his illness might become problematic or unmanageable and he might need to spend some time in the hospital.

If you listen to the album, there’s everything on there: piano, bass, electric guitar, drums, saxophone, xlyophone, organ, cello – even the musical saw. He taught himself – over the years – how to play many of these instruments himself, so as to be able to write and record the kinds of songs he wanted to make.

He also appears to draw on very eclectic sources for inspiration: poetry philosophy, folk tales, cowboy novels, dreams.


What was it like filming the live performances?

Shooting these performances was definitely a bit of a challenge. Before making this documentary, I knew next to nothing about capturing audio for live music. Foolishly, I think I just assumed it was similar to capturing regular location sound. I didn’t realise the level of expertise and experience necessary to capture high-quality audio like this. Luckily, however, we had the help of two people: Caimin Agnew, who did an unbelievable job capturing sound for the performances, and Christopher Barry, who allowed us to raid equipment from his recording studio for the day and provided some extra guidance during the shoot.

As always, Kevin delivered some incredibly powerful performances that day. Experiencing him live really is something to behold. It’s amazing to watch how Kevin transforms from this bookish, somewhat soft-spoken man into this amazingly theatrical, almost bombastic persona when he gets on stage.

I was also very lucky to get our DoP, Simon O’Neill, on-board at this stage. He really went above and beyond to help us capture the energy and uniqueness of Kevin’s performances on the day.


Did making the film have any impact on your understanding of mental illness?

Making the film has definitely changed my understanding of mental illness. Before making it, I only had a basic understanding of conditions like schizophrenia, bipolar disorder and schizo-affective disorder. Not only that, but my understanding of these conditions would have been largely gleaned from the media or popular culture.

I think there’s a tendency to sensationalise people living with these conditions in Hollywood movies, the media and popular culture. There’s a tendency to reduce individuals to their conditions and to ‘other’ them. The reality, of course, is much more complex and differs greatly from person to person. Individuals living with these conditions have full, rounded lives just like anyone else – with careers, families and relationships – but simply have the added challenge of maintaining their mental health.

I think Kevin – by being so open and honest about his experiences – can help shatter some of these misconceptions and offer a more nuanced understanding of what it’s like to live with a condition like this. That’s certainly one of the main goals of the film.


What was Kevin’s reaction to the film?

It’s been entirely positive – which is a massive relief. You never really know how people are going to react to seeing themselves on screen for the first time (I’m not sure how I’d react, to be honest) so that’s always an anxious experience.

We had our first official screening at the Guth Gafa festival just this month. I think Kevin was fairly nervous just before the screening – I certainly was, anyway – but it all went well. In fact, when they announced we had won the Short Lens competition and they wanted me to come up and answer a few questions, it was Kevin reassuring me, as I’m not really a fan of public speaking.


What are the plans for the film – screenings, etc…

We have another screening coming up at the end of this month, at the Still Voices film festival, in Longford. It’s also been selected for the Barcelona Short Film Festival and the Au Contraire Film Festival, in Montreal, who have kindly offered to fly myself and Kevin over to Montreal for the screening and provide us with accommodation. I also just received some exciting news from another festival abroad – which I’m not allowed to share just yet!

Other than that, we’re hoping some more festivals will screen it and really just to get it in front of as many people as possible.


You can find Kevin Nolan’s website here:

Plus his critically-acclaimed first album can be found here:



Review of Irish Film @ Galway Film Fleadh • New Irish Shorts 7: IFB World Premiere Shorts

Deirdre de Grae finds a lot to admire at the Irish Film Board World Premiere Short Films programme at the 29th Galway Film Fleadh.


The Galway Film Fleadh is an important platform for Irish short film. Hundreds of short filmmaking crews and cast attend the festival each year, helping to create the unique Fleadh buzz. There is a symbiotic relationship between festival and short film, if one portion is removed, the other will not thrive. The Irish Film Board had the Fleadh shorts equivalent of a ‘prime time’ slot – 12 noon on Saturday – and the atmosphere was phenomenal. The world premieres screened to a full house, including excited cast and crew of the short films. Although the IFB shorts premiere is always busy, this year seemed more popular than ever, with tickets selling out weeks before the screening date. Potential audience members crowded the steps and foyer of the Town Hall Theatre, hoping to acquire last-minute cancellation tickets for the sold-out programme. Those of us who were lucky enough to have a ticket were kept entertained for the packed programme: eleven shorts were shown, comprising six animations and five live-actions films. The short films screened were funded from three Irish Film Board schemes: Short Stories (live action or animation, max. budget of €20,000), Frameworks (animation only, max. budget of €46,000), and Focus Shorts (replacing the Signatures fund, max. budget of €50,000). This year, the theme given for the ‘Short Stories’ fund was ‘Tribes’ – filmmakers were asked to create films exploring the type of tribe that fascinated them the most. The short films were introduced by James Hickey, Chief Executive of the IFB, who later announced their commitment to supporting female writers and directors in the film industry – read more here


Although the shorts in this programme were impressive overall, two films stood out and lingered long after the screenings were over:  Time Traveller, written and directed by Steve Kenny, and Late Afternoon, written and directed by Louise Bagnall, which was awarded ‘Best Animated Sequence in a Short Film’.

Late Afternoon, written and directed by Louise Bagnall (an animator on Song of the Sea), captures some very honest moments and emotions that are familiar to anyone who has an elderly relative. In this way, although located in Ireland, the film is absolutely universal. In her film, Louise allows us an insight into the memories of an elderly lady, ‘Emily’, acted wonderfully by Fionnula Flanagan. She shows us those moments when an elderly person may forget their age and once again relive their younger days, which often happens in the days before passing away. The memories represented are the gleeful moments Emily spent as a young girl, playing on the shore, falling in love – and the audience is swept into this joy with her. These memories are counteracted by the sadness of her current relationship with her daughter, who she no longer recognises. Louise’s film is definitely a ‘tear-jerker’ – possibly the most moving film I had seen all week, and I regretted wearing mascara that day!

Late Afternoon was produced by Nuala González Blanco at Cartoon Saloon.



Time Traveller, the first film funded under the new ‘Focus Shorts’ Irish Film Board scheme, was written and directed by Steve Kenny.

This was the best acting performance of the festival so far, that I had seen, by Tom Doran playing ‘Martin’, a young traveller boy.  Although billed as starring the excellent and convincing Barry Ward, newcomer Tom Doran as Martin steals the show. Martin is obsessed with Back to the Future and has built an impressive DeLorean replica (for a small boy) using scraps and an old banger. There are some hilarious moments when Martin, armed with a hammer, whacks the car gleefully and very convincingly – I suspect young Tom enjoyed shooting those scenes. The comedic timing and visuals are excellent in Time Traveller, there seems to be the happy mixture of a good script, great cast and fantastic editing, all coming together to make a great short film.  A lot of praise is due to the editor, Colin Campbell, who also edited Michael Inside and The Young Offenders (for which he was nominated for an IFTA) as well as many short films. The film has some more serious moments, involving an eviction, and touching on the inevitability of change and leaving things behind in life.  In this way, the film is both heartbreaking and heart warming.

Time Traveller was produced by Forty Foot Pictures

Short films screened in this programme:

Macarooned (dir. Alan Short & Seamus Malone), Neon (dir. Rioghnach Ní Ghrioghair), Where is Eva Hipsey (dir. Orla McHardy), An Island (dir. Rory Byrne), Nice Night for It (dir. Rachel Carey), Late Afternoon (dir. Louise Bagnall), A Different Kind of Day (dir. Maria Doyle Kennedy), Bellwether (dir. Caroline Campbell), Departure (dir. Aoife Doyle), Deposits (dir. Trevor Courtney), and Time Traveller (dir. Steve Kenny).




Late Afternoon (dir. Louise Bagnall) won Best Animated Sequence in a Short Film. An Island (dir. Rory Byrne) won the James Horgan Award for Best Animation




New Irish Shorts 7: IFB World Premiere Shorts screened on Saturday, 15th July 2017, as part of the 29th Galway Film Fleadh (11–16 July 2017).




Kevin de la Isla O’Neill, Director of ‘Acorn’

Kevin de la Isla O’Neill tells us about the seed that became the Acorn.


What can you tell us about the film?
It’s a sweet and fun story about a mum who gets called into the Principal’s office at her son Gregg’s school during nativity play rehearsals. She assumes it’s because he’s in trouble again and is ready to defend his actions, however the principal has something rather different to tell her about Gregg​ which leaves her completely gobsmacked.

How did you become involved in the project?
I entered the Filmbase Short-Shots scheme as a director back in Feb 2016. It’s where directors, writers and producers come together to create one of 4 films offered by RTÉ/Filmbase.

As a director in the scheme, I had to first find a script I liked through various methods. Among them, a Facebook group where people send and request scripts and also a few speed-dating events for writers and directors. So after an extensive selection process I came across Jonathan’s [Hughes] script and I found his sense of humour to be very in tune with my own. I contacted him and we got on great, so pitching the idea came naturally. After that, we had to find a producer that would serve the project best. So we approached Sharon Cronin [producer] with our ideas on the project and she happily came on board to make the perfect team complete.

Can you tell us a little about putting the cast together?
Casting Gregg was the most important at the beginning and we saw some boys who had a lot to offer. But we all thought Luke [Kerins] brought that something extra, a kind of ’knowing’ look in his eye. He was also​ a bit​ older than what​ we were looking for but looked young enough for the part, which I think worked in his favour as he did a fantastic job! For Barbara we always had Norma Sheahan in mind, and when approached, she happily came on board.

We went through many ideas for the mother and principal and we all had suggestions that would make the characters very different, but in the end we decided on Aideen Wylde and Aidan O’Hare, who were both comfortable with comedy and they worked incredibly well together, and really made the characters their own; a very unique take on the roles that we were thrilled with.

How involved was Jonathan in the filming process?
Jonathan was very involved from the beginning and whenever we had questions about the script or characters he was always on hand to help or advise, and to make changes where we needed to if things weren’t working. He travelled over from London where he was residing at the time and was on set for the filming days,​ so I think it was all really exciting to see his script come to life. It also helped when we needed to rejig things very quickly on set, to get his opinion on how the changes might make the characters react, etc.

Any particular challenges you faced on this production?
There were various types of challenges as there are with any production, whether it’s a short or a feature, working with a big crew or small, and then working with children and animals, etc. So sometimes it comes down to trying to get the most out of the budget and dealing with time restrictions or location limitations, etc. scheduling picks-ups with actors and crew.

Sharon is an extremely competent producer and organized everything with acute efficiency, which meant we had a more than capable team throughout production, so challenges were quickly addressed when faced with them.

Working with Director of Photography Richard Donnelly was also a great asset, as I had worked with him once before and we seem to speak a common language, so when faced with any challenges we would quickly find a creative solution to the problem at hand.

No matter the budget or scale of production, you always wish you had more time and budget. In this case we were fortunate to have Natasha Waugh as our 1stAD, so thanks to her shoot management we were able to get the most off our time on location.Some locations kept changing and, as the story takes place on a school, we had to wait for a holiday break from the school to be used in order to shoot there, as weekends would be too restrictive. Also due to location access, some scenes were cut and replaced by others.

As the film takes place during nativity play rehearsals, the costume and production design are hugely important as the costumes are very specific, specially for the children, but Ciara Coleman-Geany did a fantastic job creating these and then the set design was very prop heavy, but Jill Beecher, our set designer, looked after that extremely well too, from finding bits and pieces everywhere​,​ to creating​ a very​ Christmassy look​,​ to​ even​ building a full stage for the nativity play rehearsals​, as there was none at the location​.

At some stage we had a very visual scene in a swimming pool, but that proved too burdensome due to the time allowed at the location and the amount of time we had for the shoot as a whole.

There were​ a lot of VFX required, which​ were done in After Effects, that you probably wouldn’t even notice​ (and shouldn’t)​, which is a great thing if it doesn’t stand out of course. But it takes an incredible amount of time and patience to do those types of things especially when working to a deadline on a small budget​, etc. But it’s all part of the process and we want to make sure that the best possible version of this film is the one you see on screen at the end of the day. So all the challenges make it worth it.

You must be excited about Galway…
I am very excited about Galway as I feel we have a lovely little film with a lot of heart. I’m really looking forward to seeing the film on the big screen and hearing its 5.1 mix, which was done and designed by Mutiny post, ans the score, composed by Sarah Lynch, was performed by the RTE concert orchestra, thanks to the IMRO | RTÉ Scoring for Film Program, so it should be an amazing experience to see and to listen to.

It also has been a while since I’ve been in Galway as part of a film project in the programme, instead of in the market pitching, etc. So I’m really looking forward to getting to showcase our film, network and talk about the next projects in order​ to develop further and enjoy all that the Fleadh has to offer.


Acorn screens at the 29th Galway Film Fleadh as part of New Irish Shorts 4 on Friday, 14th July at the Town Hall Theatre at 12.00.

Buy Tickets

The 29th Galway Film Fleadh runs 11 – 16 July 2017.


Emma Eliza Regan, Writer/Director of ‘Wild Fire Nights’

Emma Eliza Regan

Emma Eliza Regan gives us a glimpse into the world of Wild Fire Nights, which screens at this year’s Galway Film Fleadh.


What can you tell us about Wild Fire Nights?

It’s a 17-minute contemporary drama, that centres around Lila – a deeply troubled and dysfunctional young woman, who tries to maintain an image for the world, but inside she’s crumbling and trying to numb the pain out. I’ve tried to reflect the inner world of young women today, all the grey areas that don’t ever get tapped into on Irish screens. The ‘selfie generation’ has created a situation where one’s validation only comes from her sex appeal – there’s severe consequences on the psyche of young women, which I could see around me every single day, as young as 14 up to 34. Anytime I looked at my phone, whether it was Facebook or Instagram, it was there, so I was trying to capture the real darkness and the massive psychological consequences of it all.


… and the title, Wild Fire Nights?

 The film was called ‘Unfiltered’ for a while, but the title Wild Fire Nights seemed to really depict the total destructiveness and utter waste… it expressed how one tiny situation can ignite something in us, that causes a series of events, that just spread fast and destroy everything in such an irrevocable way.

I called her Lila as it comes from the Hebrew word for ‘’Night’ and ‘Dark Girl’ – which was fitting for her.


How did the story come about for you? 

The character itself came from a night out – I was in a cubicle, and there were empty vodka and pregnancy tests thrown on the floor, and I guess that image was such a very dark juxtaposition that it stuck with me. Who was this girl, and how did she end up in here?  I also would see so many young women completely out of it and nobody really investigates that. I wanted to dig a bit deeper and see well what is going on in a young woman that she’d need to do that? What has happened? Most of these girls are just deeply hurt and trying to cope.


Wild Fire Nights

Were you planning to direct from the get-go?

Yes, I had such a clear vision of it that it just made sense. Also, I started to feel that directing was the one place where I could contribute something substantial – I was able to use my own voice, instead of offering just the little tiny box of my performance.  I was at the stage I wanted to move on from playing the school girls, and use my other capacities too and create my own work.

I suppose as a girl in my twenties myself, I felt I could write about certain topics and portray them in a way that’s totally authentic – so I just started writing what I saw and questioned around me.


What was it like directing your first short?

I really enjoyed the experience! It was hard work too, being responsible for so much, but I just rolled up my sleeves and kept going because I was so passionate about it and had fun times with the crew around me.  I’ve always been sort of observing and contributing ideas on every set I was on anyhow, I hang around on set watching what’s going on even after I’m wrapped… so it was a natural decision for me.  It was the post-production I needed to learn a lot, all those elements were new to me, so I took away a huge amount of lessons from the edit.


Hanging around on set

What experience as an actor did you bring to working behind the camera. 

Firstly, all a director needs to do is make sure the actor doesn’t feel like it’s acting… make it about not acting as much as possible. I was very in tune with them all anyhow, and gave them complete trust to keep the takes fresh and spontaneous. I knew from experience that if something doesn’t work, scrap it, it’s not working for a reason, change it around rather than stay there forcing and forcing a scene. I have been on sets where a director keeps forcing it, although it doesn’t feel right, so I was sharp in keeping each scene instinctive from my acting side of my brain. For an example, James Browne, who’s one of the most instinctive actors anyhow, I had him swinging around on bars of a boat as Lila tried to talk to him about her mother’s death, it was actually written as them sitting by the beach, but I knew I needed both that tension and lightness…. Also, the same with Dara Devaney, before his scene I gave him a bowl of porridge to be feeding the granny, that one tiny action told more about his character than any words could – so I used a lot of simple, authentic actions in a scene to click a performance into place.


Did you pick up a bag of tips from directors you have previously worked with?

Of course, I mean I was privileged to have that experience with very talented people, so of course it shaped me in some way. I did learn a huge amount about performance and film in general from Shimmy Marcus when I was in the Factory, he deconstructed everything from script to the edit to the performance, and taught me that it’s much about show rather than tell… Then on set,  I went with longer takes with certain actors, like Gerry (Mc Sorley) and David Murray, because I knew the level of experience they carried, and that those extra few seconds after the scene would be where they would just nail it, and I remember Ivan Kavanagh working with us in a similar way. Also, I personally think Brendan Muldowney is a phenomenal director, I love how he captures so much tenderness in the darkness of the subject matter –  so if I could have learnt anything at all from a director I worked with, that would be it.


You assembled a great cast. Can you tell us a little about this?

I had a very clear idea of who would work from the writing stage. I had worked nearly everyone with previously, except Gerard McSorley –  although we were both on Penance last year, we hadn’t any scenes together, but he is such a prolific actor, someone I admired for years on film, and he connected with the subject matter on a personal level, so he brought a lot of real and powerful truth to that scene. He had me in tears and it was still only on his close-ups, so that’s the strength and brilliance of his performance for you right there.

With James Browne and Dara Devaney, they were both actors that I did theatre with at the very start that I sort of just clicked with. Dara Devaney and I had worked in the Abbey and we became good pals, he’s got such a genuine and honest quality to him, and I knew our ease with each other that would come through on screen. He added a very warm and kind presence in the final scenes, and James Browne was also someone I met back at the very start. I did a version of A Midsummers Nights Dream when I was 17,  and then, earlier this year, I was in a screening of Lorcan Finnegan’s Without Name at ADIFF and he absolutely stole every scene. He has that exact mix of both elusiveness and danger, and he brought so much intensity to Flynn. He’s also going to be in Maze which screens at the Fleadh on Saturday night, so he’s gaining a real momentum in her career now, and think he’s only going to go from strength to strength.

With David Murray, we worked with one another on Jack Taylor – and again, was the first and only choice for the role –and he brought such an edge to that scene. I loved his performance in Amber. He’s a great voice, and had that mix of both masculinity and vulnerability it needed.


How did you find the role of producer?

Very full on, I have actually helped produced some projects over the last few years, so I wasn’t totally clueless. It was a huge amount of work with locations, insurance, health and safety, getting the whole crew together, catering, but my production designer, Steve Kingston, came board as a co-producer and helped me out with everything. So when we were both working together, we actually had a lot of fun in the process.


You must be excited to screen at Galway…

Yeah, it will be great to have a screening and finally see how people react to it.  It’s only the start for this film.



Wild Fire Nights screens at the 29th Galway Film Fleadh as part of New Irish Shorts: Way Out West programme on Wednesday, 12th July at the Radisson Blu Hotel at 2.30pm.


Buy Tickets





Preview of Irish Film @ Galway Film Fleadh 2017



Tristan Heanue, Writer/Director of ‘A Break in the Clouds’



Tristan Heanue gives us a look at A Break in the Clouds, which screens at this year’s Galway Film Fleadh.


What can you tell us about A Break in the Clouds?
It is about a young couple who are struggling in different ways following the birth of their first child. It follows them over one morning as things come to a head.


How did the story come about?

It came from a few different places. A few friends of mine had babies in quick succession and I saw first hand the different types of strain that it had on them. It just stuck with me and I wanted to tell a story that showed what the pressures were like for both sides during this time.


Did you always know you wanted to direct this story?
Yes, I had been working on the script for over a year and it was always in my head to direct it. Originally, I hadn’t planned to act in it as I submitted it to a short film scheme, but once we didn’t get selected for that I had to re-think it. Paddy Slattery [producer] had always suggested me acting in it so I decided to go for it. I had a wonderful cinematographer in Narayan Van Maele who made the whole experience so much easier. We spent a day in Connemara walking through the locations and planning everything so when the time came for me to step in front of the camera for my shots he had it all under control.


You’ve worked with Paddy Slattery before – what does he bring to the table?


A number of things, he is always the first person to read my scripts so I trust him more than anyone. He gives the best advice when it comes to screenwriting and doesn’t sugar coat it. He always helps you keep belief in a project and pushes you on when you sometimes might be having doubts about the material, which usually happens weekly!


What were the important lessons you learned from your debut directing experience that you brought to bear on this film?


Mainly to not try to cut corners with anything, to be more prepared. Sometimes you look back at the other films and see little mistakes and you just do your best to not do the same again. I spent a lot more time on the script also, it went through quite a few different versions as we had a certain budget and had to make sure it was possible to shoot it on that.
How important was the chemistry of the cast to successfully tell this story?
It wasn’t as important as maybe on others. All the characters are somewhat estranged in it or have bad communication with each other so I think it would have worked either way. But as it happened everyone kinda knew each other. I had met Marie Ruane, who plays Natalie, a few times before and we spent an evening rehearsing our scene beforehand but that was the only rehearsals we did for the film. Gemma-Leah Deveraux, who plays Sarah, and Marie had also known each other for years so they were comfortable working together. And I had also met Linda Bhreathnach, who plays Ally, a couple of times before so that always helps things flow a little better.


You must be excited about Galway
Yeah, I’m so excited to show this film to people. I’m nervous as well of course but I think the excitement is maybe edging it this time. Galway is obviously special for me being a native so it will be great to have all my friends and family there with me.



A Break in the Clouds screens at Galway Film Fleadh on Friday, 14th July at the Town Hall at 10am as part of the New Irish Shorts 4 programme.




Watch Short Film: Swerve

Production stills from Mycrofilms' crime comedy Swerve. Credit: Photo by Ross Costigan Photography. Contact or 353 86 7733391

The award winning short film Swerve has just been released online. Swerve is a crime comedy about a deadly game where it’s every man for himself as a group of ambitious criminals do battle for a mysterious bag. This game has been going on for as long as anyone in the criminal underworld can remember. If you play, you play to win. If you lose, you die. But the question is, what’s in the bag?

The film is directed by Ross Costigan and written by John Morton. It was produced by Alan Slattery for Mycrofilms. It won best Short Film at the 2015 Underground Cinema Film Festival and has just finished a festival run where it has screened all over the world.

The cast of the Swerve includes Ed Murphy, David Thompson, John Doran, Peter McGann, John Morton, Stephen Colfer, Niall Sheehy, Paul Young, James McHale, Brendan Corcoran, Ger Cody, Joe Cleere, Niall Morrissey, Ken McGuire, Niamh Moyles and Adrian Kavanagh.

Director Ross Costigan told Film Ireland that “About five years ago we were shooting an episode of webcom Vultures when John Morton said he had a script I should read. It might be good for me to direct and that it was basically inspired by the video game Streets Of Rage but set in Ireland. Then Mycrofilms and myself received a small collaboration bursary from Artlinks and thought we might just be able to make a film out of it. We managed to assemble a huge cast and crew of amazing talented people, all working for free and from there we spent six days turning the streets of Kilkenny into the most ridiculous, violent relay race imaginable”

Speaking to Film Ireland, writer John Morton explains that “The idea was inspired by the video game Streets Of Rage and the idea was to do a short about a game that moved in a scrolling beat ’em up fashion, with random players entering at different stages. I wanted to write something pulpy and kind of schlocky, which I hadn’t really done before so Swerve scratched that itch for a lot of us. Thematically, it’s about the nature of crime and how criminals once had a semi noble code but are now opportunists and cheaters and in that idea, it gave us the scope to do a ridiculous shoot ’em up and play with guns.’



The making of Swerve was supported by Artlinks. It was shot entirely on location in Kilkenny City

Previous short movies from Mycrofilms include John Morton’s Daffney Molloy and Other Catastrophes (Chicago Irish Film Festival/Indie Cork) Hot Water Bottle (Cork Film Festival) and Terrence White’s Baby Love which played numerous national and international film festivals.


For more on the film, please visit


‘Peel’ Short Film Wraps in Dublin


Ally Ni Chiaran and Laurn Canny in PEEL

Ally Ni Chiaran and Lauryn Canny

Annika Cassidy makes her directing debut with Peel, a new short film that captures the painful effects of alcoholism on family through the eyes of those who pick up the pieces.

Lauryn Canny (A Thousand Times Goodnight) gives a realistic portrayal of the daughter of an alcoholic mother. The plot centres around schoolgirl Olivia who comes home to find her mother- played by Ally Ni Chiaran (My Name is Emily) motionless on the couch.

With cinematography from ADIFF 2017 Rising Star nominee Eimear Ennis Graham (Lily, Cold), the film shows the control that alcohol can have on a person and how often, it is the accidental victim who assumes responsibility for the failure of those so close to them.

Filming has wrapped this month and the film is being edited by Colin Campbell (The Young Offenders, You’re Ugly Too) at present.


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Call For: Short Films for First Cut! Youth Film Festival 20

call for entries graphic CORRECTED

First Cut! Youth Film Festival are now accepting entries for the First Cut! Youth Film Festival 2017 open submission short film programme – submit your film free of charge.

Now in its eighth year, First Cut! Youth Film Festival, April 27-29, showcases short films made by young filmmakers over three days packed with screenings, workshops, and talks by film industry professionals. It provides a valuable opportunity for young people to network and share their passion for making films with a wide group of like-minded people. Every type of film is screened: fiction, documentary, animation, music video and more.

This year First Cut! invites short films in a range of categories made by individuals or groups in youth or arts groups, in secondary schools, PLC’s and third level colleges. A special ‘Schools Day’ will take place on Friday 28th April dedicated to screening films made in secondary schools in acknowledgement of the sheer amount and quality of film making taking place now throughout Ireland, for many young people it is where they get the initial chance to make a film and indeed the opportunity in many cases to hone their craft.


To find out how to submit your film, visit our Open Call page at


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


Call For: Submissions for Galway Film Centre & RTÉ Short Film Commission


Galway City of Film have announced the return of the Short Film Commission Scheme a partnership scheme with RTÉ and Galway Film Centre. Writers are invited to submit a story idea and the best three ideas will be selected and receive a prize of €500 each. These three writers will go on to be mentored by an experienced Script Editor to bring their idea from a story outline to a finished script. From this, one script will be selected and made into a short film.

New and up-and-coming directors are also invited to submit a short CV to be selected through a competitive process to direct the winning script. The directors will be mentored by an experienced director through prep, casting right through to being supported on set

Producers and production companies are also encouraged to register for the scheme and will be selected on a CV and interview basis. Please note that director and producer teams are also encouraged to apply and will be interviewed together as a team.
DEADLINE for applications is Tuesday 31st January and full details on the scheme are here:

Call For: Submissions for Irish Film Festa




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 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.







Call For: Submissions for Short Film Funding


Northern Ireland Screen intends to use Lottery Funds, provided through the Arts Council of Northern Ireland, to support the production of Short Film.

The aim of this funding is to:

Encourage Northern Ireland resident producers to make a significant contribution to developing talent within the local industry.

Develop Northern Ireland resident creative talent (writer, director, producer teams) who intend to work professionally in factual or fiction genres.

By offering structured, merit based, opportunities Northern Ireland Screen intends to develop new and emerging writing, directing and producing talent to the point that it is of interest to the wider film, television and digital content industry. Northern Ireland Screen runs two short film application calls per financial year. The current call closes for applications on Friday 23rd September 2016.


Contact christine @ to apply
View the NIS Short Film Guidelines


Short Film: Watch ‘Transitory’

Transitory Image 1

Transitory, the new short film from writer/director Jason Branagan has been released online. The film was made as part of this year’s March on Film festival and premiered at the festival’s finals event in June, where it won Best Actor and Second Place, Best Film.

Transitory is a drama set over one day in Dublin. It tells the story of a Robin, a young man who lives in his car. After his car is stolen, Robin struggles to find a place to sleep.

Speaking to Film Ireland, director Jason Branagan said “the film came about because there had been so many news stories about families forced from their homes, many of which found themselves living out of their cars because they had no where else to go. This wave of ‘new-homeless’ were often people with financial trouble as a result of the crash so it made me think about how easy it could be to find yourself in that situation, and just how difficult that situation would really be. So the film started with that question of ‘what if’…”.

The film stars Danny Mahony (Shoebox Memories, The Devil’s Woods). It is written and directed by Jason Branagan, with Noel Greene serving as Director of Photography. Plain Sailing Films produced the film. 



Short Film: Watch ‘Bird Food’



Richard Keane’s short film Bird Food premiered at the Galway Film Fleadh in 2012 and has gone onto screen at over 40 film festivals around the world.

Set on a lovely sunny day, it tells the story of a business man who tries to eat his lunch in the park but the local pigeons have other ideas. Bird Food is a feast for the eyes that chews at the funny bone.

Since leaving college, Richard had been working non-stop in the animation industry for over 8 years but this was his directorial debut in animation. He had been trying to get several short films off the ground for years but work schedules made this difficult to juggle.

Speaking to Film Ireland about the film, Richard says, “The biggest issue was getting it off the ground in the first place. It is a lot of work to complete a short film and I could not have realistically done it without getting funding for it and therefore being able to pay people to work on it outside of our long working hours. Once the ball started to roll though, it couldn’t be stopped and a deadline is always one of the best things an artist/creative person can have.”

The film was funded by the Irish Film Board as part of the Short Shorts scheme in 2011, where the theme for that year was Food.

“I had a draft done way back in 2008 and then for the next 3 years I had it playing in the back of my mind, working out story elements etc. while I was busy full-time in Brown Bag Films. Over those years I had started to study improv, with guru John Dawson, and also performed improv with several troupes and this helped greatly with my understanding of story, characters, use of props and general timings. I brought all of these elements together until I was happy to pitch it in 2011 and with the theme of “food” it was obviously the perfect time to submit. The biggest thing over these years was how I simplified the story and how that actually made it better. I removed elements that hindered production and that improved the story greatly.”

Bird Food’s style is hugely inspired by the past but it uses new techniques developed particularly for this project. I loved watching Looney Tunes, Merry Melodies and the UPA cartoons. So, when I decided to make my first short animated film, I knew it had to have both the visual style and tone.
“I wanted to stay away from the photo-real looking 3D shorts that seemed to be everywhere and make a highly stylised 3D short that looked like it was 2D by using old techniques but with new technology. I was pretty confident it would through my experiences in the industry but we were trying something new and so there were always some seeds of doubt. But there were audible sighs of relief when the first renders came through and it looked even better than we had hoped for.

“The reaction has been amazing to it and it has spurred me on to create more shorts and even develop features and not wait as long for the next one as it did the first one! Luckily I have recently just finished my latest live action short film The Grand Canal, also set on a bench funnily enough, so I hope to get this out to the world soon also.”




Bird Food
Written and directed by Richard Keane and produced by Laura Roche and Brown Bag Films.

The Grand Canal
Written and directed by Richard Keane and produced by Emma Owen and Babyjane Productions.


Short Film: Watch ‘Cavalier’

Peter McGann as Luke in Cavalier

The award-winning short film Cavalier is a heartache comedy about a directionless young man who reflects on a life of poor decisions as everyone around him seems to be in full control of their future.

Cavalier has travelled the world in the last twelve months including screenings at Indie Cork, Aesthetica Short Film Festival, Richard Harris International Film Festival, Chicago Irish Film Festival and a win for best comedy at The 5th Underground Short Film Festival.

The independently produced film was shot in Co.Galway, Ireland in March of 2014, with a cast that includes Peter McGann, Aoife Spratt (Trampoline), Kenny Gaughan and Roisin Dolan and a crew of one in the form of Sean Clancy. The score was composed by Callum Condron.

Writer.director Sean Clancy told Film Ireland that “Cavalier was born of ideas I had started to write for a character who spent most of his waking life trying to justify his indecision and apathy.

“Its just a brief window into Luke’s life, there’s no real growth on his part, just a slowly sinking feeling that he’s probably more responsible for his own misery than he’d like to admit.

“The relationship aspect of the story is definitely tied to Annie Hall. There’s no better way to mine a characters insecurities and anxieties than by discussing a past relationship and it also allows for a more rational and less self self involved perspective from Jane.

“I didn’t set out to write specially about a relationship but over time it was the one aspect that tied everything else together. A heartache story from the point of view of someone who never leaves their phone unchecked, someone who constantly compares himself to others and who’s always connected but never engaged.”


Short Film: Watch ‘Hot Water Bottle’

HWB - Summer 3

Set over the course of a year in Kilkenny, Hot Water Bottle tells the story of Frank and Alice, a couple who broke up but struggle to stay broken up. As each season progresses, they find themselves drawn back into the same old routine of drunken nights and walks of shame.

Written and directed by John Morton, the film stars Suzanne O’Brien, David Thompson, Simone Kelly and Peter McGann.  Hot Water Bottle was produced by Alan Slattery and Paddy Dunne of Mycrofilms with the support of the  Kilkenny Arts Office.

Speaking to Film Ireland, writer/director John Morton explained how the film came about. “The idea was to do a fairly simple observational comedy that looked at a break-up over a year, but only focusing on the times where the couple relapsed and slept together.

“Normally, break-ups on films are full of fireworks and drama so I decided to run in the opposite direction from that. A lot of ideas for the scenes were to give a sense of something realistic, messy and really quite awkward. The characters don’t really know what they want so there’s no real major objectives at play, they just meander through a messy situation, which is a little bit more true to life.

“It’s split into four seasons because we wanted to show the progression of the break-up over a year and I thought the changing seasons would create a certain visual identity for a short that is essentially four really uncertain conversations. Although seasons in Ireland don’t really look how we expect them to anymore so we had to be quick to shoot it. There was a lot of ‘Hey, it looks really wintery, grab the gear’ going on. The film is essentially about time moving on, even if people don’t.”




Call For: Entries Galway Junior Film Fleadh 2014


Illustration: Adeline Pericart

The Junior Galway Film Fleadh (November 12th to 15th) is seeking entries from young filmmakers between the ages of 7 to 18 as part of its Future Filmmakers Short Film Programme.

In addition to a mixture of workshops, script competition and panels, the short film programme will allow youthful filmmakers to show their work on the big screen.

This is an ideal opportunity to showcase a film made individually, amongst friends, a college or class group or with a youth or sports club. Making a film has never been easier, and with a group of friends and a camera (or even a phone or tablet), it’s simple to shoot a mini-masterpiece.

The only rules for submissions are that the film must be under 15 minutes in length and must have been made in 2013/14. A rough cut of the film on DVD is acceptable at submission stage. Any genre is welcomed, such as documentary, animation, drama, action, musical, comedy, sci-fi, horror, experimental or any mix thereof.

The winning short will be screened as part of next year’s Galway Film Fleadh shorts programme, meaning the lucky winner will rub shoulders with some of Ireland and the world’s most exciting filmmakers.

Entry forms can be found at this link and the closing date for submissions will be Friday 29th August 2014. The Junior Galway Film Fleadh will be held from November 12th to 15th 2014.


Short Film: Preview of Irish Film at the Galway Film Fleadh

Way Out West

way out west

Way Out West is a platform exclusively for filmmakers based in or showcasing the West of Ireland.
Wed 09 July Town Hall Theatre 10.00

ID Film Project 2014

ID Film Project 2014
Helping communities to tell their own stories through documentary film
Wed 09 July Cinemobile 11.00

New Irish Shorts 1: On Location – Duty

New Irish Shorts 1: On Location – Duty
This first programme of competitive shorts looks at the theme of duty.
Thu 10 July Town Hall Theatre 10.00

New Irish Shorts 2: Focus – Family

New Irish Shorts 2: Focus – Family
Focus is a theme that provides insight into families: their trials and tribulations and the strength that can hold them together.
Thu 10 July Town Hall Theatre 12.00

New Irish Shorts 3: A Different Lens

New Irish Shorts 3: A Different Lens
A Different Lens gives a platform to non-narrative films.
Fri 11 July Town Hall Theatre 10.00

New Irish Shorts 4: Point of View – Our World

New Irish Shorts 4: Point of View – Our World
Point of View is a selection of short films expressing both how we live today and how our society might look in the future.
Fri 11 July Town Hall Theatre 12.00


What happens when a disposable society starts disposing of itself?

New Irish Shorts 5: In The Mix – Love

New Irish Shorts 5: In The Mix – Love
In the Mix is a collection of shorts exploring the theme of love in its many forms.
Fri 11 July Town Hall Theatre 14.00

New Irish Shorts 6: Close Up – Hope

New Irish Shorts 6: Close Up – Hope
In this strand, Close-Up looks at the human spirit of individuals, however tested at times, and how they persevere in the face…
Sat 12 July Town Hall Theatre 10.00

New Irish Shorts 7 IFB Premiere Shorts

New Irish Shorts 7 IFB Premiere Shorts
A selection of short films produced under Bord Scannán na hÉireann/the Irish Film Board’s Signatures Short Film Scheme.
Sat 12 July Town Hall Theatre 14.00

New Irish Shorts 8 Living Colour – Animation

New Irish Shorts 8 Living Colour – Animation
Living Colour celebrates a wide-ranging programme of animated shorts.
Sun 13 July Town Hall Theatre 09.30


New Irish Shorts 9 Real Time – Documentaries

New Irish Shorts 9 Real Time – Documentaries
Real Time is a diverse documentary strand.

Sun 13 July Town Hall Theatre 11.00


JDIFF: Irish Film Review – Short Film


Lynn Larkin checked in on the Jameson Dublin International Film Festival’s selection of  Irish short films.

Friday the 14th was all SHORT of romantic. Valentine’s day started with a selection of short films at the Jameson Dublin International Film Festival and I was romanced by not one, but eight fantastic Irish short films. Each short film had a wonderful scene of something much bigger than the tiny clip-it we were lucky to catch a glimpse of. They all left me intrigued and longing for more, perhaps a feature film in the making? Playing to a full house in the Light House cinema, filled with a sense of anticipation, the lights dimmed and a soft russell of popcorn munching began. Our Valentine’s treat was a quick romp with comedy and drama filled with a foray of emotion.


Breakfast Wine
Director: Ian Fitzgibbon
Writer: Kevin Barry
Running Time: 11 minutes
Starring Ruth Bradley, Dylan Moran and David Pearse. A young woman makes an appearance into a country town pub much to the pleasant surprise of two alcoholics who are solely responsible for keeping the small bar running. Boozing and chatting the night away revels her past is coloured with lifetime of experiences. This short feels like it was taken from a feature film and placed into the line-up. It’s an interesting place to start and finish a short and it definitely makes you wonder what happened next?

Director: Mairtín de Barra
Writer: Matthew Roche
Running Time: 13 minutes
Atrophy examines the sacrifices made in the name of development, and the effect they have upon people. A tale of old versus new, loss, friendship and an old farmer and his dog. I have to admit I had a lump in my throat while watching this film, meaning it was successful in tackling the topic at hand. This little film will pull at your heart strings and make you want to call your granddad more often, which makes things a little difficult for me, considering, they’re both dead.

Director: Louise Ni Fhiannachta
Writer: Anton Beag Ó Colla
Running Time: 11 minutes
The First Holy Communion is fast approaching but as an atheist, eight-year-old Rúbaí refuses to be a part of it. Rúbaí faces emotional blackmail, religious and philosophical debate and out and out intolerance in today’s supposedly diverse and modern Ireland. Rúbaí is a super funny Irish short that deals with some real drama. Oh to be an eight-year-old atheist fuelled with wit and knowledge and a blunt tongue. I really enjoyed this film. I don’t know what else to say, other then go see this film, you’ll love it.

Director: Cathy Brady
Writer: Cathy Brady, Sarah Woolner
Running Time: 20 minutes
Mary wakes up on the sofa with a banging headache. Her morning routine is interrupted by a persistent reporter. She is a broken lost soul that has suffered a devastating life tragedy. But this morning is the morning she decides to deal with what has happened. Morning is a truly gripping drama. Brady has managed to give a sneak peek into a world no one would ever wish to experience.

Uisce Beatha
Director: Shaun O’Connor
Writer: Tadhg Hickey
Running Time: 8 minutes
Set in 1912, Uisce Beatha is the true story of Tom, a young man who leaves his home in rural Ireland to cross the ocean on the ill-fated Titanic. But a night of celebration beforehand results in a twist that will affect Tom’s fate drastically. Does everything in life happen for a reason?

The Ledge End of Phil (From Accounting)
Writer-director: Paul Ó Muiris
Running Time: 6 minutes
An animation about a man called Phil who is forced to take a look at the life that he has been ignoring and neglected for so long. With nowhere left to turn he has no choice but to take a giant leap into the unknown. It’s fly or die.

Writer-directors: Tom Sullivan, Feidlim Cannon
Running Time: 15 minutes
A heartfelt story about a mechanic fed up with what life has dealt him but finds consolation and peace in ageing gracefully.

4 Bhanríon
Director: Vittoria Colonna
Writers: Vittoria Colonna, Eoin Rogers
Running Time: 15 minutes
4 Bhanríon (4 Queens) is a black comedy about four elderly sisters who play a game of poker to decide who will take care of their elderly mother. Proving that blood isn’t always necessarily thicker than water, not while one sister might get stuck looking after their wheelchair-ridden mother. However, sometimes life doesn’t work out the way it’s planned.


A couple of the short films that stood out for me were Louise Ni Fhiannachta’s Rúbaí and Mairtín de Barra’s Atrophy.

Rúbaí had an exceedingly good storyline entwined with some comedy and heartfelt drama. The acting was fantastic and the dialogue was very well thought-out. A definite must see for all age groups.

Mairtín de Barra’s Atrophy storyline is very current and one that I’m sure will resonate with a lot of people. The acting from Pat Deery is so expressive and endearing, proving the strength and talent of Deerly’s ability as an actor. De Barra made a fantastic choice in casting him.  The set captures the life of the old man perfectly. Everything about this short film was very well executed.  Another short to add to the list of must sees.

All in all it’s apparent that the Irish film industry is safe in the hands of the new and emerging Irish talent that are storming through the film festival circuits. And of course, they made my Valentine’s super pleasant and even managed to give my heart a little flutter.


Click here for further coverage from the 12th Jameson Dublin International Film Festival.

JDIFF’s selection of  Irish shorts screened on Friday, 14th February 2014 as part of the 12th Jameson Dublin International Film Festival (13 – 23 February 2014).


Galway Film Fleadh: Short Film report


Mechanic (Tom Sullivan, Feidlim Cannon)


Laura Gaynor picks her ten favourite shorts from this year’s Galway Film Fleadh.

This year I did what (I think) is known as the shorts marathon. It is an almost self-explanatory term and involves going to all the short films at the Galway Film Fleadh.

One of the reasons I like going to shorts screenings in particular is because of the range of stories told in contrast to just one type of story during a feature. Hence, value for money. However, if you’re a full-time chancer like myself, you might be able to get a free ticket. The cool thing about film festivals is that the people who worked on the film are usually in the cinema. I always find it funny when you settle into a screening and realise afterwards how the lead actor was sitting beside you the whole time. Lastly, the main reason I prefer film festivals is that people applaud after the movies. As small as this sounds, I hate when you go to a regular cinema and no one claps. It feels unnatural to watch a performance and not applaud. Applause concretes the shared experience that is watching movies in the dark. Without further ado, here are my favourite ten shorts – in no particular order:


The Beauty Of Ballybrack

The Beauty Of Ballybrack

Old Bríd McNamee turns her house into a homestay for Spanish students but when the young divas cannot be tamed, Bríd returns to her witchy ways.

Director: Megan Woods
Producer: Amber Miles

This film was a graduate piece from the National Film School. I really enjoyed last year’s grad films and made a point of checking out their website to see how many would get through this year. The short centres on an old woman living alone in Dublin. Young at heart, she fancies the postman and writes letters to herself in a bid to advance their relationship. Bríd turns her house into a homestay for Spanish students but has ulterior motives. The film was good fun and had a great sense of colour. It was bilingual and was in no uncertain terms: hilarious.




Mark is struggling with an unexpected change in his life when he meets Sara, opening his eyes to a new perspective of the world around him.

Director: Steven Daly
Producer: Oisin O’Driscoll

This was another IADT graduate film, with a clever idea to it. I liked its hook at the beginning with the secretive lead actor. It had great art direction and some nice lighting. The makers of this film left free paper cranes outside the cinema to coincide with one of the main ideas of the film. Who doesn’t like freebies?


I Can’t See You Anymore 


Having woken up from a coma after an accident, psychotherapist Aidan Clifford is forced to confront the consequences of his own actions.

Director: Michael Kinirons
Producer: Ailish Bracken

A very original short about a man who’s dealing with the fallout of a car accident. My favourite part was the conclusion of the film but also the tension created throughout the film with flashbacks. It also had a commendable score and cinematography.


The Missing Scarf

(WINNER Best Animation)


A black comedy exploring some of life’s common fears: fear of the unknown, of failure, rejection and finally death. Narrated by George Takei.

Director: Eoin Duffy
Producer: Jamie Hogan

A brilliantly abstract animation by Vancouver-based animator Eoin Duffy. I mainly liked this one because of its style, characters and script.




Alia is an Afghan-Irish girl torn between two lives. When her secret relationship with an Irish boy comes to her sister’s attention, it forces the family to make a decision that could ultimately tear it apart.

Director: Clare Dix
Producer: Nodlag Houlihan

Since most of the films seemed to centre on adults or young children, it was refreshing to see one in there that was about teenagers. I thought this short had a nice understated feel to it. Hat’s go off to the guy who played Alia’s Dad – he was fantastic.




Eoin’s life is turned upside down when an unexpected mix of regulars and strangers turn up during his shift at a local petrol station.

Director: Phillip Kelly
Producers: Dave Leahy, Liam Ryan

Starring a man who said he’d let his face be used as a tee box for a winning lotto ticket, this film easily garnered the loudest response of the Fleadh. During an impossibly boring night shift, a first-time mugger attempts an ill-prepared raid of the shop. Although he has a gun, both the shopkeeper and customer call his bluff to hilarious effect. The actors had a great sense of timing and worked from a well-written script.




In the wilds of Connemara, a mischievous boy discovers a creature from Irish folklore washed up on shore. They embark on a journey that sparks an unlikely friendship.

Director: Adam Kavanagh
Producer: BCFE

A very unusual story, but I loved it. When a Connemara boy meets a Loch-Ness-type creature, they become the best of friends. A beautifully animated short from Ballyfermot College of Further Education.


Heart And Hand 


From its humble roots in the fishing village of the Claddagh, the Claddagh ring has identified the Irishness of its wearer, both living and lost.

Director: Emma-Kate O’Reilly
Producer: Galway Film Centre

Of the short documentaries I saw in the Fleadh, I noticed how lots of them could work from really simple ideas. This film was about a man who sells Claddagh rings – but it explored it in a very interesting way.



(WINNER of Best First Short Film) 


Agus an rang á ullmhú don Chéad Comaoineach, dhiúltaíonn Rúbaí é a dhéanamh, ag maíomh gur ‘atheist’ í.

While the class are preparing for their First Holy Communion Rúbaí refuses to do it, claiming she is an ‘atheist’.

Director: Louise Ní Fhiannachta
Producer: Gemma O’Shaughnessy

The only film to take home both an award and a special mention, this was by all means the best gearscannan of the week. Much of the charm of this film stems from an engaging performance by young Doireann.



(WINNER of Best Short Drama)


A mechanic fixes up an old car and drives into the Dublin Mountains to end his life, but old age catches up with him..

Directors: Tom Sullivan, Feidlim Cannon

Producers: Tom Sullivan, Siun O’Connor, Derek O’Connor

What seemed like an impossibly dark film at first ended up as one of the best plot twists I’ve ever seen. The film itself was very simplistic and didn’t veer from the inside of a car. This was one of the last shorts I saw during the Fleadh and definitely my favourite of the week. I was not surprised to see it take The Tiernan MacBride Award for Best Short Drama.


Watch ‘Yu Ming Is Ainm Dom’


Yu Ming Is Ainm Dom (My Name Is Yu Ming) is the story of a young Chinese man, who is disillusioned with his dead-end job at a supermarket. A spin of the globe leads him to choose Ireland as the destination for his new life and further research informs him that the official language of that country is Gaelic. Arriving in Dublin speaking the language, he is puzzled when nobody can understand him.

Written and Directed by Daniel O’Hara
Produced by Grainne O’Carroll

The short film, shot on DVCam, was funded through the Filmbase/TG4 Lasair scheme. For more details on the scheme visit

Yu Ming is Ainm Dom was released in Irish cinemas in October 2003 with Jim Sheridan’s In America, was shortlisted for an Academy Award and has won a total of eighteen awards at film festivals in Ireland and around the globe, including:

Best Irish Short & Best First Short – Galway Film Fleadh 2003
Best Comedy – Aspen Shortsfest 2004
Best Young Director – Broadcast/BBC Young Talent Awards 2004
Best Irish Language Production – IFTAs 2004




Watch ‘Noreen’ – a short film by Domhnall Gleeson


Two men with no idea what’s going on…
You can vote here for Noreen on the  Short of the Week website…

Purchase a DVD here:…

Winner – Tiernan McBride Best Short Film Award, Galway Film Fleadh
Winner- Audience Award for Best Film, Capital Irish Film Festival
Winner – Directors Choice, Boston Irish Film Festival
Winner – Best Narrative short at the Gold Coast International Film Festival
World Festival Premier at Palm Springs Shortfest
Winner Best Comedy – Victoria TX Indie Film Fest
Official Selection – Cork, Raindance, San Francisco, Tribeca, Newport Beach, Brest Film Court, Kerry, Waterford, Clones, Dingle, Atlanta, Fastnet, Gold Coast International Film Festival’s Furman Film Series, Toronto Screen Shots, Shorts That Are Not Pants, Cinegael, Toronto Irish FIlm Festival, Gimli, East Lansing, Flickerfest, Los Angeles Irish, Southside, Ozu, RXSM.

Noreen, a short film written and directed by Domhnall Gleeson and produced by El Zorrero Films.
Brendan Gleeson
Brian Gleeson
Gerry Byrne
Sean McCarthy
Funded by FilmOffaly in partnership with Filmbase.
DOP: Ruairí O’Brien
Production Designer: Nicola Moroney
Editor: Niall Campion
Producers: David Clarke, Juliette Bonass and Ciarán Deeney.



Galway Film Fleadh 2012 Cinema Review: Shorts Round-Up

Shorts Programme 7


For some reason this wonderful, varied selection of Irish shorts seemed to have a recurring theme of anamorphic birds. Playing to a full house in the Town Hall Theatre, the light comedy, gripping tension & heartfelt emotion elicited by these brief films certainly helped to shift the grogginess incurred from the previous night’s shenanigans at the Rowing Club.


Short Shorts

Bird Food

Director: Richard Keane

Producer: Laura Roche

Simple and riotously funny, beware of adorable pigeons is the moral of this tale, as a diligent worker is unable to enjoy his sandwiches at the local park.



Director: Luke McManus

Producer: Annemarie Naughton

Homemade sports some exquisite, dark humour, as lonely Pensioner Tommy Fogarty uses his culinary skills to woo a lady friend. Unfortunately his romantic plans are thwarted by an aggressive group of teenage girls.


Barry’s Bespoke Bakery

Director: Denis McArdle

Producer: Ben Keenan

When it comes to this short I’m about as biased as they come, but I still find it fantastic. Barry and his ‘slapdash’ employee Brian exchange some harsh words as they cook a special wedding cake in his Bespoke Bakery. Definitely don’t go see this hungry, as you’ll be gnawing the side of the chairs at the sight of all the scrumptious-looking cakes.


Learning To Fish

Director: Teemu Auersalo

Producer: Nicky Gogan

Quirky visuals teamed with some very clever writing, Learning To Fish is about a shrewd seagull and his arduous quest for some tasty grub.


The Tree

Director: David Freyne

Producer: Rachael O’Kane

The Tree is an interesting and very dark post-apocalyptic short in which a weary man goes in search of sustenance though an arid landscape. He thinks he’s found salvation when he happens across an apple tree.


Un Peu Plus

Director: Conor Ferguson

Producer: Ailish Bracken

An engaging, international flavour to add to the pot of this year’s food theme, Un Peu Plus sees the peckish Madame Rousseau visiting café after café. As her tasty cake tour unfolds, the real reason for her journey is reveals.


Pet Hate

Director: Andy Clarke

Producer: Sean McGrath

The ancient struggle of man versus beast continues with this humorous animation. Pet Hate tells the tale of an exhausted pet shop owner doing battle with his very cheeky merchandise.




El Toro

Director: Tomás Seoighe

Producer: David Clarke

El Toro is funny, bizarre and oddly touching. Cian, who’s despondent dad doesn’t notice he’s being bullied at school, finds a teacher in the most unlikely of places, and finds himself face to face with a load of bull.



Director: Seamus Moran

Producer: Marie Caffrey

Another touch of the surreal as Gaeilge: the titular character Sylvia is a mystical motorbike, who’s all revved up over her mistreatment by her lovelorn, teenage owner.




Tríd An Stoirm

Director: Fred Burdy

Producer: Sean McGrath

Some gorgeous videogame-esque visuals tell the supernatural story of a woman teamed with a Banshee to save her husband.


On Departure

Director: Eoin Duffy

Producer: Alan Doherty

This trippy, quirky short sees an unusual character making his way through an airport.


Here To Fall

Director: Kris Kelly

Producer: Evelyn McGrath

Absolutely beautiful Japanese-style graphics accompany a young girls’ misadventures after a call from her father.


After You

Director: Damien O’Connor

Producer Steve Woods

Video killed the radio store, as did revolving doors threaten one dedicated Dublin doorman. This adorable short showcases the city beautifully while chronicling his 60-year career.


Irish Folk Furniture

Director: Tony Donoghue

This animated documentary tugged at the just the right heartstrings while making the whole cinema chuckle. Fantastic, fun and will no doubt appeal mightily to nostalgic ex-pats, after watching Irish Folk Furniture you’ll never look at an old shelving unit the same again.


Fear Of Flying

Director: Conor Finnegan

Producer: Brunella Cocchiglia

This quick-witted, laugh-a-minute short follows a fearful wee bird and all he must endure to avoid heading South for the winter. One of the funniest things I’ve seen in a long, long time, and a great way to end the screening.


 Gemma Creagh


Call For: Cast and Crew for new Terry McMahon written Short Film

Illustration: Adeline Pericart
Writer: Terry Mc Mahon
Director: Jeff Doyle
Producer: Rita Marie Lawlor
Shoot dates: TBC
Unfortunately the production is unpaid.
Interested in people who are looking to donate equipment, experience and time to this project. The film will be sent to film festivals inside and outside Ireland.
Casting for a variety of roles – please read the script on to see if you think you are suitable for any of the roles.
Talent is in the shorts/miscellany section on the website
Those interested should email  for more details.

Actor and Actress Required for Micro Budget Short

Super Evil Dinosaur Productions are currently seeking both a male and female lead for the  micro budget short film Factor 50, auditions are on Friday 2nd September.

Factor 50 is a dark comedy narrating a middle-aged couples’ domestic disputes against the backdrop of nuclear Armageddon.

We urgently need the following;

Man 35- 50 years old

Woman 35- 50 years old.


Male Lead- A suitable actor should ideally be expressive, comfortable delivering dialogue on camera and possess good comic timing.

Female Lead- A suitable actress should ideally be confident, comfortable in her skin and able to bring physicality to the role.

For more information on the movie & the upcoming auditions, please email your CV, headshots, showreel links & details to;

Also you can find us on facebook (search- Super Evil Dinosaur Productions)

Please note- This is a micro-budget short, so unfortunately we are unable to pay any cast or expenses beyond what is reasonable. However anyone who takes part will obviously be credited and receive a copy to add to their show-reel.

This film is being made for entry into domestic film festivals and competition with a view to marketing our short abroad. We are aiming high with this project and you should too!


Corona Fastnet Short Film Festival – Report Page

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

Tuesday May 31st

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

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

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

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

Sunday May 29th

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

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

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

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

Master Class with Jack Gold

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

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


Saturday May 28th

The Corona Fastnet Short Film Festival announced their shortlist.

CFSFF 2011: Shortlisted Films in no particular order


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

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

Happy Birthday Timmy (3m, Ireland)  Johnny Cullen

‘Shoe’ (13m, Ireland)  Nick Kelly

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

Cured (12m, Ireland) Mary Redmond


Cash prize of €2,000

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

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

Pentecost (11m, Ireland)   Peter McDonald

Crossword (13m, Ireland)  Vincent Gallagher

‘Shoe’ (13m, Ireland)  Nick Kelly

Happy Birthday Timmy (3m, Ireland)  Johnny Cullen

Cured (12m, Ireland)  Mary Redmond

Deep End Dance (6m, Ireland) Conor Horgan


Cash prize of €2,000

Happy Birthday Timmy (3m, Ireland)  Johnny Cullen

Jittertree (10m, United Kingdom)   Tom Bailey

Low Battery (9m, Canada)   Zoe Slusar

Tick Tock (5m, USA)   ien chi

Flipping Channels (7m, Ireland)  Fiona Riordan


Cash prize of €500

Sponsored by Cork County Council & Schull Initiative

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

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

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

All Night Long ( 13m, Ireland)  Mark Cogan

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

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

BEST DRAMA  Kirsten Sheridan

Cash prize of €200

Mamis kleiner helfer (11m, Germany)  Michael Lavelle

‘Shoe’ (13m, Ireland)  Nick Kelly

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

BEST COMEDY   Patrick McCabe

Cash prize of €200

Know Your Enemy (9m, Ireland)  Eamonn Colfer

Pentecost ( 11m, Ireland)   Peter McDonald

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

Happy Birthday Timmy (3m, Ireland)  Johnny Cullen


Cash prize of €200

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

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

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

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


Cash prize of €200

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

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


Cash prize of €200

Deep End Dance (6m, Ireland)   Conor Horgan

Admit One (6m, Ireland)   Steve Woods

BEST ANIMATION   (Davey Ahern, Synth Eastwood)

Cash prize of €200

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

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

Martyris (8m, Mexico)   Luis Felipe Hernandez Alanis

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

BEST DIRECTION   (Gerard Stembridge)

Cash prize of €100

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

Happy Birthday Timmy (3m, Ireland)  Johnny Cullen

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

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

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

Pentecost (11m, Ireland)   Peter McDonald

BEST SCREENPLAY  (Donal Beecher)

Cash prize of €100

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

Pentecost (11m, Ireland)   Peter McDonald

The Interview (7m, USA)  Reinaldo Marcus green

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

BEST ORIGINAL MUSIC   (Maurice Seezer)

Cash prize of €100

The Line Joseph Conlan

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

Cured Ray Harman

Martyris Alejandro de Icaza

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


Cash prize of €100

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

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

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

Thursday May 26th

Festival Co-Chair Maurice Seezer had this to say:

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

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