Interview: Conor Horgan, director of ‘The Queen of Ireland’

Conor Horgan

Sarah Griffin sat down with Conor Horgan to discuss The Queen of Ireland.

The Queen of Ireland has been an unmitigated success on its opening weekend, but sitting down with director Conor Horgan in the whirlwind days preceding its release, there was still a sense of anxiousness. A film that represents the culmination of over five years of hard work and dedication, it carries a hugely personal weight for both Conor and his subject, Rory O’Neill.

Knowing the timeline, I wondered how Conor envisaged the documentary structurally when he began filming, not knowing the narrative arc he would eventually be gifted. “Rory is very interesting and is very politically astute and engaged, so I knew that at the very least there would be more than just a portrait of a fabulous drag queen. There was a political engagement level to it. But none of us  involved had any idea how big a part that would end up being. We were just hanging on for dear life and filming as much as we could.”

With the increased visibility of Panti Bliss, there was a chance of over-exposure, but The Queen of Ireland manages to bring a wealth of unseen footage to the screen. “I suppose people think that they’re very familiar with every aspect of the story. Panti’s been on the Late Late, on the Saturday Night Show, but seeing Panti behind the scenes is, I think, very interesting to people. And I think even more so seeing Rory behind the scenes because Rory is an unknown quantity.”

Rory has enjoyed a certain amount of personal privacy up to this point, but allowed Conor and his crew open access to his life. As Conor puts it, “the honesty, and the willingness to engage on that level is what makes it a film.” For those watching, whether the lifestyle is alien to you or not, it’s also what makes it so relatable – the personal aspect. “I had to write the director’s statement as part of the funding document and the first line of my document was ‘I identify with Panti Bliss.’”

Delving deep into Rory’s life, his parents are brought to the forefront at Panti’s homecoming gig back in Ballinrobe, Co. Mayo. Conor clearly feels at home with the O’Neills, having spent so much time with them. In fact, Rory’s sister Edel even suggested that Rory leave for the Ballinrobe show from his parents’ house with them alongside him. “‘I’ll tell you what’, she says to us, ‘it’ll make great television.’ And she’s right! And actually it’s one of my favourite moments in the film. There’s a vulnerability to Rory at that point that’s just really affecting. And I’ve a lot of admiration for him, because, at that moment, you’re not thinking that the country as a whole has given its approval to ‘the gays’, it’s still the little town that he came from.”

The general tone of the film reflects this familiarity in a way that doesn’t feel invasive, engaging with Rory’s life without being voyeuristic. Rory has said before that his one ‘talent’, the only one he will admit to, is his ability to find people to collaborate with who are good at what they do. He therefore works with people that he trusts, and it is evident throughout the movie that he trusted Conor completely. “I knew that I was in a privileged position,” Conor says, “and I did not want to abuse that trust in any way. And not just with the film, but because Rory deserved better than that.”

Conor also has that knack for collaborations, and among his many supportive crew members he particularly praises Mick Mahon, his editor: “he is just terrific, and he put his heart and his soul into it. I’m there beside him at the front of the engine room, and it’s like watching a fighter pilot in action. He’s physically wrestling the material into shape.” For any feature the editing is a crucial structural device, but even more so with a documentary, as Conor acknowledges, “Even with the best will in the world, you are finding your actual story in the editing room. I always think that any kind of film editing process is in some ways a creative argument between the director and the editor, and the material wins.”

The narrative structure was, of course, cemented by Pantigate, the 2014 debacle of libel suits that brought Rory into the national consciousness. It’s a tumultuous time to look back upon for Conor, watching it unfold for Rory in real time. “He was always giving out to me, you know, around the Pantigate thing because he knew that on one level I was thrilled that all of this stuff was happening. Well, I was thrilled on two levels, and I said it to him. I was thrilled for the film, but I was also thrilled for the country, because I knew that this would be a good thing ultimately. I think everybody did.”

It certainly seems, from an outside point of view, that Pantigate gave Rory the opportunity to build a stage, and to speak from it on his own terms. This initially took the form of the now world-famous ‘Noble Call’ in the Abbey Theatre. “That speech in some ways crystallised some of the great things about Panti, with Rory behind Panti, which is grace under pressure, incredible articulateness, and underlying that, an awful lot of heart, because that was a vulnerable thing to do. Panti, and Rory,  has described Panti many times as a suit of armour. Panti is always front of house, camera-ready, able and available give a quip, but that was Panti and Rory interchangeably and that’s the power of that. That’s why the speech has such far-reaching effect. Fintan O’Toole, who is not given to exaggeration, said that it was one of the greatest speeches given in this country since Daniel O’Connell, and I would agree.”

The response was immediate, taken up by advocates, both celebrity and otherwise,  around the world. Panti became a byword for a discussion about societal homophobia and the possibilities for change in the future. The necessary conversations therefore began over a year before the referendum for Marriage Equality, despite Rory’s humble protestations about his role in the movement. But it isn’t exactly politics that occupies Rory’s mind when he decides to speak out about injustice. “Rory has no political ambition,” Conor points out, “which is the reason that he can do what he does. But he does have a very strong sense of what’s right, which is also the reason he does what he does. And the fact that this, until relatively recently, benighted country under the cosh of the Catholic Church and a lot of other things just like it, has taken this giant drag queen to its heart is just fucking wonderful. If he was just a great drag queen then maybe it wouldn’t have happened. Panti’s a great drag queen who’s also just really, really smart, really able to formulate and deliver compelling arguments for equality.”

Indeed Panti can articulate, but the film isn’t just a showcase for the undoubted talents of this consummate performer, it shows the maturing of a country in a very personal manner. “In a way, we had the big political end,” Conor continues, “but the personal, as Rory says in the film,  always trumps the political. It’s one of the reasons the Marriage Equality referendum was passed, because people realised that it was about actual people’s lives, not just a technical, political or intellectual argument.”

There’s no denying that the ‘Yes’ vote is a climax in the film; the excitement that filled the country sweeping even the camera crew along in its infectious joy. “There is a shot of me in the film outside PantiBar on Capel Street after the official result is being announced, and I’ve got a huge beaming smile on my face, and Kate McCullough, [cinematographer], has a huge smile, and Aoife Kelly [assistant producer]. We’re all incredibly emotional, because you can’t not be, because this is real stuff and it matters. And you know, we all voted, we all took part in this, and to see how well it turned out is just massively emotional. It doesn’t stop you doing your job. It just makes it a very, very good day in work.”

Still, where The Queen of Ireland shines most is in small moments, those wonderfully private times where we watch Panti walk down the street of Ballinrobe, flanked by family, or listen to Rory talk candidly about his life off stage. In the end, this documentary is a very personal testament to a public figure who happened to play a crucial role in our country’s evolution. “Sure you couldn’t make it up,” Conor acknowledges, “and if you did, nobody would believe you.”

 

The Queen of Ireland is currently in cinemas

 

 

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Irish Film Review: The Queen of Ireland

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DIR: Conor Horgan • WRI: Conor Horgan, Philip McMahon • ED: Mick Mahon • CAST: Panti Bliss

Drag queens, echoing the essentially political role of court jesters of old, comment on society – sometimes flamboyantly and hilariously – from their place on the fringe. Pandora ‘Panti’ Bliss is Ireland’s most famous drag queen, thrown into the international limelight by the shameful behaviour of extremist conservatives and our national broadcaster, and propelled to centre stage in the campaign for Marriage Equality. There is, however, more to Rory O’Neill and Panti, his loud and proud creation – and considering the further elevation of Panti to almost mythic proportions in recent times, a documentary five years in the making couldn’t be more welcome. They say never meet your heroes, but The Queen of Ireland belies this adage, intimately introducing us to the story behind the legend.

Conor Horgan began filming his friend Rory O’Neill in 2010, following the professional life of a successful pub owner, stage artist and drag queen, while also uncovering the deeply personal life of the man behind the heels. As the cameras were rolling long before ‘Pantigate’, the film explores the many facets of Rory’s life, including his background and creative advancement, before alighting on recent defining moments. The narrative arc therefore has a much warmer touch – no doubt due to the trust Rory felt in Conor’s ability to bring his story to life – and manages to blend the personal and political seamlessly, and without contradiction. From his beginnings in Ballinrobe, Co. Mayo to the Japanese club scene, return to Ireland in the 1990s, and on to his stratospheric burst onto the world stage, the camera is a constant companion – and it is a testament to director Conor Horgan and editor Mick Mahon’s capable self-control that the running time is kept to a neat 82 minutes.

Interspersing footage with an impressive line-up of talking heads, Rory’s influence and influences can be seen in his collaborations over the years. We relive Panti’s naissance on Tokyo stages as CandiPanti with Angelo Pitillo, hosting the Alternative Miss Ireland (‘Gay Christmas’) pageant in Dublin to fundraise for HIV/AIDS charities, stage productions with Philip McMahon, and Panti’s present incarnation as pub landlady of Capel Street’s flagship establishment, Pantibar. Throughout the film, we work towards the unignorably present Pantigate situation, the result of which was perhaps the exact opposite intention of the instigators. Panti’s position as “accidental and occasional gay rights activist” – as she called herself in 2014’s amazing ‘Noble Call’ on the Abbey Stage – was cemented by these events, and the video of her onstage in our national theatre became a worldwide sensation. By taking a potentially devastating situation and turning it on its head, Panti simultaneously called out the oppressiveness of a homophobic society while entreating us to become aware of it. The conversation about Marriage Equality was thus begun a full year before the referendum was due to take place.

There are, of course, colourfully ecstatic moments in Dublin Castle as the Yes vote carries through, a memento of our recent national celebration of love and hopefulness for a more inclusive society. It’s difficult not to feel emotional watching the joy unfold onscreen as Panti strolls through the crowds, and her amazing ability to move people to laughter even while our eyes fill with tears is a heartening reminder of her skill as a consummate entertainer.

Despite being gifted such an amazing narrative direction with Pantigate and the Equality vote, Conor’s film manages to be a much more touching and personal piece than these world-famous events might imply. As much as interviewees like David Norris, Niall Sweeney, Una Mullally and Tonie Walsh talk about Panti’s fame, they also speak about the erudite intelligence of Rory, who brings such humanity and thoughtfulness to his creation. Two sides of the same coin, we are introduced to a complex figure who exists on many levels, but leave the cinema feeling as though we’re a bit closer to knowing the person. A glorious testament to a national treasure, The Queen of Ireland is a documentary that needed to exist, and that it comes to our screens so perfectly formed is down to hard work, wonderful collaborators, supportive family members and the essential brilliance of Panti Bliss.

Long live the Queen!

Sarah Griffin

15A (see IFCO for details)

82 minutes

The Queen of Ireland is released 23rd October 2015

 

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‘The Queen Of Ireland’ Set for Cinemas

panti-bliss

Pandora Panti Bliss is many things: part glamorous aunt, part Jessica Rabbit, she’s a wittily incisive performer with charisma to burn who is regarded as one of the best drag queens in the world. Created by Rory O’Neill, Panti is also an accidental activist and in her own words ‘a court jester, whose role is to say the un- sayable’. Over the last few years Rory has become a figurehead for LGBT rights in Ireland and since the recent scandal around Pantigate, his fight for equality and against homophobia has become recognised across the world.

The Queen Of Ireland is a documentary film that follows Rory’s journey from the small Mayo town of Ballinrobe to striding the world stage. The film takes us behind the scenes with his alter ego Panti in the year she became the symbol of Ireland’s march towards marriage equality. Directed by Conor Horgan (One Hundred Mornings, Deep End Dance) and produced by Blinder Films (Citadel, One Hundred Mornings) the film builds build up a multi-faceted picture of a complex and compelling character through behind the scenes footage and interviews with friends, peers and protégés, including Bunny, Tonie Walsh, Colm O’Gorman, Shirley Temple Bar, Una Mullally, David Norris, the O’Neill family, the other half of CANDI PANTI, Angelo Pitillo, long time collaborators Niall Sweeney and Philip McMahon.

The Queen Of Ireland opens in cinemas nationwide on Wednesday October 21st

 

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Irish Films in Cinema 2015

 

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11 Minutes (Jerzy Skolimowski)

4th December

 

The lives of urbanites intertwine in a world where anything can happen at any time.

Reviewed here

 

The Hallow (Corin Hardy)

13th November

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A family who move into a remote milllhouse in Ireland find themselves in a fight for survival with demonic creatures living in the woods.

Reviewed here

 

Night People (Gerard Lough)

13th November

A pair of professional but badly mismatched criminals break into a vacant house to carry out an insurance scam. Awkwardly thrown together with an hour to kill, they reluctantly start telling each other tall tales.

Reviewed here

 

Brooklyn (John Crowley)

6th November

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Set in the early 1950s, Brooklyn is the story of a young woman, Eilis (Saoirse Ronan) who moves from small town Ireland to Brooklyn, NY where, unlike home, she has the opportunity for work and for a future – and love, in the shape of Italian-American Tony (Emory Cohen).  When a family tragedy brings her back to Ireland, she finds herself absorbed into her old community, but now with eligible Jim (Domhnall Gleeson) courting her.  As she repeatedly postpones her return to America, Eilis finds herself confronting a terrible dilemma – a heart-breaking choice between two men and two countries.

Brooklyn is adapted from Colm Tóibín’s New York Times Bestseller by Nick Hornby  and directed by John Crowley.

Reviewed here

 

The Legend Of Longwood (Lisa Mulcahy)

23rd October

 

When 12-year-old Mickey Miller moves with her family from New York to Ireland, she soon discovers a mysterious link between herself and the 300-year-old legend of the mysterious Black Knight, who regularly haunts the sleepy Irish village of Longwood. With her new best friend in tow, Mickey sets out to redeem the knight while saving a precious herd of white horses and thwarting the evil plans of a greedy, ambitious woman  – a mighty handful even for the bravest girl.

Reviewed here

 

The Queen Of Ireland (Conor Horgan)

21st October

 

Conor Horgan’s documentary follows Rory O’Neill’s journey from the small Mayo town of Ballinrobe to striding the world stage. The film takes us behind the scenes with his alter ego Panti in the year she became the symbol of Ireland’s march towards marriage equality.

Reviewed here

 

The Hit Producer (Kevin de la Isla)

 

A struggling movie producer in search of an investor reluctantly follows the promise of money into Dublin’s drug underworld where she witnesses a botched murder attempt.

 

The Lobster (Yorgos Lanthimos)

16th October

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The Lobster is a love story set in the near future where single people, according to the rules of The City, are arrested and transferred to The Hotel.  There they are obliged to find a matching mate in 45 days.  If they fail, they are transformed into an animal of their choosing and released into The Woods.  A desperate Man escapes from The Hotel to The Woods where The Loners live and falls in love, although it is against their rules.

Reviewed here

 

Talking to My Father (Sé Merry Doyle)

16th October

 

Talking to my Father features two voices from two eras each concerned with how we as a nation understand the architecture that surrounds our lives. Modern architecture in Ireland reached a high point in the early sixties and one of its most celebrated and influential figures was Robin Walker.

Reviewed here

 

Tana Bana (Pat Murphy)

9th October

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In Varanasi, the uneasy peace between Hindu and Moslem hinges on the world renowned silk weaving.  The existence of this ancient Hindu city depends upon Moslem weavers.

Reviewed here

 

Ghosthunters – On Icy Trails (Tobi Baumann)

2nd October

 

Based on the bestselling novel “Ghosthunters and the Incredibly Revolting Ghost” by Cornelia Funke, Ghosthunters – On Icy Trails, which features Amy Huberman, follows a young boy Tom who discovers an ASG, an Averagely Spooky Ghost called Hugo in his cellar.  He soon realizes that Hugo is not only completely harmless, but also desperately needs his help. Hugo cannot go back to his haunted house, because a dangerous AIG, an Ancient Ice Ghost, has moved in and is spreading an arctic cold over the entire town in the middle of summer. Tom and Hugo go to professional ghost-hunter Hetty Cuminseed, who doesn’t like children or ghosts very much, and who just lost her job at the CGI, the Central Ghosthunting Institute. Hetty teaches Tom and Hugo the basics of ghost-hunting and the three become an unusual team: only with friendship, courage and self-confidence can they overcome their adversary and save the town from the AIG.

Reviewed here

 

Older Than Ireland (Alex Fegan)

25th September

 

Older Than Ireland features thirty men and women aged 100 years and over. Often funny and at times poignant, the film explores each centenarian’s journey, from their birth at the dawn of Irish independence to their life as a centenarian in modern day Ireland. Older Than Ireland ‘s observational style offers a rare insight into the personal lives of these remarkable individuals.

Reviewed here

 

Pursuit (Paul Mercier)

18th September

A modern take on the legend of Diarmuid and Gráinne – a contemporary myth about the pursuit of power, class, love and the chance to start again.

Reviewed here

 

The Callback Queen (Graham Cantwell)

11th September

 

In the cut-throat London film industry a vivacious actress chasing her big break struggles to maintain her integrity in the face of the director’s advances

 

The Great Wall ( Tadhg O’Sullivan)

21st August

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This bold new documentary, an adaptation of a Kafka story, looks at the enclosure of Europe by a complex system of walls and fences. Mysterious and visually dazzling, the film journeys across a range of European landscapes, and encounters those whose lives are defined by these walls – detainees within European migrant camps. [IFI Programme Notes]

Reviewed here

 

A Doctor’s Sword (Gary Lennon)

7th August

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Tells the incredible story of Aidan MacCarthy, a young doctor from West Cork who survived some of the most harrowing episodes of World War II (including the atomic bombing of Nagasaki) and his family’s search to uncover the origin of the Japanese Samurai sword, which now resides in MacCarthy’s Bar in Castletownbere.

 

 

You’re Ugly Too (Mark Noonan)

10th July

 

Will (Aidan Gillen) is released from prison on compassionate leave to care for his niece Stacey after the death of her mother. As they both head into the sleepy Irish midlands and attempt to be a family, they suffer a series of setbacks; Stacey is refused admission to the local school because of her recently developed narcolepsy; Will repeatedly comes close to breaking his prison-ordered curfew; and his attempts at being a father figure to her prove disastrous…As their future hangs in the balance they must search for a new way forward together.

Reviewed here

 

 

Song of the Sea (Tomm Moore)

10th July

Tomm Moore’s Oscar-nominated animated feature tells the story of the last Seal Child’s journey home. After their mother’s disappearance, Ben and Saoirse are sent to live with Granny in the city. When they resolve to return to their home by the sea, their journey becomes a race against time as they are drawn into a world Ben knows only from his mother’s folktales. But this is no bedtime story; these fairy folk have been in our world far too long. It soon becomes clear to Ben that Saoirse is the key to their survival.

Reviewed here

 

Let Us Prey (Brian O’Malley)

12th June

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Rachel, a rookie cop, is about to begin her first nightshift in a neglected police station in a Scottish, backwater town. The kind of place where the tide has gone out and stranded a motley bunch of the aimless, the forgotten, the bitter-and-twisted who all think that, really, they deserve to be somewhere else. They all think they’re there by accident and that, with a little luck, life is going to get better. Wrong, on both counts. Six is about to arrive – and All Hell Will Break Loose!

Reviewed here

 

Queen and Country (John Boorman)

12th June

The sequel to Boorman’s 1987 Academy Award®-nominated picture, Queen and Country takes place in 1952. Bill Rohan is eighteen years old, dreaming his life away at the family’s riverside home, waiting to be called up for two years’ conscription in the British Army. His idyll is shattered by the harsh realities of boot camp. He meets Percy, an amoral prankster; they are rivals and antagonists, but they gradually forge a deep friendship in the claustrophobic environment of a closed, prison-like training camp. The pressure is briefly relieved by excursions into the outside world, where they both fall in love. Finally, Bill is confronted with the shattered lives of wounded boys returning from Korea.

Reviewed here

 

Fortune’s Wheel (Joe Lee)

5th June

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Fortune’s Wheel is a documentary feature film about Bill Stephens, an ordinary young man in 1950s Ireland with an extraordinary ambition: to become an international circus star.  It is also a love story about Bill and his young and beautiful wife May, from East Wall.  Their double act, Jungle Capers, Bill Stephens and Lovely Partner, was a series of death-defying feats with a troupe of lions and dogs designed to thrill audiences in the circus tent and on the stage.  With this act they hoped to break free from the suffocating reality of Irish life, but things went terribly wrong when, in November 1951, one of their animals escaped.
The story gained national and international attention at the time, but it is only now – after 60 years of silence – that two families and a community have come together to tell the story in full.

Reviewed here

 

The Canal (Ivan Kavanagh)

8th May

Set in rural Ireland, The Canal stars Rupert Evans as David, a film archivist with a morbid fascination for old films in which the subjects have since died. Right after learning that his wife may be cheating on him, she mysteriously disappears at the same time that his assistant Claire finds an old reel of film that points to a murder that took place in his house a hundred years ago. David starts to suspect her disappearance may involve some form of the supernatural but he also quickly becomes the prime suspect.

Reviewed here

 

Get Up & Go (Brendan Grant)

1st May

A slacker comedy which chronicles a hectic 24 hours in the life of would-be comedian Coilin (Killian Scott) and frustrated musician Alex (Peter Coonan). When Alex’s girlfriend tells him she’s pregnant, he refuses to allow her to derail his long-held plan to escape to London. Meanwhile the hapless Coilin is striking out on stage and off, as he attempts to get his faltering comedy career off the ground and win the heart of his dream girl. With time ticking down to Alex’s departure, the mismatched pair will be forced to confront the reality of their childhood dreams of artistic greatness while their lifelong friendship is tested to the limit.

Reviewed here

 

Two by Two (Toby Genkel, Sean McCormack)

1st May

It’s the end of the world. A flood is coming. Luckily for Finny and his dad Dave, a couple of clumsy Nestrians, an Ark has been built and all animals are welcome… well almost all. Unfortunately for them, Nestrians are not on the list! But Dave has a plan, and Finny and he manage to sneak onto the Ark disguised as Grymps – much to the horror of real Grymps, Hazel and her daughter Leah.

However their troubles are just beginning as the two curious youngsters end up falling over board. Now Finny and Leah have to brave the elements in their quest to find higher ground while fighting off hungry predators and making unlikely friends. Meanwhile on board the Ark the parents must set aside their differences and hatch a plan to turn the boat around and make it back in time to rescue their kids.

Reviewed here

 

Glassland (Gerard Barrett)

17th April

In in a desperate bid to save his mother from addiction and unite his broken family, a young taxi driver on the fringes of the criminal underworld is forced to take a job which will see him pushed further into its underbelly. But will John be prepared to act when the time comes knowing that whatever he decides to do, his and his family’s lives will be changed forever.

Reviewed here

 

 I Used To Live Here (Frank Berry)

3rd April

I Used To Live Here follows Amy Keane, a 13-year-old trying to cope with the death of her mother and the reappearance of her father’s ex-girlfriend, who experiences the temptation of suicide after witnessing the outpouring of love for a local suicide victim. The film takes a fictional look at how the idea of suicide can spread in communities, particularly among young people.

Reviewed here

 

In A House That Ceased To Be (Ciarín Scott)

13th March

https://www.youtube.com/watch?v=-q9aesjHjeU

A documentary that focuses on Irish humanitarian and children’s rights activist Christina Noble, whose unwavering commitment and selfless efforts have seen her change the lives of countless children and families for the better since 1989. Her drive stems from a childhood in Ireland fraught with poverty, loss and institutional abuse. However, despite achieving so much in the face of adversity and the success of her global children’s foundation, Christina remains scarred by the memory of the three children she was unable to save, namely her own brother and two sisters, from whom she was separated at a very young age. Hundreds of thousands have benefitted as a result of her courage, daring and steadfast dedication to protecting the vulnerable from the evils of the world, but is it possible for Christina to put her own family back together after being separated for fifty-three years?

 

Patrick’s Day (Terry McMahon) 

6th February

 

 

A young man with mental health issues becomes intimate with a suicidal air hostess, but his obsessive mother enlists a dysfunctional cop to separate them.

Reviewed here

 

Apples of the Golan (Keith Walsh & Jill Beardsworth)

16th January

The epic story of one village in the Israeli occupied Golan Heights. Before the Six Day War, Majdal Shams was one of 139 villages in the Golan Heights region. Only five remain. Over 130,000 Syrian Arabs were forced from their homes never to return. Amongst those who remain a stoic pragmatism prevails, Israel their home, Syria their homeland. Neither is paradise. They are too few to fight. The apples are the people’s bombs.

Reviewed here

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Panti Bliss Doc in Production

 

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Rory O’Neill, also known as Panti Bliss, is the subject of a new documentary currently in production.

The Queen of Ireland follows Rory’s journey from the small Mayo town of Ballinrobe to striding the world stage.  Directed by filmmaker and photographer Conor Horgan (One Hundred Mornings, Deep End Dance, The Beholder), the film builds up a multi-faceted picture of a complex and compelling character through behind the scenes footage, archive, music and interviews with friends, peers and protégés.

You can support the film’s completion on  indiegogo.com, which and will run for 45 days until September 15th 2014. The film is due to be finished in Spring 2015, following the referendum on Marriage Equality.

For updates on the progress of the documentary, check it out on facebook and twitter and youtube.

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