Written by Irish author Kevin Barry and based around characters he created for his own short story collection, Ian Fitzgibbon’s (Death of a Superhero) pitch-black comedy centres on a small Irish town over a week-long period.
If you’re going get involved with men in a small Irish town, they might as well be the Mannions – and Sara is involved up to her neck. The Mannions are a feuding family in the town of Dromord who are all set at each other. Sara is married to Daddy Mannion but holding a candle for her first love, his son Doggy. When she also gets involved with his brother, trouble looms.
An impressive Irish cast including Peter Coonan, Charlie Murphy, Pat Shortt and Moe Dunford flesh out this unique, dark, comedy which offers on-the-nose observations about Irish life.
Underappreciated at home in Ireland until now, Peter Rice has a global reputation as one of the most important engineers of the 20th Century making groundbreaking contributions to many of the most celebrated buildings in world architecture such as the Sydney Opera House, the Lloyd’s Building in London, the Inverted Pyramid at the Louvre and the Pompidou Centre in Paris.
The new trailer gives a preview of BAFTA-Award winning director and cinematographer Marcus Robinson’s stunning 35mm time-lapse photography that sensationally showcase Rice’s extraordinary buildings.
An Engineer Imagines will be on limited release in Irish cinemas 1st March.
Lee Cronin’s The Hole In The Ground will be released in Irish and UK cinemas on Friday, 1st March.
The film which will have its world premiere at the renowned Sundance Film Festival later this month is Cronin’s feature debut which he co-wrote with Stephen Shields. It stars Séana Kerslake (A Date For Mad Mary), James Quinn Markey (Vikings), James Cosmo (T2 Trainspotting), Simone Kirby (Jimmy’s Hall), Steve Wall (An Klondike) and Kati Outinen (Le Havre).
Trying to escape her broken past, Sarah O’Neill (Séana Kerslake) is building a new life on the fringes of a backwood rural town with her young son Chris (James Quinn Markey). A terrifying encounter with a mysterious neighbour shatters her fragile security, throwing Sarah into a spiralling nightmare of paranoia and mistrust, as she tries to uncover if the disturbing changes in her little boy are connected to an ominous sinkhole buried deep in the forest that borders their home.
Speaking about the cinema release, director Lee Cronin said: “I’m so excited to finally be bringing The Hole in the Ground to my home crowd. It’s a film with a uniquely unsettling Irish identity, and one that I hope will terrify people both when they are in the cinema, and long after they go home and turn the lights out. A short month after it’s world premiere at Sundance, Irish cinema-goers will be right there as the first in the world to be able to see the film as a big screen experience. Horror is best served in a dark room with lots of people crawling on edge together. We made a movie with that in mind”.
The Hole in the Ground was shot on location in Dublin, Kildare and Wicklow and was produced by Conor Barry and John Keville for Savage Productions with Benoit Roland and Ulla Simonen for Wrong Men and MADE. The film was funded by Screen Ireland, the BAI and Headgear Films with support coming from Wallimages and the Finnish Film Foundation.
Wildcard Distribution will be releasing the film in Ireland.
Vertigo Releasing will be distributing the film in the UK.
Cellar Door tells the story of young lover Aidie (Karan Hassan) as she searches for her son while in the grip of the Church. But as she gets closer to the truth, she suffers uncontrollable shifts in time and place that send her spiralling. With a unique point of view on a familiar trauma, Cellar Door cuts deep into Aidie’s subjective experience.
Something is forcing Aidie to relive the moments that led to her being institutionalised. Aidie must work out the mystery, break free from the cycle and find her son.
At its core,Cellar Door is an emotional, character driven story. At its surface, it is a physical manifestation of the state of Aidie’s mind. The film is the journey from that core to that surface. It is a subjective study of Aidie as she unravels the emotionally charged mystery of her life.
Cellar Door is a moving mystery thriller – an exploration of love regained and loss relived – that ends with a jolt as Aidie awakens to something beyond all expectations
Feast your eyes on the first trailer for Lenny Abrahamson’s latest feature, The Little Stranger, set for release later this year.
The drama, which is adapted for the screen by Lucinda Coxon (The Danish Girl), features Domhnall Gleeson, Ruth Wilson, Will Poulter, and Charlotte Rampling among its cast.The Little Stranger is produced by Element’s Ed Guiney and Exec produced by Andrew Lowe.
Gleeson plays Dr Faraday, the son of a housemaid, who has built a life of quiet respectability as a country doctor. During the long hot summer of 1948, he is called to a patient at Hundreds Hall, where his mother once worked. The Hall has been home to the Ayres family for more than two centuries. But it is now in decline and its inhabitants – mother, son and daughter – are haunted by something more ominous than a dying way of life. When he takes on his new patient, Faraday has no idea how closely, and how disturbingly, the family’s story is about to become entwined with his own.
DIR: James Foley • WRI: Niall Leonard • PRO: Dana Brunetti, Michael De Luca, E.L. James, Marcus Viscidi • DOP: • ED: David S. Clark, Richard Francis-Bruce, Debra Neil-Fisher • MUS: Danny Elfman • DES: Nelson Coates • CAST: Dakota Johnson, Jamie Dornan, Arielle Kebbel
In this final instalment of the Fifty Shades trilogy Anastasia Steele, the new Mrs. Grey, finally grows a backbone (in and out of the bedroom). Yes, the whole marketing pitch for Fifty Shades is the dominant/submissive ‘relationship’ between Christian and Anastasia, but we can’t deny that we love a strong, independent woman. While I would never put Ana Steele in the bracket of heroines we aspire to be like, it’s nice to see Christian is no longer the only ‘dom’ in the relationship; Ana is now topping from the bottom.
This film is one to watch with your girlfriends, to laugh and cringe at just how bad it is; I’m afraid it has not improved or learned from the last two bad movies. In Fifty Shades Freed we get a handful of sex scenes, to say they’re steamy would be an insult to the word, but the soundtrack that accompanies them heats things up a little. It is a mostly sultry and well chosen soundtrack performed by various artists, including Dua Lipa, Julia Michaels, Jessie J, Bishop Briggs, and Rita Ora, and it is my favourite aspect of the movie.
The plot in this movie is based completely on the threat that Jack Hyde, Ana’s ex-boss and now stalker, has to their way of life; as well as the threat of an impending baby… dun dun dun!!! A baby that Christian does not want to share Ana with. Now that we’re in the third movie, Christian’s control is no longer coming across as remotely hot (not that it ever did), but more like a child stomping his feet at the unfairness of not getting what he wants. Christian’s childish and selfish ways are growing old at this stage, and are grating on Ana too, as she tells him to grow up or she’ll raise the baby by herself (which would probably be the best thing for everyone involved; Christian Grey as a father, an inspirational role model? Now that’s funny). His constant calls checking up on his wife, the protective detail that he has watching her, giving her a bodyguard that is hotter than he is (bad move Christian), and the revenge sex that he uses on Ana to prove how angry she makes him when she disobeys, are so infuriating, rather than sexy. However, it’s good to see Ana voice her annoyance with her husband and stand her ground, rather than quiver (pun intended).
Fifty Shades Freed tries to be grittier, attempting to be like a thriller, and failing miserably, I wouldn’t even know what category to put this under… bad erotica, that tries to be a thriller? We get a car chase, some creepy phone calls, and a kidnapping, none of which, in the sphere of Fifty Shades, ignite any feelings of caring for what happens to the characters; and thrown into the mix a few sex scenes, including one in a car, and another in the kitchen, using ice cream! Kinky. We see less of the red room, and less of the bedroom, less whips and chains, we get a few glimpses of Dornan’s bum, and lots of shots of Johnson’s body, but nothing in the way that would ignite your fire. It was all fairly… lacklustre really; and yet I still had to laugh at just how hard they tried to steer this in a different direction to the previous two, to give it a bit more gravitas.
So, after all that, what is it that draws so many people to this franchise? Let’s be honest it’s definitely not the cringy dialogue, the barely-there plot, or the tepid chemistry between the two main actors… so what’s left to like? Well, Jamie Dornan’s body for one, the soundtrack, the great style and lipstick choices worn by Mrs. Grey (honestly there are many magazine articles based solely on the lipstick used), and Dakota Johnson really seems to find her feet in this new, bold version of Ana. But if you’re thinking of watching Fifty Shades Freed…don’t. The tag-line should be enough of a warning to avoid it: ‘Don’t miss the climax’…really?
Just watch the trailer and you’ll get the same amount of ‘excitement’ as you would if you saw the whole movie.
Ken Wardrop’s Making The Grade invites us into the world of the piano lesson. Every year teachers and students throughout Ireland prepare for graded musical exams. These exams can be pleasing for some but daunting for others. Each student has their own goal but reaching Grade Eight is considered a pinnacle. This endearing and uplifting documentary explores the bond between piano teachers and their pupils as they struggle through these grades. This is a story of the transformative power of music and the pride and happiness it provides both the students and teachers. It may inspire us all to keep making the grade.
The filmmakers travelled the length and breadth of the country to film with teachers and their students as they prepared for their piano grade exams. The film features characters from as far afield as Kylemore Abbey in the West, to Derry City in the North and down to Crosshaven, Cork in the South.
Making The Grade will screen at this year’s SXSW film festival and is in Irish cinemas from 13th April.
Making The Grade is a Reel Art film funded by the Arts Council and operated in association with Filmbase.
Yorgos Lanthimos’ highly anticipated The Killing of a Sacred Deer will be released in cinemas on November 3rd .
Lanthimos has crafted a sensational thriller brimming with unsettling humour and creeping dread, steeped in Greek tragedy, existential horror, Hitchcockian psychodrama, and riveting suspense. Darting confidently between genres to subvert our expectations at every turn, The Killing of a Sacred Deer firmly cements Lanthimos in the pantheon of world-class auteurs and marks him as a cinematic provocateur without precedent.
Dr. Steven Murphy (Colin Farrell) is a renowned cardiovascular surgeon presiding over a spotless household with his ophthalmologist wife Anna (Nicole Kidman) and their two exemplary children, 12-year-old Bob (Sunny Suljic ) and 14-year-old Kim (Raffey Cassidy). Lurking at the margins of his idyllic suburban existence is Martin (Barry Keoghan), a fatherless teen who Steven has covertly taken under his wing. As Martin begins insinuating himself into the family’s life in ever-more unsettling displays, the full scope of his intent becomes menacingly clear when he confronts Steven with a long forgotten transgression that will shatter the Murphy family’s domestic bliss.
The film was produced by Ed Guiney and Andrew Lowe’s Element Pictures, the producers of The Lobster and Oscar-winner Room. It was financed by Film4 and the Irish Film Board, who also were financiers of The Lobster , and New Sparta Films, whose involvement was brokered by HanWay Films. The project was developed by Element Pictures and Film4. HanWay Films are the worldwide sales agent.