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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Interview: Mark Noonan, writer/director of ‘You’re Ugly Too’

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Mark Noonan’s debut feature You’re Ugly Too stars Aidan Gillen as Will, released from prison in Dublin on compassionate leave to care for his niece Stacey (Lauren Kinsella) after the death of her mother. The pair head to the Irish midlands and struggle in their attempts to become a family.

Film Ireland caught up with writer/director Mark Noonan to find out more about his film.

 

You yourself were born in the midlands and came to Dublin. In your first film we see the characters making the opposite journey. Can we talk about how the story came about and its use of location.

I was always very conscious about writing about what I know. So the midlands location was what I started with to be honest. I knew I could get those locations for free pretty much – in terms of the skate park in Birr, where I’m from, and the Caravan Park, and I knew it had the qualities I was looking for – the flat plains, the brown colours, the sense of melancholy, all of which I thought would work really well for the movie. I’ve been based in Dublin since I was 18 so I was keen to have that urban element as well, even if for a few minutes at the beginning. Also by casting two Dublin actors there would be that urban undercurrent in the midlands, which is something I was keen to create in the movie. But the midlands was definitely a starting point.

 

Also, having two Dubliners in the midlands heightens that sense of isolation and alienation that rings through the film.

Exactly. To try and get these characters out of their comfort zone was interesting because I suppose when you’re from an urban environment there’s lots of places to hide. People are surrounding you when you’re in a crowded city and it’s very hard to get that sense of being alone. Whereas here the characters are in the midlands, in a desolate caravan park. There’s nowhere for them to hide so they have to kind of confront each other and the difficulty of the situation they find themselves in and their reluctance to open up to each other. So the midlands provides a sort of limbo environment for the characters, which we were trying to create, where they’ve nothing to do but interact with themselves and the characters of Tibo and Emilia, who they meet at the Caravan Park. The midlands gave us this opportunity for the characters not to be able to run from each other.

 

Will and Stacey play off each other so well and their banter allows for some moments of understated warmth between them.

Even though there’s a lot of humour – we’re kind of seeing these two characters bounce off each other – there isn’t anyone else around to take them away from each other and so there’s a heightened sense of loneliness and a real sense of pathos I hope between them. Both have this brusque exterior but the subtext between them is quite warm, which we were really keen to get through, the genuine love and warmth between them. They will never say they love each other, which can be typical of Irish people, but reading between the lines it’s there – that’s the feeling we’re trying to generate.

We try to undercut those tender moments between them that might be a bit melodramatic. I didn’t want not to create a false sense of drama and I was always trying to ground it in reality – and in that reality, often, when we talk about love, we use humour as a defence mechanism.

 

Those subtle moments are reflected in the film’s soundtrack.

The music is very much grounded in the grittiness of day-to-day living – even though it’s a beautiful score, it’s a modest score reflecting these two modest characters, but hopefully with a huge emotional resonance. Working with  David Geraghty of Bell XI was  a fascinating process. We were both agreed upon keeping things quite modest. We went for a sort of Americana vibe to reflect the American tropes in the film – the trailer park , the guy being released from prison, walking on the railroad. David always wanted the music to fit under the characters, we never wanted the score to overwhelm the visuals, apart from at one point in the movie when it needs that little bit of emotional weight. He’s a very clever composer.

 

Moving from the sound of the film to the look of the film – what was your approach working with cinematographer Tom Comerford?

We were trying to film the movie in a very organic way. We watched a lot of Dardenne Brothers and as bit of Andrea Arnold and we watched a lovely movie by Lance hammer called Ballast. These movies are quite socio-realist in nature so what we wanted to do was continue that style of filmmaking but also shoot it through with a certain elegance. Tom has a got a wonderful eye for compostion, which he brought to these wonderful locations that were realistic and grim but with a beauty about them. Tom was able to capture that – locations that were rusted, with browns and greys, blues and dark greens. These were the colours that we were looking for to reflect the atmosphere we were trying to create with the Midlands, which was certain sense of melancholia but shot through with a real beauty, which we were very keen to capture. Tom works so beautifully with natural light.

 

It’s a great tight cast you worked with in the film, but if we could end by talking about Lauren Kinsella, who gives an exceptional performance.

She was quite an unknown – she did have a line in Albert Nobbs when she was 7 – she was 11 when she made this. We found her in Mary Murray’s drama group. It was kind of late in the process. Aiden was telling us that we really have to find a good kid for this, she’s got to be exceptional. The moment we met Lauren we shut down auditions because, after reading a few lines, myself and my producer knew that it was the perfect role for her.

Then with Aiden we didn’t rehearse… we knew that any rehearsing would just take away the freshness that Lauren had, the freshness in their relationship that I wanted to see unfold on screen. From the first day of shooting she was very comfortable and really sharp and smart with an old head on young shoulders. She’s in almost every scene and brings a wonderful quality that works really well with Aiden. Thank God we were lucky with all the cast, who I think really really deliver the goods.

 

You’re Ugly Too is in currently in cinemas

 

 

 

 

 

 

 

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Irish Film Review: You’re Ugly Too

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DIR/WRI: Mark Noonan • PRO: Conor Barry, John Keville, Benoit Roland  • DOP: Tom Comerford • ED: Colin Campbell • DES: Neill Treacy • MUS: David Geraghty • CAST: Aidan Gillen, Lauren Kinsella, Jesse Morris

 

Aidan Gillen stars as Will, a man released from prison to look after his young niece Stacey (Lauren Kinsella) after the death of her mother, Will’s sister. Escaping Dublin to a sleepy rural town, Will and Stacey attempt to foster a relationship and start afresh. However, they’re plagued by setbacks. Will struggles to find a job, Stacey’s more modern attitudes don’t mesh with Will’s old-fashioned nature and recently Stacey has developed narcolepsy in the wake of her mother’s death which ends up stopping her from being able to attend school. However, the duo befriend a neighbour Emilie (Sainte) who agrees to tutor Stacey while they work out the school issues. And so begins a quiet, subtle exploration of their attempt to build a family out of this less-than-ideal situation.

This is a decidedly mixed film. On balance it probably largely falls on the ‘good’ side of the line but how good kind of depends on who you view the protagonist as being. Initially, it seems like Will is the main player but Stacey gets just about as much screen time and development. Now this is obviously not a complaint but (for this viewer at least) it feels like the film pulls in two contradictory directions depending on who you feel you should be rooting for. Will seems to represent an outdated, idealised stereotype of Ireland. He’s a bit of a ‘rogue’, a real ‘character’, he endlessly spouts dad jokes and eye-rolling platitudes, which he clearly believes represent real wisdom. He seems constantly surprised and a little affronted by Stacey’s independence and generally more ‘modern’ views. This even extends into the narrative as, if you choose to look at it from a certain angle, the story can be summed as; old-fashioned, chivalrous man’s-man saves foreign beauty (Emilie) who falls for him. Now, ultimately the story proves to not be so clear cut but that element never really leaves and at no point do you feel like the film is necessarily against Will’s old fashioned expectations of the world. Indeed, a late reveal of why he was in prison in the first place only reinforces it.

This is all in contrast to Stacey, who it must said, is absolutely the best thing about the film. Kinsella’s performance is flawless. A subtle, quiet but strong and frequently humourous presence who absolutely carries the film. And as a character Stacey feels far more in line with ‘modern’ Ireland but again, it’s unclear if the film is trying to say that she should learn from Will or vice-versa. I have a sneaking suspicion that it’s intentionally neither of those and the film is merely presenting both sides without comment and leaving it ambiguous. This kind of detached ambiguity is often a persistent issue with a lot of modern Irish cinema, here though it almost works even if ultimately it means that neither character grows particularly much from their experiences. At any rate it feels more believable and truthful than if this had become a droopy bag of shmaltz and clichés.

Otherwise, in terms of the Good; Tom Comerford’s cinematography is crisp and at times striking, managing that most difficult of tricks by making rural Ireland look neither like a picturesque tourist board commercial or a bleak, desolate wasteland. The supporting cast is strong and the dialogue can be very funny (Stacey’s at any rate) and while the score is sparse, what little of it there is is inoffensive even though it sounds like the music from an Apple product’s ad.

On to the Bad however…

Now, despite recent evidence (read: almost everything since The Wire), I’m still not willing outright to call Gillen a bad actor but he is not good here. As an actor he has a tendency of acting with a capital ‘A’. He doesn’t so much vanish into a role as wear it like a very overt costume. You can see him straining below his own veneer to show how good he is at being, in this case, a working-class Dub just out of prison. It really is quite bemusing to watch scenes of him and Kinsella having conversations, their polar opposite acting styles clashing as much as characters do. This brings us onto the other major issues, the dialogue. Now, while it can be good (as I said earlier, mainly Stacey’s) there is a clear attempt here at naturalism that quite often overshoots. Sometimes this ends up being a bit incongruous (Stacey nonchalantly asking ‘So what’s the story with you being a drug addict?’) but other times enters truly cringe-y, flatout bad territory. The attempt at stark realism despite the presence of slightly generic elements further reinforcing the weird non-tone the film seems to be going for. The problem, really, can be summed up in a single, almost dialogue-free scene of Will going to a local young-people’s party where he tries to sell them drugs and have a good time. It is a deeply weird scene, awkward to watch, serves no real point and is mercifully short. It’s difficult to articulate exactly why it feels so off but in motion it embodies all the film’s negatives.

This is by no means a bad film and there is definitely enough good to keep your interest. Lauren Kinsella can join the growing list of young Irish actors that show real promise and the unusual enough dynamic between the leads means that it’s never boring. But the missteps with both the writing and Gillen really are hard to ignore and lead to a very uneven experience on the whole.

Richard Drumm

 

15A (See IFCO for details)
80 minutes

You’re Ugly Too is released 24th July 2015

 

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‘You’re Ugly Too’ Wins Director’s Finders Series

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Mark Noonan’s You’re Ugly Too has been announced as the winner of the Director’s Finders Series, providing this Irish director with the opportunity to showcase his feature film at the Directors Guild of America Theatre in LA on 21st August 2015. The filmmakers, and key industry personnel, with the aim of securing a US distribution deal for the film.

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.

The film is released in Irish cinemas on July 24th.

Finder Series, conceived by the Directors Guild of America and facilitated by the Screen Directors Guild of Ireland, presents an Irish director with an opportunity to showcase their film and to have direct access to decision makers in the film distribution process in the US. The awards spotlight works of fiction, documentary or drama feature submissions from Irish directors who have not secured U.S. distribution of their films.

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‘You’re Ugly Too’ Nominated in EFA Young Audience Award 2015

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The European Film Academy have announced that Mark Noonan’s You’re Ugly Too has been selected as one of three nominees in the EFA Young Audience Award 2015.

Produced by John Keville and Conor Barry of SP Films You’re Ugly Too stars Aidan Gillen  and Lauren Kinsella and tells the story of a grumpy sardonic loner who has just been released from prison on compassionate leave to care for his eleven-year-old niece after the sudden death of her mother. The dysfunctional twosome head into the sleepy midlands together. With Stacey’s stress-related narcolepsy, and Will’s bungling attempts to become a father figure to her, a very human comedy begins to emerge.

The nominations for the EFA Young Audience Award were chosen by an international committee consisting of Per Eriksson, Swedish Film Institute, Beata Marciniak, New Horizons Association (Poland) and Paola Traversi, Museo Nazionale del Cinema (Italy). Previous winners of the award have included Regret! by Dave Schram and The Zigzag Kid by Vincent Bal. Founded in 1988, the European Film Academy now unites more than 3,000 European film professionals with the common aim of promoting Europe’s film culture.

On Young Audience Film Day on 3rd May, the three nominated films will be screened to audiences of 12 – 14 year-olds in 25 cities across Europe.

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‘You’re Ugly Too’ Nominated at Berlin

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Mark Noonan’s film You’re Ugly Too starring Aidan Gillen has been nominated for the Best First Feature Award at the Berlin International Film Festival next month, where the film will have its World Premiere.

The film stars Aidan Gillen as Will, who is released from prison on compassionate leave to care of his niece Stacey, after the death of her mother. An odd couple of sorts, they leave the city behind to pursue what they both hope will be a fresh start in the sleepy surroundings of the Irish midlands. The two bicker and fight as they adjust to their new life together and make tentative steps towards becoming an improvised family.

You’re Ugly Too will screen in the Generation Kplus category, which is aimed at children from the age of fourteen. 

You’re Ugly Too was produced by John Keville and Conor Barry for Savage Productions and was filmed in counties Dublin and Offaly

The 2015 Berlin International Film Festival takes place  5 – 15 February.

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‘You’re Ugly Too’ Premieres at Berlin

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You’re Ugly Too will have its world premiere at the Berlin International Film Festival in February, under the Generation section.

Written and directed by Mark Noonan, the film stars Aidan Gillen as Will, who is released from prison on compassionate leave to care of his niece Stacey, after the death of her mother. An odd couple of sorts, they leave the city behind to pursue what they both hope will be a fresh start in the sleepy surroundings of the Irish midlands. The two bicker and fight as they adjust to their new life together and make tentative steps towards becoming an improvised family.

You’re Ugly Too was produced by John Keville and Conor Barry for Savage Productions and was filmed in counties Dublin and Offaly.

The Generation category of the Berlin International Film Festival is devoted to children and young people. You’re Ugly Too will screen in the Generation Kplus category, which is aimed at children from the age of fourteen.

The 2015 Berlin International Film Festival will take place from February 5th to 15th.

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