Irish Women in Cinema @ Irish Cultural Centre, Hammersmith

Irish Women in Cinema 25th – 27th October Irish Cultural Centre, Blacks Road, Hammersmith W6 9DT 

In 2018 Screen Ireland announced a new gender policy that would ensure that future productions would be directed equally between male and female directors. This momentous decision has been the spur for The Irish Cultural Centre Hammersmith, to invite four eminent female filmmakers to showcase some of their key work and discuss what it was like to be a woman in a male dominated world at a three-day festival (25-27 Oct). The screenings will include Lelia Doolan’s ‘Bernadette: Notes on a Political Journey’ a newly restored print of Pat Murphy’s ‘Anne Devlin’, Margo Harkin’s ‘Hush a Bye Baby’ and ’12 Days in July’, and Aisling Walsh’s ‘Song for A Raggy Boy’. As well as introducing their films they will all get together for a panel discussion on the theme of ‘Women in film in a changing Ireland’. The Q&A’s will be chaired by film historian Steve Martin. All four filmmakers have their own unique voices but also share a common desire to ensure equality with their male counterparts. 

Screening times: Irish Women in Cinema Friday October 25th 8pm ‘Song for A Raggy Boy’ followed by a Q&A with director Aisling Walsh. Saturday October 26th 3.30pm: ‘Hush-a-Bye Baby’ followed by a Q&A with director Margo Harkin Saturday October 26th 8pm: The Premiere Screening of the restored print of ‘Anne Devlin’ followed by a Q&A with director Pat Murphy Sunday October 27th 4.00pm ‘12 Days in July’ followed by a Q&A with director Margo Harkin Sunday October 27th 5pm Panel Discussion; ‘Irish Women in Film, In A Changing Ireland’ featuring film directors Lelia Doolan, Margo Harkin, Pat Murphy and Aisling Walsh. Sunday October 27th 8pm ‘Bernadette, Notes on A Political Journey’ followed by Q&A with Lelia Doolan. 

Tickets for Film Screenings £8.00 Tickets for Panel Discussion £5.00 https://irishculturalcentre.co.uk/

Lelia Doolan, born in 1934, has been described as the godmother of independent film in Ireland. She is without doubt one of the most important voices that agitated for a space where the New Wave of Irish filmmakers of the 80s could tell their stories. The timeline of her career is remarkable. She studied French and German at University College Dublin, where she won a scholarship to study at the Free University in West Berlin but would regularly obtain a pass to cross the border to observe Bertholt Brecht in his studio witnessing him directing plays like ‘The Playboy of the Western World’. 

In 1961 she became a Producer/Director for the new national broadcaster RTE where she caused controversy when she became concerned at the stations unquestioning of the one sided nature of news material being received from USA on the Vietnam War and when she attempted to send a film crew to the war torn country she was prevented from travelling by direct Irish government action. She courted further controversy when she quit RTE, citing her displeasure with their censorship and commercial policies. The notorious right wing Archbishop McQuaid described her as ‘mad, bad, and dangerous. 

After RTE Lelia became the first female artistic director of the Abbey Theatre but could not overcome the boards reluctance to open their doors to new challenging international work and quit after two years. She then changed course and headed to Queens University in Belfast to study Anthropology where during her spare time she gave classes on video production to disadvantaged communities. It was the height of sectarian assassinations and Lelia spent a lot of her time working with the radical priest Fr. Des Wilson, whose Ballymurphy parish was the epicentre of the war between the IRA and the British Army. “I learnt how utterly, shockingly complacent and unaware I was about the North,” Doolan says. After five years in Belfast she worked with an anti-poverty agency in the west of Ireland and with homeless women in Dublin. Also in Dublin she set up Ireland’s first recognised media communication course in Rathmines College. She recognised that the new filmmakers that emerged from Rathmines had no funding possibilities for their ideas she became one of the campaigners that lobbied for a State Agency for Irish film. 

When the Irish Film Board was set up in the late 80s, she produced Joe Comerford’s ‘Reefer and the Model’ which became an art house success worldwide. In 1989 she co-founded the Galway Film Fleadh, now one of Ireland’s most prestige film festivals. In 1991 she established Ireland’s unique Cinemobile that travelled the length and breadth of the country bringing cinema to rural communities. Her tireless endeavours to support indigenous filmmakers was recognised when in 1993 she was appointed to head the Irish Film Board. In 1996 she retired but was not yet ready to rest on her laurels. She continued to champion the art of film whilst also campaigning for LGBT rights and many other social justice issues. 

After receiving a life time achievement award from the Galway Film Festival in 2010 one would have thought she would have been happy to tend to her herb and vegetable garden but after a lifetime of creating a space for filmmakers she decided at the age of 75 to produce and direct her first film ‘Bernadette: Notes on a Political Journey’ based on the life of the radical Derry politician Bernadette Devlin. The film received critical success internationally and won best film at the Galway Film Fleadh. She completed one of her final cinematic dreams when she oversaw the establishment of the art house ‘The Cinema Palace’ in her adopted home in Galway. 

Margo Harkin was born in Derry in 1951, one of a family of sixteen children. After graduating from the Ulster College of Art & Design, Belfast she worked as an Art Tutor and Deputy Director of the Derry Youth & Community Workshop for unemployed young people. In 1980 she joined Field Day Theatre Company founded by Brian Friel and Stephen Rea and went on to be the Stage Designer on ‘The Communication Cord’ by Brian Friel and ‘Boesman and Lena’ by Athol Fugard. In 1984 she co-founded Derry Film and Video Workshop, under the Channel 4 franchised workshop scheme. Margo experienced her first taste of censorship when she was a Producer for Ann Crilly’s ‘Mother Ireland’. The film explores the Mother Ireland image as a nationalist motif in Irish culture, and the complex relationship between the national struggle and the Suffrage struggle in the early 20th Century and the republican and feminist movements in the 1980s. It was the first documentary affected by the British Broadcasting restrictions introduced on October 1988 aimed at curtailing dissident Republican and Loyalist voices. Channel 4 was very worried about these restrictions and parked the broadcast until 2001 when they broadcast an edited version as part of their “Banned” season of programs. Even at this point they demanded cuts which included Christy Moore’s song, “Unfinished Revolution plus unseen footage of Emma Groves, being shot with a plastic bullet, and an interview with Mairead Farrell that was partially re-voiced by an actress. 

The Derry Film Workshop had a major success in 1990 when Margo received international acclaim as director on her first drama ‘Hush-a-Bye Baby’. The groundbreaking drama focusing on teen pregnancy in Northern Ireland had a music score written by Sinéad O’Connor, who also made a cameo appearance. Margo’s motivation to make the film was inspired by the 1983 Abortion referendum and the scandal of Anne Lovett, a 15-year- old schoolgirl who died giving birth in a field in the South of Ireland. The film explored the outdated attitudes to sexuality at a time when all around her the ‘Troubles’ dominated the political and domestic landscape of Northern Ireland. The film won “Best Drama” at the International Celtic Film Festival and The Ecumenical Jury Award at the Locarno Film Festival. 

In 1992 Margo set up Besom Productions and established the company as a chronicler of key periods of the conflict in Northern Ireland. She directed key films that are now archival gems that help us understand the sectarianism that divided Northern Ireland and left a legacy of death and destruction. Her films ‘The Bloody Sunday Murders’ 1991, ’12 Days in July’ 1997 and ‘The Hunger Strike’ 2006 established her as a formidable interpreter of political events in the struggle for social justice in Northern Ireland. But it was the film ‘Bloody Sunday: A Derry Diary’ that Margo repeatedly returned to and over a twelve-year stretch from 1998 to 2010, she released three different versions. 

The different inquiries from what became known as the Widgery Whitewash report in 1972 to the Saville Inquiry set up by Tony Blair in 1998 meant she had to update the film as new evidence transpired. The central trust of the film was the voices of local people profoundly affected by the original events in addition to addressing Harkin’s own experiences on Bloody Sunday. When asked by an Irish Times journalist why she made the film, she replied ‘Why? “Because I was there on the day and I remember the complete shock and horror of it and because the aftermath of it taught 

me a huge lesson – that those who control the media control the truth”. Margo is still at the forefront of telling stories inspired by the environment she lives in and recent films like ‘The Far Side of Revenge’ and ‘Eamonn McCann: A Long March’ attest to this. Margo was recently honoured with the ‘Outstanding Contribution to Irish Documentary at the Belfast Film Festival 2019. 

Pat Murphy was born in Dublin in 1951. Her entry into the world of film began with an MA at the Royal College of Art in London where she studied under feminist theorist Laura Mulvey. in 1977 she was the first European to achieve a scholarship year at the Whitney Museum of American Art in New York, influencing her decision to become a director. She completed a short film, Rituals of Memory, before returning to Ireland to work on her first feature film ‘Maeve’ in 1981. The film was co-directed with John Davies but generally attributed to Murphy was funded by the British Film Institute and later judged by Irish Times film critic Tara Brady to be “Ireland’s first bona-fide feminist film. 

The film opens up a parcel of memories for Maeve as she revisits her place of childhood and adolescence against the background of the so called ‘Troubles’. Murphy’s script reveals her feminist perspective with lines like “Men’s relationship to women is just like England’s relationship to Ireland. You’re in possession of us. You occupy us like an army” and “You’re talking about a false memory… the way you want to remember excludes me. I get remembered out of existence.“. Murphy takes an experimental approach of traditional Irish cinema. Maeve is a dissenting feminist voice that rejects the ideals and obsessions of nationalism in a time of sectarianism between the nationalist and loyalist communities. Murphy recalled her approach: “I didn’t think about story. I’d think something like: representations of Northern Ireland are unsatisfactory: I’m going to make Maeve and sort it all out… Maeve was asking how does a woman position herself against the background of what was going on in the North and within the history of republicanism and memory and landscape”. 

The success of Maeve was followed in 1984 by ‘Anne Devlin’ which is set against the background Robert Emmet’s rebellion of 1803. Anne Devlin was Emmet’s housekeeper and stood by him through thick and thin while friends and allies deserted him. Murphy reflected how Anne Devlin came to her mind when making Maeve: “I read her journals in the evening after shooting was over, and she was so unlike the character Maeve. She was someone who made a very definite commitment and stuck to it when everyone deserted Emmet. She’s almost forgotten, or else dismissed as a star struck peasant who wanted to be seen in Emmet’s company. In fact she was an educated, intelligent woman with integrity”. In contrast to ‘Maeve’ Murphy took a more conventional approach likening her approach to the structure of a ballad. In some ways Anne Devlin’s diaries created a dialogue of sorts between her and Murphy. “It was only when I read her journals that I saw that she was a very basic woman. She would have wanted to marry and have children and live an uninterrupted life except for two things that happened. One was the war that was going on in Ireland at the time and the other was the French revolution and the beginnings of feminism in France and England…… I didn’t want her to sit around and discuss ’women’, but I was interested in her because I was struck by her diaries, I mean remove the specific historical events and it could be a contemporary woman speaking”. Anne Devlin introduced the powerful actress Bríd Brennan to the big screen alongside future Academy nominated Costume Designer Consolata Boyle and the Cinematography of Thaddeus O’Sullivan. The film was nominated for the Gold Hugo at the Chicago International Film Festival and the Golden Prize at the Moscow International Film Festival. Interestingly a restored print of the film will have its premier at Irish Cultural Centre’s season of Irish Female Filmmakers courtesy of Screen Ireland. 

Pat went on to direct Nora (2000), based on Brenda Maddox’s biography of Nora which centred on the tempestuous relationship between Joyce and his uneducated Galway bride. Pat assembled a formidable cast with Susan Lynch in the lead role and Ewan McGregor as Joyce. Again, Pat’s focus was on a woman living under the shade of her famous husband. Pat stated, “points out how the all-pervasiveness of Nora’s voice in Joyce’s writing has paradoxically rendered her invisible to the reader,” she explained. The film earned her the United International Pictures Director’s Award and a slew of Irish Film and Television Awards. To date, the it is her only film that remains generally available. 

Aisling Walsh (born Dublin 1958) has seen her work screened at festivals around the world. Her films garnered a BAFTA TV Award for Room at the Top (2012) as well as an Irish Film and Television Award and a Canadian Screen Award for her direction of Maudie (2016). She is known for her “unflinching honest portrayals of a Catholic Irish society” 

Aisling’s first feature film was Joyriders (1989) based on the story of Mary Flynn who in fleeing her domineering husband ends up with Perky Rice, a car thief and hopeless romantic who takes on a joyride through the Irish countryside. Aisling entered the world of TV throughout the 1990s and directed classic TV programmes like The Bill (1991–1994), Doctor Finlay (1993), Roughnecks (1995), and Trial & Retribution (1997–2002). 

In 2003, Aisling returned to the big screen with ‘Song for a Raggy Boy’ based on a Patrick Galvin story. The film begins on the brink of World War II, in the St. Judes Reformatory School, a ruthless Irish school for boys. It was a time in Ireland when horrific stories of institutional abuse at the hands of so-called religious orders were being uncovered by journalists and surviving witnesses. Song for A Raggy Boy unfolds in the stark surroundings of the monastery school. The boys are given numbers instead of names and are forced to scrub the yard on their hands and knees under the watchful eye of the sadistic Brother John (Iain Glenn), a bully who’d rather hand out a savage beating than detention. Brother Mac (Marc Warren) is a paedophile, with a particular liking for 13-year-old Delaney (Chris Newman). The only bright light in this dark world is brought by William Franklin (Aidan Quinn) who has just returned from serving with the International Brigades in Spain, takes up a teaching post in the reformatory and strives at improving literacy but ends in conflict with disciplinarian Brother John. The film won multiple awards at international film festivals, including the Best Film award at the Copenhagen International Film Festival. 

Her fourth feature film, the biographical film Maudie (2016), about Canadian folk artist Maud Lewis, brought Aisling international success. Maud Lewis was a Nova Scotian artist who before she became a leading light of the Canadian folk-art movement, was crippled with rheumatoid arthritis and hidden from the world by her strict family. Aisling stated “I was in Cardiff making a BBC television film about Dylan Thomas when I was sent the script for Maudie. And when I read it, I immediately contacted my agent and said what do I have to do to make this picture? There was just something about it – she was a woman trying to make her way against the odds, and she was a painter.” 

For her work on Maudie, Walsh won a Canadian Screen Award for Best Director; the film won a total of seven awards at the 6th annual ceremony in 2018. Walsh also won the award for Best Director at the 15th annual Irish Film and Television Awards in 2018 for her direction of Maudie. 

“I’ve gone my own road,” she says, “and it’s been lonely on occasions. I’ve been out in the wilderness quite a bit I feel, it has been hard at times, but that’s okay, that’s my choice, and I’m very proud of everything that I’ve done. I’ve worked with some great people, I’ve had some amazing opportunities and I’ve done, I think, some decent work along the way.” 

 

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People on Sunday with Live Musical Accompaniment

Black and white still from People on Sunday film showing two women in bathing suits having a picnic.

Film \ People on Sunday

26 SEPTEMBER 18.00 – 19.15

Location
Shaw Room
Admission

There will be a special screening of the silent film People on Sunday (1930) at the National Gallery of Ireland, with live musical accompaniment, in the Shaw Room.

Matthew Nolan (guitar and electronics) and Rachel Grimes (piano and electronics), with guest Mary Barnecutt (cello), bring a new, original live score to this cinematic paean to the last days of Weimar Germany.

Filmed on location in Berlin, using a cast of amateurs in roles based on their actual day jobs, the film sustains a lyrical tranquility as people swim, listen to music, flirt, and generally enjoy their time away from the daily grind. People on Sunday  was an unassuming but groundbreaking response to the big-budget films being produced by UFA at the time, and boasted a crew of young German cineastes who would later become major filmmakers in Hollywood: Robert Siodmak, Edgar G. Ulmer, Fred Zinnemann and Billy Wilder.

Presented by Note Productions, one of Ireland’s leading promoters of new and contemporary music, in co-operation with the Goethe-Institut Irland.

“The new musical score to People on Sunday is based on a creative response to that which we don’t see. This compositional strategy allows us to echo those internal psychological and narrative meanings behind and beyond the images. For us, there is a haunting duality to Siodmak and Ulmer’s vision of 30s Berlin, and the new score reflects this sense of social or even political turbulence. Ultimately, our aim is to offer the viewer another way of seeing the movie apart from the surface view.” – Matthew Nolan and Rachel Grimes

Part of the programme of events supporting the exhibition Bauhaus 100: The Print Portfolios. See a full list of all Bauhaus-related events at the Gallery here

 

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Irish Films Screening at Toronto International Film Festival

The Toronto International Film Festival runs from 5-15 September and features a number of Irish films in its programme.

 
 

Henry Glassie: Field Work
DIR: Pat Collins

 

 

A magisterial portrait of the most renowned American folklorist and ethnologist Henry Glassie, now in his seventies. The film is a beautifully intricate exposition of Glassie’s life’s work, displaying Collin’s trademark deft touch and remarkable eye for details of the deepest significance.

Ordinary Love
DIR: Lisa Barros-d’Sa and Glenn Leyburn 
WRI: Owen McCafferty

 

 
Liam Neeson and Lesley Manville star in this Northern Ireland Screen-funded film as a long-standing couple facing a potentially life-changing cancer diagnosis, in this drama scripted by Northern Irish playwright Owen McCafferty.

 

CAST: Liam Neeson, Lesley Manville, Amit Shah

 
The Other Lamb
DIR: Małgorzata Szumowska
WRI: C.S. McMullen

 

 
A girl (Raffey Cassidy) born into an all-female cult led by a man in their compound (Michiel Huisman) begins to question his teachings and her own reality, in this haunting, English-language debut from acclaimed Polish director Malgorzata Szumowska (The Body, Mug). An Irish-Belgian co-production.

 

CAST: Michiel Huisman, Raffey Cassidy, Denise Gough

 
A Bump Along the Way
DIR: Shelly Love
WRI: Tess McGowan

 

 
When a fun-loving, middle-aged single mom accidentally gets pregnant, her prim teenage daughter is scandalized. But mother and daughter slowly reverse roles as the pregnancy progresses, in this delightful, insightful Northern Irish dramedy.
 

 

CAST: Bronagh Gallagher, Lola Petticrew, Mary Moulds

Calm With Horses
DIR: Nick Rowland
WRI: Joe Murtagh

 

When a former boxer is offered a gig as an enforcer with the local drug mafia, life seems on the uptick — but the demands weigh heavily as he makes inroads with his young son, in Nick Rowland’s brooding yet tender crime film.

 

CAST:  Barry Keoghan, Ned Dennehy, Niamh Algar

 
Sea Fever
DIR/WRI: Neasa Hardiman

 

 
A bizarre creature hitches a ride on a departing trawler, in this masterful genre film from Irish filmmaker Neasa Hardiman that leverages the mysteries of the sea to amplify the potential horrors of the unknown.

 

CAST: Connie Nielsen, Hermione Corfield, Dougray Scott

 
Sweetness in the Belly
DIR: Zeresenay Berhane Mehari
WRI: Laura Phillips

 

 
Dakota Fanning stars in this Irish-Canadian adaptation of Camilla Gibb’s bestseller, set in England and Ethiopia, about an altruistic and devout young woman with a nomadic past seeking to reconnect with the man she loves.

 
CAST: Dakota Fanning, Kunal Nayyar, Yahya Abdul-Mateen II

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Screen Ireland Funding Decisions for the 2nd Quarter of 2019

Screen Ireland has announced the successful applicants for funding at development, production and distribution stages for the second quarter of 2019.

  • Project Development

    Project Director Writer Production Company Funding Award
    Under Moscow Moon Caroline Campbell Caroline Campbell Against the Grain Films €13,000
    The Aran Islands Pat Collins Pat Collins, Eoghan Mac Giolla Bhride, Sharon Whooley Harvest Films €11,600
    The Littlejohn Affair Marcus Fleming Element Pictures €6,600
    A/V Pierce Ryan Hail Mary Pictures €19,560
    What We Know About Men Peter Murphy , Rachael Moriarty Peter Murphy , Rachael Moriarty Cornelia Street Productions €20,300
    Paradigm Gavin Kilduff Gary Duggan Hail Mary Pictures €17,100
    Sidelined (aka Ladies Senior Three) Ailbhe Keogan Parallel Films €4,000
    Law of the Land John Butler Cormac Deane, Tony McKiver Treasure Entertainment €28,600
    The Sticks Paul Kennedy Paul Kennedy New Decade TV Ltd €17,700
    Zola and Anne Marie Vicki Kisner Vicki Kisner Blue Ink Films €8,500
    One Way Ben Conway Ignition Film Productions €10,500
    Stolen Michael Garland , Lisa Mulcahy Michael Garland , Lisa Mulcahy Grand Pictures €5,000
    Death Space Conor Finnegan Conor Finnegan Lovely Productions €17,100
    Taking The Picture Michael Creagh, Matthew Hurd, Stephen Hogan Tile Media Ltd €26,500
    Wolf Nathalie Biancheri Nathalie Biancheri Feline Films €33,600
    Riley Anya Camilleri Ruth Carter Blue Ink Films €13,000
    The Lost Queen Carol Freeman Kristina Yee Paper Panther Productions €19,250
    Don’t Come After Me AJ Annila David Turpin Tailored Films €17,900
    Woken Alan Friel Alan Friel, Rebecca Pollock Fantastic Films €17,410
    How to be Black Christian O’Reilly Blue Ink Films €18,000
  • Animation Development

    Project Director Writer Production Company Funding Award
    Fia’s Fairies Muireann Ní Chíobháin Little Moon Animation €20,000
    Luka Pooka Gary O Neill Richard Hansom Zink Animation Ltd €17,400
  • Documentary Development

    Project Director Writer Production Company Funding Award
    Kozak Sean O’Cualain, David Burke David Burke Dot Television €15,000
    The Bow Eamon Little Eamon Little Wildfire Films €15,000
    The Kazakh Steppe Garry Keane, Andrew McConnell Garry Keane, Andrew McConnell Cyprus Avenue Films Limited €15,000
    The Da Vinci in the Kitchen Loic Jourdain, Mirjam Strugalla Loic Jourdain, Mirjam Strugalla Soilsiu Films €15,000
  • Screenplay Development

    Project Director Writer Production Company Funding Award
    Young Girl Juanita Wilson Andrew Meehan, Juanita Wilson €18,000
  • TV Drama Development

    Project Director Writer Production Company Funding Award
    The Third Testament Jamie Hannigan Wild Atlantic €30,000
    Sarah Says Ciaran Donnelly T4 Productions €15,000
    Becoming Casement Thaddeus O’Sullivan Mark O’Halloran Saffron Pictures €29,450
    Meet Your Faker Hugh Travers, Lisa Terle World 2000 €30,850
    The Stranger Eithne Verling As I Am Productions €16,600
    Tainted Declan Croghan Footnote Productions Ltd €25,000
    Gage Daniel O’Hara Alex Barclay Shin Awil Productions €9,750
    Asking For It Hildegard Ryan Hildegard Ryan, Eva O’Connor Footnote Productions Ltd €29,500
    Richter Anna McPartlin, Simone Nathan Blinder Films €15,000

     

    • Direct Distribution

Project Director Writer Production Company Funding Award
Losing Alaska Tom Burke Tom Burke Marcie Films €10,000
When All is Ruin Once Again Keith Walsh Keith Walsh, Jill Beardsworth Twopair Films €10,000
  • Distribution Support

    Project Director Writer Production Company Funding Award
    Metal Heart Hugh O’Conor Paul Murray Sentio Ar Ltd t/a Break Out Pictures €30,000
    Vita & Virginia Chanya Button Eileen Atkins, Chanya Button Wildcard Distribution €12,500
    Papi Chulo John Butler John Butler Eclipse Pictures €34,000
    Prisoners of the Moon Johnny Gogan Johnny Gogan Eclipse Pictures €10,000
    Float Like A Butterfly Carmel Winters Carmel Winters Eclipse Pictures
  • Fiction Irish Production

    Project Director Writer Production Company Funding Award
    Let the Wrong One In Conor McMahon Conor McMahon Workshed Films €650,000
    Borderland Ronan Bennett Parallel Films €800,000
    Cutters Rachel Carey Rachel Carey O’Sullivan Productions €600,000
    Beards David Freyne David Freyne Atomic 80 €700,000
    Mo Ghra Buan Peter Murphy, Rachael Moriarty Peter Murphy, Rachael Moriarty Macalla Teoranta €300,000
    Foscadh Sean Breathnach Sean Breathnach Magamedia €300,000
    Beards David Freyne David Freyne Atomic 80 €50,000
    Wildfire Cathy Brady Cathy Brady Samson Films €75,000
    Sea Fever Neasa Hardiman Neasa Hardiman Fantastic Films €50,000
    The Racer Kieron J Walsh Ciaran Cassidy Blinder Films €100,000
    Puffin Rock Feature Film Jeremy Purcell Sara Daddy Cartoon Saloon €300,000
    Glimpse Benjamin Cleary Michael O’Connor, Benjamin Cleary €50,000
    The Edge of Chaos Sam Uhlemann Sam Uhlemann New Stage Films €100,000
    Untitled Anna Rose Holmer, Saela Davis Shane Crowley Sixty Six Pictures €Unquantified Offer
    Bird Naomi Sheridan Naomi Sheridan, Charlotte George Underground Films €Unquantified Offer
    Wolf Nathalie Biancheri Nathalie Biancheri Feline Films €800,000
  • Fiction Creative Co-Production

    Project Director Writer Production Company Funding Award
    Sweetness in the Belly Zeresenay Mehari Laura Philips Parallel Films €50,000
    My Salinger Year Philippe Falardeau Philippe Falardeau Parallel Films €200,000
    The Last Rifleman Terry Loane Kevin Fitzpatrick Ripple World Pictures Limited €250,000
  • Animation Television Production

    Project Director Writer Production Company Funding Award
    Fantasy Ireland Trevor Courtney Ciaran Morrison, Mick O’Hara Igloo Animations €220,000
    Mya Go – Season 2 Alan Foley Senta Rich, Amy Stephenson, Liam Kavanagh Piranha Bar €150,000
    Saturday Club John McDaid Aidan O’Donovan, Colm Tobin Turnip & Duck Ltd €91,200
  • Documentary Production

    Project Director Writer Production Company Funding Award
    The 8th Lucy Kennedy, Maeve O’Boyle, Aideen Kane Aideen Kane, Lucy Kennedy, Maeve O’Boyle Cowtown Pictures €150,000
    A Short History of Decay Sarah Share Sarah Share New Decade TV Ltd €125,000
    Father of Cyborgs David Burke, Sean O’Cualain David Burke Dot TV & Films €100,000
    Devil in the Feet Ruan Magan Ruan Magan Tyrone Productions €75,000
    Demons and Dancers Pat Collins Pat Collins Harvest Films €75,000
    Hostage to the Devil: In Pursuit of Evil Marty Stalker Rachel Lysaght, Marty Stalker Underground Films €34,300
    TUKDAM: A Question of Life and Death Donagh Coleman Donagh Coleman Wildfire Films €110,000
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New Director for the Writers Guild of Ireland

The Writers Guild of Ireland has announced the appointment of Hugh Farley as its new Director, following the departure of David Kavanagh.

The Guild is the representative body for writers in Ireland for stage and screen.  Its 510 members write for film, television, radio, theatre, animation and games providing the basic foundation for employment in Ireland of tens of thousands of people.

Hugh Farley has been Series producer on ‘Ros na Rún’ and on ‘Red Rock’, has worked as a screenwriter and served on the Board of the Guild, and has extensive experience as a director.

He replaces David Kavanagh who has taken up the position of Executive Secretary of the Federation of Screenwriters in Europe.

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GAZE LGBT Film Festival Launches 2019 Programme

The GAZE LGBT Film Festival officially launched the programme for the 27th festival last night at The Dock and was attended by special guests and filmmakers.

The GAZE LGBT Film Festival announced a  packed line-up of International and Irish films and guest filmmakers taking part in the festival which runs from 1st – 5th August 2019 at Light House Cinema, Smithfield. Numerous filmmakers will be discussing their work and meeting audiences during Q&As after screenings of films that explore a diverse range of subjects, styles and stories.

Chairperson of the Board of GAZE, Sarah Williams, welcomed guests by saying “We’re thrilled to launch this very ambitious festival programme with our audiences and friends tonight, particularly our valued lead sponsors Accenture. We share the belief that equality is non-negotiable and sharing the power of our LGBT stories is what GAZE is all about.  GAZE is about visibility, advocacy, remembrance and sharing a vision for the future.  We are passionate about providing a platform for new international and Irish LGBT film and look forward to welcoming a broad audience to this year’s event.”

GAZE programmer Roisín Geraghty said “This year’s programme is intersectional, intergenerational, and as always, international.  We really hope that audiences will come to support the festival and enjoy the selection of films and discussions on offer.  This year marks my fifth and final GAZE programme, and I want to say thanks to colleagues, sponsors and audiences alike for their support.”

Major titles announced include the opening gala screening, Deep in Vogue, a riotous look at the Manchester vogue scene; Mapplethorpe, which chronicles the volatile life and astounding art of photographer Robert Mapplethorpe; along with the closing film starring Laure Dern, JT Leroy, where director Justin Kelly brings the completely bonkers true story of JT to the screen for the first time in fiction form, capturing the human drama behind the headlines of ‘the literary hoax of our generation”.

A spotlight on Latin American LGBT films will showcase five features from countries including Argentina, Brazil, Colombia and Venezuela, along with numerous short films represented across the shorts programmes in the festival.  These bring together vastly different story forms, narrative styles and emotional responses.

The GAZE Film Festival is also  partnering with the IFI’s Education Department and BeLonG To Youth Services on a special 15 – 18s screening of Handsome Devil, including a Q&A with writer / director John Butler.

Screenings form a key part of the GAZE 2019 Film Festival programme, which will show the very best in contemporary LGBT films, but will also include discussions and special events including a special Queer Family Event on Monday 5th August, which is tailored to appeal to all families. This will include a special screening of The Little Mermaid, and Drag Queen Story Time at The Gutter Bookshop in Temple Bar.

 

Full details of all the events are available at www.gaze.ie , where tickets are also on sale.

The GAZE 2019 Film Festival takes place at Light House Cinema, Smithfield, from August 1st – 5th 2019 with some of the programme also taking place in the IFI and The Gutter Bookshop.

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31st Galway Film Fleadh Programme

Extra Ordinary 

Galway Film Fleadh has announced their 2019 programme which includes 95 International and Irish feature films. This year’s programme features films from 36 countries including 10 World Premieres. 30 films are feature directorial debuts and over 40% of films are by female filmmakers. 

This year’s programme includes a programme of New Irish Cinema, featuring a number of World Premieres from talented Irish directors. This home-grown programme includes dramatic and comedic features in addition to a range of documentaries which cover a range of topics across politics, the arts, culinary innovation and human rights.

New Irish Cinema Highlights include, Jihad Jane, a debut documentary from emerging Irish filmmaker Ciaran Cassidy which paints an intriguing portrait of the online post-9/11 world. Finky, directed by Dathaí Keane (An Klondike), is an Irish-language drama about a musician and puppeteer who finds his way into a hellish circus troupe. Breaking Out, a documentary filmed over 10 years about the larger-than-life musician Fergus O’Farrell who, undaunted by his diagnosis with muscular dystrophy, continued to tour and compose music for the Oscar® winning film, Once. The doc has a special connection to the Film Fleadh, as the festival to give Once its World Premiere in 2006. Bruno, directed by Karl Golden and starring Diarmuid Murtagh, is a drama about a homeless Irishman in London. Animals (Sophie Hyde) is based on the acclaimed novel by Emma Jane Unsworth which tells the hedonistic female-driven story of two thirty-something party-mad friends who wreak havoc on the streets of Dublin.

Speaking at the programme launch, Director of Programming Will Fitzgerald talked about the line-up by relating a story about watching Agnès Varda’s last film, which plays on the closing day of the Fleadh: “This year’s Fleadh is as much about celebrating cinematic accomplishments as discovering new talent. Inspired by the Gleaner herself, I’d been taking a trip down cinema lane, gleaning some of the highlights. This year’s Fleadh has got tributes to Varda, cinematographer Robby Müller, an animated biopic of Luis Buñuel, documentaries on the composer Scott Walker and the making of Alien, and more.”

Other festival highlights include Never Grow Old, the festival’s closing film from Irish director Ivan Kavanagh and starring Emile Hirsch and John Cusack, a dark Western tale about an Irish undertaker on the American frontier. Sing me Back Home, the festival’s opening film, is French actress Sandrine Dumas’ (Let the Sunshine In) directorial debut. Bait, Mark Jenkin’s film shot on a 1976 Bolex 16mm camera and processed by hand tells the story of a northern English fisherman without a boat.

A Bread Factory, a film in two parts is Patrick Wang’s newest film after 2015’s The Grief of Others, a small-town comedy drama starring Tyne Dale (Cagney & Lacey).

Rounding out the premieres and Q+A’s are a range of event screenings, panel discussions and public interviews which include a dog-friendly screening of the documentary Buddy about the bond between guide dogs and their owners, a special Singalong version of the Disney classic The Little Mermaid and Cumar: A Galway Rhapsody, a portrait of Galway’s artistic community, including author Mike McCormack, comedian Tommy Tiernan, poet Rita Ann Higgins, Macnas and many more. 

The 2019 Film Fleadh features a culinary cinema strand including the World Premiere of Stage: The Culinary Internship, exposing the reliance of Michelin star restaurants on unpaid internships, among other films including The Heat: A Kitchen (R )evolution, championing the work of female chefs in the restaurant industry.

The festival will present a series of political documentaries in a section titled The Film Fleadh Goes to Washington, featuring insight and archive footage. These include Watergate – Or: How We Learned to Stop an Out of Control President which is presented in two parts plus Active Measures, an well researched look at Russian interference in the 2016 U.S. Presidential election and Dark Money, which follows the money trail behind U.S. poltics and a  fly-on-the-wall portrait of Steve Bannon called The Brink.

The programme also brings back its selection of music-related films including opening night late film Marianne & Leonard: Words of Love about the late Leonard Cohen and his muse Marianne Ihlen. This strand will also feature Once AuroraEvery Night’s a Saturday Night and Heyday: The Mic Christopher Story, spotlighting artists AURORA, Rolling Stones’ sax player Bobby Keys and the late Irish singer/songwriter Mic Christopher respectively.

On the closing night is the Film Fleadh Awards Ceremony, which includes the Bingham Ray New Talent Award, for which five filmmakers across the fields of directing, producing and acting have been nominated. The 2019 nominees are directors Mike Ahern  (Extra Ordinary), Enda Loughman (Extra Ordinary), actor Lola Petticrew (A Bump Along the Way), actor Lauryn Canny (Darlin’) and director Tristan Heanue (Ciúnas (Silence)).

The 31stGalway Film Fleadh takes place from 9th-14thJuly in the Town Hall Theatre and Pálás cinema, Galway. 

Full list of films here

Tickets and further information for all films and events are now available at www.galwayfilmfleadh.com

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It Goes to Eleven Distribution Launches

 It Goes to Eleven today launches a brand new international sales and distribution company, specialising in independent feature films and theatrical documentaries.

For its first feature, It Goes to Eleven Distribution partnered with Snackbox Films (Older Than Ireland) to distribute their award-winning feature documentary Under The Clock. The feature was shown at cinemas across Ireland and festivals around the world earlier in the year and will be airing on RTÉ ONE on Monday 17th June at 9.35pm for its TV premiere.

Offering full Irish, British and international distribution and sales capabilities, I It Goes to Eleven Distribution aims to provide filmmakers with the best platform to reach the right audience each and every time.

With decades of experience working across production, distribution, exhibition, marketing and PR for some of the world’s biggest film and broadcasting companies, the team are in a unique position to support independent film and filmmakers, whilst providing a personal, fresh and collaborative approach to film distribution.

George Fields,  It Goes to Eleven Distribution, Director of Technical Management & Theatrical Sales, said: “A lot of time, effort and resource goes into making a film so it’s our commitment to make their film work hard for them at the distribution stage, giving their project the best possible exposure and opportunity for critical and commercial success.”

James Elms,  It Goes to Eleven Distribution, Director of Marketing, Publicity & Theatrical Sales, said: “We’re in a unique position to combine our industry-leading expertise across all areas of film distribution with a personal and collaborative approach to become a true and loyal partner for filmmakers.”

Garry Walsh,  It Goes to Eleven Distribution, Director of Group Distribution & Theatrical Sales, said: “Our aim is to support independent film and filmmakers, giving them the right distribution so their film can find an audience. Now, we’re welcoming filmmakers to get in touch with us and see how we can work together for a successful film launch”

Colm Nicell, Director of Under The Clock, said: “As filmmakers, it’s important for our distribution partner to connect with the type of films we make and who we’re making them for. With some larger distribution companies. you hand over your film and it gets lost in a slate of other distribution content that that company happens to be releasing at the same time. It Goes to Eleven Distribution is the ideal fit for us as they are as passionate and committed to our content as we are and this ensures that we get our films in front of our target audience each and every time. They understand the filmmaking business but more importantly they get the business of filmmaking. 

Award-winning documentary Under The Clock premieres on RTÉ ONE on Monday 17th June at 9.35pm

All filmmakers are encouraged to contact It Goes to Eleven Distribution, at hello@itgoestoeleven.ie

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