8 Irish Film Festivals Sign Pledge for Gender Parity and Inclusion

Women in Film and Television Ireland (wft.ie) a chapter of Women in Film and Television International, has announced that to date 8 Irish Film festivals have accepted their invitation to sign up to the 5050×2020 Gender Parity and Inclusion Pledge which was launched by Cannes Festival chiefs at the 2018 Cannes Film Festival.

These are: Animation Dingle, Cork Film Festival, Dublin Feminist Film Festival, Galway Film Fleadh, GAZE LGBT Film Festival, Kerry Film Festival, Still Voices Short Film Festival and Virgin Media Dublin International Film Festival.
Founded in 2003, the Dublin International Film Festival sets the agenda of the year with its programme of outstanding Irish and international film.

The official Irish festival signing was held yesterday at The Lighthouse Cinema with John Rice (Co-Founder & Director Animation Dingle), Aoife O’Toole (Director Dublin Feminist Film Festival), Fiona Clark (Producer & CEO Cork Film Festival), Ronan O’ Toole (Director Still Voices Short Film Festival) and Gráinne Humphreys (Festival Director Dublin International Film Festival) in attendance alongside Dr. Susan Liddy, (Chair of Women in Film & Television Ireland).


Dr Susan Liddy Chair of Women in Film and Television Ireland, Fiona Clark Producer & CEO Cork Film Festival, Aoife O’ Toole Director Dublin Feminist Film Festival, Grainne Humphreys Festival Director Dublin International Film Festival, John Rice Founder Animation Dingle and Ronan O Toole Director Still Voices Short Film Festival. Photo: Leon Farrell/Photocall Ireland.

It’s heartening that so many Irish film festivals have joined forces with us to formally commit to the principle of gender parity and inclusion in festivals. We warmly welcome their enthusiasm and solidarity and we hope this initiative will mark the beginning of a supportive partnership between us. We need more women in the film industry at every level. While girls’ and women’s voices are not heard and their stories are not told, our culture is the poorer for it. Film festivals are a hugely important part of any conversation about equality. They are an important link in the journey of a film and filmmaker. This is why we need greater transparency about what films are submitted, what films are selected and who is making the decisions. As with anything, information must be the starting point and we commend these festivals for agreeing to track that. This is an initiative that WFT Ireland will be building on over the coming months and we call on other festivals to join with us and embrace the challenge.
Dr. Susan Liddy, Chair – Women in Film & Television Ireland

Initiated by the 5050 Pour 2020 Collective, a charter was signed in 2018 by Cannes’ festival chiefs to work towards gender parity and inclusion.

The charter invites film festivals across the world to make the following commitment to gender parity and inclusion:

  • To compile statistics of gender of the directors of all the films submitted to selection (and when possible, to also compile statistics of the cast and crew when mentioned in the registration process).
  • To make public the gender of the members of selection committees, programmers and programming consultants.
    To make public the gender of executive boards and/or boards of directors and/or to commit to a schedule to achieve parity in these bodies.
    All Irish festival signatories have committed to giving a full update to Women in Film & Television Ireland, who will make public their progress during their respective 2020 festivals.
  • Women in Film & Television Ireland will also update the 5050 Pour 2020 Collective about the new signatories in time for the 2019 Cannes Film Festival.

As Ireland’s first and largest film festival, Cork Film Festival (CFF) is pleased to join WFTV in partnering with the 5050×2020 Cannes Collective to pledge our commitment to the 5050×2020 Charter, alongside the first Irish signatories. CFF supports increased transparency and gender-focused change across the Irish film landscape. CFF actively advocates for equality and inclusion in our industry by creating opportunities for meaningful public and sector dialogue as part of the Festival and by monitoring gender parity across our programme, submissions, jurors, panelists, programmers, staff, Board and volunteers.

The 63rd edition of the Festival in 2018 demonstrated that the Festival is actively making steps towards achieving its gender parity commitment. For example, 42% of our Shorts Programme was directed, co-directed and/or produced by women and 72% of our award-winning films were directed, co-directed and/or produced by women, with 47% female awards jurors. While this demonstrates CFF’s commitment to achieving greater representation for women in our programme, we recognise the need to focus our collective energy on advocating for gender equality in the sector. We welcome the opportunity to participate in the 5050×2020 Cannes Collective to strive for equal representation for women’s voices in film.
Fiona Clark, Producer & CEO – Cork Film Festival

Virgin Media Dublin International Film Festival is proud to be part of the first group of signatories to the 5050×2020 Charter. The festival puts the films and filmmakers at its heart and understands the importance of nurturing new and experienced talent alike.

In 2019, of the over 100 feature length films screened at the festival, we are glad to say that 59% had women producers and 30% were produced by people of colour. However, the Festival is not complacent about its progress to date, and recognises that there is more work to be done to achieve diversity in all of its activities.

This partnership between the festival, WIFT and Cannes is another important step in proactively changing the power dynamics and creative output of the Irish film industry for the better.
Gráinne Humphreys, Festival Director – Dublin International Film Festival


Call For: Feature Film Submissions for the 31st Galway Film Fleadh

Feature film submissions are now open for the 31st Galway Film Fleadh, taking place between  9th–14th July, 2019.

The Film Fleadh is Ireland’s leading film festival, known internationally as the discovery place of New Irish Cinema, and host to the boldest new films from around the world each July. The Film Fleadh is also host to the Galway Film Fair, Ireland’s only film marketplace.


Are you a filmmaker with a work-in-progress or completed work, ready to debut in 2019? Why premiere your film at another film festival, when you could premiere at the world’s only Film Fleadh?


The Galway Film Fleadh awards feature films selected for competition in the following categories:

  • Best Irish Debut Film
  • Best International Debut Film
  • Best Irish Film
  • Best International Film
  • Best Irish Documentary
  • Best International Documentary
  • Best Cinematography in an Irish Film


Winners in recent years include The Dig,KatieGutland,Michael Inside, God’s Own Country, Sanctuary, A Date for Mad MaryandThe Young Offenders, among others.


Early bird deadline: Friday January 18th, 2019 at 5p.m. G.M.T.

Early Bird entry fees are at a discounted rate of €30.


After the Early Bird Deadline, the fee will increase to the Regular price of €40.

Regular deadline: Friday March 15th, 2019 at 5p.m. G.M.T.


Further information and the link to submit via Eventival can be found at www.galwayfilmfleadh.com







Martin Beirne: Writer/Director of ‘Around Here’

Martin Beirne tells Film Ireland about writing and directing his debut feature, a rural coming-of-age drama in which Michael Murray faces down school bullies, isolation and a dysfunctional family to find community, love and confidence.


The feature film Around Here, previously called Seize, was written over three years, from 2007 to 2010. There was a four-year pause before I was able to bring this dream project into reality.  In 2014, the screenplay was brought out again and I began editing it.  Then in late 2016, I began shooting the film. They say it takes time to make a feature and this certainly has been the case with Around Here. Writing the script was a real joy for me. I had intentionally organised my schedule where I would work three days a week in a regular job and spend two days thinking and writing. During this time, I would often think of my teenage years growing up in rural Ireland. This became the catalyse for the film.


I have always been interested in marginalised people, who, for one reason or another, found themselves to be the butt of jokes or worse. The desperate need to fit in or even be popular and simultaneously the importance of not becoming the target were memories seared into my mind. Around Here enters this world and ponders a narrative as to why or how someone may get unwanted attention and how this may affect them in their private and public lives. How does the private world affect the public? Rural Ireland is plagued by suicide, and this is a theme that I touch upon. However, the film isn’t just about that. It is about being trapped. It is about getting out from under whatever you are under. It is also about a young man or a young woman realising they have an equal chance at life no matter what their circumstances are.


Armed with only the script, I naively set out to tell the story through the medium of film. My journey began by placing an advert on a Facebook film network site. Soon enough replies came in and I eventually built a crew from there. With film locations, I knew pretty much what locations I needed, so I would spend most of my weekends scouting places. Eventually, I contacted Film Offaly, who made this job much easier than I had been making it. From here, I found GAA grounds, a farm, a church, etc. Next came casting. That too proved a slog, but bit by bit I found the characters I was searching for. I think being on intimate terms with the script made my search for actors much easier.


After one false start, the shoot began in mid-October 2016. We were blessed with good weather. We received a very warm welcome and support from the Village of Kinnity, Offaly and the local people, including the local GAA. One family literally provided all the facilities they had and, for this support, I will remain grateful indefinitely. Film truly is a collaboration. Since I had never met most of the crew prior to the shoot, this created both an exciting and a challenging experience. The crew and cast shone through and only for their professional manner, nothing would have been possible.


In post-production – and now in a good deal of debt! – the push was on to edit and complete. It took a further 12 months to get to a rough cut. At this point my spirits were low. I didn’t get everything I had sought to shoot and now I was plagued with gaps in the film. I sought further support, and this came in the form of a very experienced producer. We spent a good deal of time analysing what I had and eventually the story structure came together.


Being accepted into the Galway Film Festival had been a dream. Now it is a reality and a privilege. I am deeply grateful for the opportunity that has been extended. I believe the Fleadh has shown great courage in accepting this film, especially since up until making Around Here I had zero experience in any type of filmmaking. All the credit goes to cast, crew, pre and post-production personnel, and true friends who supported when it was needed most – you know who you are. There are far too many to mention individually and not fair to single any out. I feel blessed and only hope the film may touch someone, even if it is just one person, that alone would define true success for me.


Around Here screens on Friday, 13th July at the Town Hall Theatre @ 16:00 as part of the 2018 Galway Film Fleadh (10 – 15 July)



Preview of Irish Film @ Galway


Call For: Submissions for Galway Film Fleadh

The festival is Ireland’s leading film event, known internationally as the discovery place of New Irish Cinema, and home to the Galway Film Fair, Ireland’s only film marketplace.

The Galway Film Fleadh awards feature films selected for competition in the following categories:

  • Best Irish Debut Film
  • Best International Debut Film
  • Best Irish Film
  • Best International Film
  • Best Irish Documentary
  • Best International Documentary
  • Best Cinematography in an Irish Film

Winners in recent years include Michael Inside, Sanctuary, A Date for Mad Mary, Young OffendersOlder than Ireland and Song of the Sea, among others.

The deadline for Early Bird submissions is 26th February 2018. Early Bird entry fees are at a discounted rate of €30. After the Early Bird Deadline, the fee will increase to the Regular price of €40.The Regular deadline for submissions is Friday, March 30th, 2018.

Further information and the link to submit via Eventival can be found at www.galwayfilmfleadh.com

Welcome to the Galway Film Fleadh – Galway Film Fleadh


30th Galway Film Fleadh | Tuesday 10th – Sunday 15th, July 2018





Galway Film Fleadh Celebrates 30 Years

Every July, the international film world descends on the West of Ireland, for a cherished event: an intimate and informal festival of cinema in Galway, uniquely named the Film Fleadh. The Galway Film Fleadh has no red carpets and no VIP parties. Luminaries of the craft and everyday cinephiles, from all around the globe and from every cultural background, come together to share in the delight of upcoming indie surprises and timeless classics of all types and genres.

Visiting luminaries have included Peter O’Toole, Martin Sheen, Maureen O’Hara, Paul Schrader, Kathy Bates,Agnieszka HollandGillo Pontecorvo, Jessica Lange, Michael Winterbottom, Jim Sheridan, Neil Jordan, Mira Nair and Abbas Kiarostami.

While modern masters such as Woody Harrelson, Saoirse Ronan, Michael Fassbender, Zachary Quinto, Isabelle Huppert, Lee Unkrich, Domhnall Glesson, Kirsten Smith and Stanley Tucci have also enjoyed the rugged beauty and warm hospitality of both the Film Fleadh and the West of Ireland.

 But that is to name just a few, and just one aspect of the Film Fleadh, which is an all around filmic experience, including experiential screenings, masterclasses, Q+As, debates, the UK and Ireland’s longest running film market, an annual ‘state of the industry’ conference, panel talks and film parties.

 The Galway Film Fleadh began in 1989, borne out of frustration at the lack of opportunity for Irish filmmakers to exhibit their work to their peers. At the time there was no Irish Film Board, no real industry and nowhere for the few pioneering filmmakers to screen their work. Through the determination of a few, working with what facilities were available, the first Film Fleadh was a (relative) massive success as a platform for Irish cinema and a showcase of the best in global art cinema, unavailable to most people on the island of Ireland.

In the proceeding thirty years, the Film Fleadh’s indelible charm would develop from a much loved domestic event, to the best known secret gem among European and Hollywood peers who had come to know and love the festival. For the past number of years, the secret has been out, and the Film Fleadh has swelled beyond capacity, earning the nickname, the ‘Cannes-on-the-Corrib’ (named for the Corrib river which runs through Galway city).

The Film Fleadh is unquestionably the premier event for discovering new Irish film talent. Films like OnceAdam & Paul, Garage, The Guard, Good Vibrations, Man About Dog, Kisses, Kings, Intermission, The Canal, I Used to Live Here, My Name is Emily, Cardboard Gangsters and The Young Offenders all bowed at Galway. From there, these films launched onto the world stage, with the help of audience members and festival programmers visiting from Sundance, Toronto, Berlin, Cannes, Tribeca, SXSW and more.

For its 30th anniversary, the Galway Film Fleadh will be adding to its successful formula, with a bumper programme, a new state-of-the-art screening venue, and a slew of new Irish and international films for audiences to devour as part of this Film Feast (the literal translation of Film Fleadh).

 With details of the 30th Galway Film Fleadh’s films, guests and events yet to be announced, visitwww.galwayfilmfleadh.com, where you can subscribe to the Film Fleadh newsletter and be the first to hear about news and ticket sales.

The 30th Galway Film Fleadh takes place from 10th  – 15th July, 2018.


Review of Irish Film @ Galway Film Fleadh: The Silver Branch

Ruth McNally ponders Katrina Costello’s philosophical vision-poem.


Katrina Costello’s The Silver Branch is a documentary that tells the story of Patrick McCormack, a farmer and poet whose family have lived in the Burren for generations. The film explores his relationship with the Burren; its nature, history and the struggle to preserve it. The world premiere was screened in the Cinemobile on Friday night. With the rain battering outside, the crowd piled into this quiet space to escape the elements and instead be transported to the wild west at its best.

Though director Katrina Costello and Patrick McCormack were at the screening, the introduction was handed over to Film Fleadh founder Lelia Doolan, for whom the film also had particular significance. Lelia was part of the Burren Action Group and one of the seven Plaintiffs in the court case featured in the film. The case was fought for over ten years against the Government’s Office of Public Works (OPW), to halt the building of a large tourism-targeted centre at Mullaghmore in the heart of the Burren National Park. It took a toll on the Group, both financially and personally, and caused a lasting divide in the local community. Doolan said the process was “exhausting, demanding and terrifying”, but described it in the end as a labour of love.

The film’s great strengths are its endearing characters, poetic narration and sublime imagery. In order to give a background to the struggle that came from the case against the OPW, we must first see what the Group was fighting to preserve. In comes our narrator, Patrick McCormack, who is both naturally poetic and candid in his speech. He tells us of the generations of people who lived in the Burren; people who “had it all, just by being”. They had an intricate knowledge and respect for the land, as their livelihoods were dependent on it. McCormack and his friend and fellow farmer John Joe Conway keep up this old way of life; from rebuilding stone walls “that no one might see” to nurturing their livestock almost as if they were pets.  The friendship and common outlook of these two farmers bridges the obvious gap between generations; McCormack in his cowboy hat and leather jacket and John Joe in his gentlemanly overcoat. Their affection for the place is contagious, particularly McCormack’s, who attaches an almost spiritual sense of importance to it.

Watching the film is an immersive experience. As McCormack speaks meditatively of the effects that nature can have on a person, the cinematography works to draw you into the place. Alongside exhibiting the beauty and wildness of the Burren landscape, Costello has also captured incredible, intimate shots of Irish wildlife. We see such rare sights as birds of prey exchanging an animal mid-air, young fox cubs play-fighting and a small robin feeding a comically large cuckoo chick. We feel privy to a secret world, hidden behind the hedgerows and in the trees and reserved for those who take the time to sit and wait. We never leave the Burren during the film; there is enough drama in the nature there to reflect all aspects of the human experience.

There is a shift in tone as the film deals with the controversy surrounding the building of the interpretive centre and the subsequent court case. The centre was to provide a much-needed economic boost to the area, bringing hundreds of thousands more visitors a year and creating jobs for the younger generation. This was at a time when the OPW was not subject to planning laws and works commenced on building this large-scale centre and car park despite objections surrounding the impact it would have on the local environment. It was the site that was chosen for the centre – Mullaghmore – that caused McCormack and the other members of the Burren Action Group to decide to fight this seemingly inevitable development. Consequently they took a case against the OPW, arguing that government offices should be subject to the same planning laws as other bodies. While McCormack tells us of the difficulties and personal stresses of this period – from financial strain to loss of friendships – we are constantly drawn back to the bigger picture. He wants us to understand why this case was so important as to warrant the sacrifices that came with it. The film reminds us that for the group, there was something greater at risk of being lost.

In this age of convenience and rapid development, where oftentimes you would have to go to great lengths to find an area of pristine nature, The Silver Branch feels particularly relevant. It captures the sense of uncertainty that comes from being in a generation in which so much change has occurred; caught between nostalgia for the past and concern for the future. The film could be seen for the imagery of the Burren and its wildlife alone, however, McCormack’s poetry and the story give another context to the images; guiding us from meditative appreciation to solemn awareness of the place’s vulnerability. As McCormack at one point notes, the “grief within beauty”.

The film was five years in the making by director Katrina Costello and, as with the case taken by McCormack and the Burren Action Group members, it is a testament to patience, determination and love of a place.



The Silver Branch screened on Friday, 14th July 2017, as part of the 29th Galway Film Fleadh (11 – 16 July).



Review of Irish Film @ Galway Film Fleadh: Song of Granite

Deirdre de Grae sings along to Song of Granite, Pat Collins’ portrait of the life of the great traditional singer, Joe Heaney, which screened at the 29th Galway Film Fleadh.


Song of Granite, was the opening film at this year’s Galway Film Fleadh. The film was introduced by the producer, Alan Maher (of Marcie Films), and the director, Pat Collins, who reminisced about his time as the Fleadh programmer in the 1990s. As this was the opening film, it screened to a full house, including cast and crew, as well as the featured musicians Lisa O’Neill and Damien Dempsey.

The black and white, lán Gaeilge, Song of Granite is a portrait of the sean-nós singer, Joe Heaney.  It is difficult to define the film, and perhaps there is no need to try to do so – to fit it into clearly labelled folders of ‘genre’ and ‘format’. But there is a human tendency to desire classification, and an unfortunate necessity for entering film festivals, marketing and distribution. Although it was in competition with the feature films in the Galway Film Fleadh, it could just as easily be labelled as a documentary.

The dramatic portions of the film could be termed reconstructions, common in drama-documentary. The film also incorporates archive film and audio footage, so in this way, it could be billed either as feature documentary or a feature film. The archive footage of Irish emigrants in Glasgow and the reconstructions of the lives of Irish-speaking men in the UK reminded me of two previous screenings: the documentary, Men of Arlington (dir. Enda Hughes) and the feature film, Kings (dir. Tom Collins). Both of these films address the lonely, lost lives of single Irish men who find themselves turning to drink while living in London. In Song of Granite, the images of sad urban lives in the UK contrasted with the freedom and open air of Connemara. There is a physical feeling of relief to get back to Connemara and breathe the open air again, after watching the pub interiors, and the UK.

The 13-year-old Colm Seoighe gave an impressive performance playing the young Joe Heaney, and reminded me of both a young Domhnall Gleeson and Cillian Murphy: Domhnall Gleeson in his colouring and his screen presence, and Cillian Murphy in his eyes and expression. Colm did not appear to be fazed by the camera and crew, perhaps due to the small crew size, but also likely a testament to the director’s skills in putting him at his ease. He is a fantastic young actor and I hope that he is encouraged to pursue acting as he gets older.

The most notable aspect of this film was the soundscape – the sound recording team and the sound editing team need to be commended. As is evidenced in Pat Collins’ previous film, Silence, sound is intrinsic to his work and sound design is key to Song of Granite also. There is a wealth of atmospheric and ambient sounds used, with the focus on the sea, nature and song – whereas dialogue is kept minimal. By suppressing the visual elements (dark scenes, suppression of light, monochrome), the senses are focussed on sound instead.

At the same time, this is a highly cinematic, photographic film, deservedly winning an award for cinematography at the Fleadh this year for Richard Kendrick. There is a dream-like quality to this film: it is beautifully shot, there is a wonderful atmosphere, it is restful – you can get carried along with the film with your imagination and drift away – however, there isn’t a narrative, in the traditional sense of a feature drama film. The viewer would nearly need to know the story of Joe Heaney before watching, to understand what’s going on. The reconstructions are particulate and bitty, they don’t string together in a narrative structure – they are isolated reconstructed dramatisations. If you are a person who likes to watch a film for story, this might frustrate you. However, for me, the impressive acting of Colm Seoighe, the beautiful cinematography and the wonderful soundscape made this an enjoyable experience, and rose above the lack of a traditional narrative structure.

While I imagine the previous screenings at Karlovy Vary and SXSW took on an ethnographic-cultural tone (for example, the filmmakers had to explain what sean-nós was in U.S. interviews), in Galway, there was very much a sense of the film ‘coming home’. The Irish language was not a barrier to this audience, comprising of the film crew, Connemara-based cast and a who’s-who of the film and television industry in the west – with whom the landscape and lives portrayed resonated. The crowd was very responsive to the traditional music ‘sessions’ on screen, and some older audience members around me sang along to ‘The Galway Shawl’, which was a very sweet moment. After one long sean-nós session, the cinema audience applauded along with the on-screen audience, as they felt intimate with the scene.

Pat Collins’ Song of Granite transcends genre and strict, static definitions. I hope that he, as an Irish auteur, will be included in the canon of Irish filmmakers, and to see his work in ‘Irish film’ courses across Ireland and internationally.
Song of Granite screened on Tuesday, 11th July 2017, as part of the Galway Film Fleadh (11 – 16 July).
Song of Granite will be released in Irish cinemas on 24th Nov 2017.



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

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


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


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

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

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



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

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

Time Traveller was produced by Forty Foot Pictures

Short films screened in this programme:

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




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




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