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Our programmers have been scanning film fleadh catalogues and soliciting recommendations and screeners from our film and filmmaker contacts in Ireland, and especially from IFI, the Irish Film Institute .
We are, of course, always interested in direct contact from filmmakers with films they'd like to submit. Last year's winner of our first-time Short Films Audience Award was Shimmy Marcus, with Rhinos. He had contacted us with a submission before we'd discovered it ourselves.
We are always interested in submissions and recommendations of Irish-related films, whether they be features, shorts, documentary, animation, in Irish or English.
83 mins - Dir: Lance Daly editor, Shimmy Marcus; with Fionnula Flanagan, Pat Shortt, Kelly Thornton, Eva Birthistle. :: Guest Speaker: [TBA] [to be announced]
"They do make them like they used to. Very much a comedy of the recession, Lance Daly's first Irish movie since the fine Kisses feels a little like a Roddy Doyle adaptation from the pre-boom years." - The Irish Times: Tara Brady
"Inspired by an Israeli human-interest story, Daly relocates the curious incident to Dublin, bringing all the excitement of a blockbuster treasure-hunt movie to his own backyard, while preserving the easy universal appeal of this inevitably tiny picture in the process." - Variety: Peter Debruge
Just where do old mattresses go once they've been discarded, and how would concerned parties manage to track one down? It takes a special kind of imagination to recognize the entertainment potential trapped in such a mundane scenario, and an incredibly resourceful filmmaker to spin it into as much fun as Daly does here.
Beginning with a group of characters who'd be right at home in a Ken Loach movie, Life's a Breeze concerns three generations of borderline-broke Dubliners. Young Emma (Kelly Thornton) serves as the pic's eyes and ears, enlisted by thick-headed uncle Colm (Pat Shortt) to get Nan (Fionnula Flanagan) out of her cluttered flat one afternoon. The old lady is a bit of a hoarder, and her well-meaning kids plan a surprise makeover for her birthday. When Nan returns, however, she's horrified to discover that her stash of nearly a million Euros has been thrown out along with decades of newspapers, mildewing detective novels and creaky old furniture.
At first, the family refuses to believe that she's telling the truth. How could Nan have saved so much money? But all three of her kids are scraping by on the dole, and once the idea that their inheritance is on the line, they spring into action, beginning a scavenger hunt that takes them from dumping grounds to recycling depots to landfills all over the region, eventually ballooning into a national news story, as total strangers compete to see who can find the mattress first.
Daly's lucky to have as shrewd an actress as Flanagan at the center of such a project, relying on her ability to play cards close to her vest. While her generally dim-witted kids trip over their own plans to recover the loot, auds can never be entirely sure that she's actually telling the truth. Certainly, the situation reveals plenty about the personalities of all involved, paying careful attention to the way fickle souls change the instant they believe there's a fortune coming their way.
TIFF / Michèle Maheux said "Great humour springs from unwise expenditures, such as Colm's hiring of a male stripper dressed as a fireman to entertain Nan at her birthday party. But even while purse strings get tighter, other resources are found in great abundance, such as familial solidarity and resilience. So long as we hang on to these, things can only get so bad."
99 min - Dir: Wiebke von Carolsfeld :: Guest Speaker: [TBA] [to be announced]
Stay is as much about hope for the future as it is respect for the past. The dilemma hinges on whether or not Dermot and Abbey can accept it. - Steve Gravestock
How roots can both nurture and trap us is the subject of Wiebke von Carolsfeld's finely observed Stay, based on the novel by Aislinn Hunter. Dermot (Aidan Quinn) is a historian reeling from a personal tragedy, who has isolated himself in a crumbling farmhouse on the rugged west coast of Ireland. His lover Abbey (Taylor Schilling), is happy to hide out there with him.
Suffused with pain and loss, Stay
is as psychologically astute as von Carolsfeld's acclaimed first feature, Marion Bridge;
like its predecessor, the film is well aware that family secrets have a habit of growing in importance the more energetically
they're swept under the rug.
At the same time, Stay broadens the scope significantly, exploring not only the hidden history of two families, but also the changes to an entire community, one hit hard when the bottom fell out of the Irish economic miracle. Dermot and Abbey's struggle to move forward is a microcosmic reflection of larger events.Tiff.net
102 mins - Dir: Lisa Barra D'Sa and Glenn Leyburn :: Guest Speaker: [TBA] [to be announced]
"Richard Dormer is immensely likable as Hooley, and Karl Johnson brings a dour conviction to his father, an elderly disillusioned communist who finds spiritual victory in electoral defeat." - Philip French from The Observer
Lisa Barros D'Sa and Glenn Leyburn have directed a terrifically warm and entirely lovable movie about Terri Hooley, Belfast's chaotic godfather of punk. In the 70s, Hooley defied the miseries and ugly tribalism of the Troubles by opening a record shop in the middle of the city, quixotically called Good Vibrations.
This tiny store became his tour promotion HQ, as well as the indie record label that put out the Undertones' Teenage Kicks. It was also the base from which Hooley could cultivate his entrepreneurial genius and messianically insist on a new and non-divisive way of thinking about Northern Ireland and its young people.
Richard Dormer gives an excellent performance as Hooley,
and the moment when he is first ecstatically converted to punk in the middle of a pogoing crowd - not knowing
whether to laugh or cry - is an absolute joy. (I felt a twinge of personal shame for having left it until 1980
to see the Undertones live at the Marquee.)
The Guardian :: "Jodie Whittaker, Karl Johnson and Ruth McCabe all give great support as Terri's long-suffering wife, dad and mum." Peter Bradshaw
"Terri Hooley is a radical, rebel and music-lover in 1970s Belfast when the bloody conflict known as the Troubles shuts down his city. As all his friends take sides and take up arms, Terri opens a record shop on the most bombed half-mile in Europe and calls it Good Vibrations. Through it he discovers a compelling voice of resistance in the city's nascent underground punk scenes.
Galvanising the young musicians into action, he becomes the unlikely leader of a motley band
of kids and punks who join him in his mission to create a new community, an alternative Ulster, to bring his city back to life.
Winner of Galway Film Fleadh Audience Award
Nominated for three Irish Film and Television Awards including Best Film,
Best Actor for Richard Dormer, and Costume for Maggie Donnelly.
Annual Short Film Evening :: Guest Speaker: [TBA] [to be announced]
title (XX mins, drama) Dir: director
title (XX mins, history) Dir: director
title (xx mins, animation) Dir: director
85 mins - Dirs: Paul Kennedy :: Guest Speaker: [TBA] [to be announced]
Made in Belfast belies its microscopic budget and promises bright things for its creator. Kennedy's debut passes the finishing line with flying colours." - Nuacht [Dana Hearne]
Made in Belfast tells the compelling story of Belfast-born Jack Kelly (played by Ciaran McMenamin) a novelist now living in Paris, who returns home to a Belfast he no longer recognizes, and to a brother and friends who feel betrayed by him. Some critics have described Paul Kennedy's first feature as "a minor miracle". - the Belfast Telegraph [Andrew Johnson]
Making a film is "a bit like running a marathon backwards and catching the javelin", we were told at the gala opening of the 13th Belfast Film Festival. The backwards Olympian in this case was Paul Kennedy, the homegrown writer, director and co-star of Made in Belfast.
Kennedy introduced his film's world premiere by quoting
Leo Tolstoy: "All great literature is one of two stories; a man goes on a journey
or a stranger comes to town."
Made in Belfast, he said, is the latter, adding: "It just happens to be his home town."
The man in question is Jack Kelly - played by Fermanagh-born actor Ciaran McMenamin - a successful novelist living in Paris, whose breakout book exposed the private lives of his nearest and dearest. Compelled to make a long-delayed return to Belfast to visit his dying father, Jack must now face the wrath of his home town, and perhaps one or two of his own demons in the process.
Kennedy's visuals are glorious and instantly recognisable and he has a go at Belfast's ongoing identity crisis. "This city is doing everything it can to forget the past that shaped it," spits Alice - Jack's spurned former fiancee played Shauna MacDonald.
Elsewhere, during a scene in Belfast City Cemetery, which references the wall that was built underground to separate the Protestant and the Catholic dead, Jack's younger brother Petesy (Shaun Blaney) asks: "Have we always been bonkers in this country?"
Kennedy's script is full of corking lines like this, delivered with conviction by a superbly cast ensemble of local faces. As well as the ever-reliable Lalor Roddy and Stuart Graham, there are cameo appearances by Bronagh Gallagher as a droll funeral director and Snow Patrol's Gary Lightbody - who executive-produced the film - as a starstruck barman.
above, also from the Belfast Telegraph's Andrew Johnson