101 min - Dir: Stephen Bradley with: Deirdre O'Kane, Sarah Greene, Gloria Cramer Curtis, Brendan Coyle, Liam Cunningham.
:: Guest Speaker:
Fuelled by excellent performances, Noble has an uncomplicated integrity to it that will warm even the most resistant heart. - Irish Times [Donald Clarke]
As written and directed by Irish filmmaker Stephen Bradley, it's one of those movies that can be described as a triumph of the human spirit without any winking whatsoever, because the outlines of the story are true. - RogerEbert.com [Matt Zoller Seitz]
A feisty, passionate performance by the Irish actress Deirdre O'Kane gives the inspirational biopic Noble a serrated edge of defiance and gumption. - Int'l New York Times [Stephen Holden]
How do you capture a personality so enormous as Christina Noble? Over the last quarter of a century, the indomitable Dubliner has toiled energetically to improve the lot of orphaned and abandoned children in South East Asia. Those public achievements ask a great deal of a biographical film-maker, but it is, perhaps, harder still to get any grip on Noble's tragic, puzzling, occasionally fantastic personal journey.
Stephen Bradley's response in his big, thumping bruiser of a film has been to unplug the tearducts, ramp up the period detail and fuel the melodrama. Noble is rarely subtle. The depictions of the heroine's life in grim mid-century Ireland have all the dustily picturesque misery of a Catherine Cookson adaption (by most accounts, Noble's early experiences were considerably worse than those represented in the film).
More than a few characters telegraph their looming narrative arcs within seconds of appearing on screen: the creepy sex tourist; the initially resistant, ultimately helpful, functionary; the nun who seems "nice at first". Yet there is no doubt that the thing works.
Bradley, who writes and directs, employs an effective twin narrative. We begin with Noble, in the adult form of Deirdre O'Kane, making her first journey to Vietnam during the 1980s. She checks in at a down-at-heel hotel and, before too long, has begun the benign meddling that characterises so many of the most effective charity campaigners. Every now and then we flash back to find the young Christina growing up in Ireland. The film would be nothing without robust actors. Happily, Bradley has dragged out two excellent turns to support O'Kane's sturdy lead. Gloria Cramer Curtis is irrepressible as the childhood Noble: a noisy, capable scamp who loved to warble the songs of Doris Day. The Tony and Olivier-nominated Sarah Greene, one of our best young actors, is nothing less than magnificent as Christina in late adolescence and young adulthood. Her friendship with Ruth Negga's) plucky fireball has the makings of a film in its own right. Irish Times - Donald Clarke
In 1989, Irishwoman Christina Noble (Dierdre O'Kane) arrives in Ho Chi Minh City as a fortysomething tourist after a lifetime of coming to terms with her horrendous childhood and adolescence in Dublin. She grew up in a slum, lost her mother to tuberculosis and her father (spiritually, anyway) to drink, and was a ward of both the state and the Catholic church. She spent much of her teens and twenties suppressing her agony over those traumas and new ones, including an unplanned pregnancy ending in adoption. The sight of so many homeless kids on the streets of Ho Chi Minh city awakens the adult Christina's submerged maternal impulse. After trying and failing to help kids personally (bringing two girls to stay with her at her hotel; taking a gaggle of kids to eat in a restaurant on her tab) she decides to start a shelter, and is granted a permit. The catch: she has just three months to find a local partner and fund and build the place, after which point her tourist visa (which was always shaky thanks to her disruptive do-gooding) will expire.
Bradley's script jumps around in time, starting with the childhood of young Christina (Gloria Cramer Curtis), which is envisioned subjectively, less as a documentary report than as scene one in a self-creation myth. The sooty 1940s urban panoramas, complete with piles of rubble and hand-washed clothes hanging from laundry lines and fire escapes, have the funereal grandness of Alan Parker's film version of "Angela's Ashes", but there's also a genuinely (and literally) lyrical undertow produced by young Christina's angelic singing voice (she wants to be a great musical star like Doris Day) which echoes on the soundtrack during key scenes. RogerEbert.com - Matt Zoller Seitz
94 min - Dir: John Butler with: Andrew Scott, Peter McDonald, Hugh O'Conor, Amy Huberman, Brian Gleeson.
:: Guest Speaker:
The Stag is a film with both a heart and a brain, an exploration of male interplay wrapped around a drama about friendships and romance, both of the fulfilled and failed kinds. - Never Felt Better blog [David Costelloe]
This present account - of a wayward walking weekend in Wicklow - at least forms one of the more likable variations (…on The Hangover), holding back the willy-waving to examine how a set of middle-class Irishmen might well interact if pushed beyond their usual boundaries. - The Guardian [Mike McCahill]
A stag weekend gone wrong is the basis for a surprising amount of comic depth, minus the excesses of the Hangover franchise …this innocuous but good-hearted Irish comedy finds a misfit group of men going native in the woods when a fussy groom is strong-armed into a stag weekend by his altogether more forceful bride. - Observer [Mark Kermode]
The Machine is a cultural figure for an older and unreconstructed Irish machismo and his knack for roughing-up his smoother, more contemporary fellows conveys real comedic truth. - The Irish Post [Stephen Martin]
Chaos strikes when an engaged man (Hugh O'Conor), his future brother-in-law (Peter McDonald)
and a group of friends go hiking in the Irish wilderness for a bachelor party.
The Stag tells the story of a very modern Irish groom-to-be who, at his fiancee's urging, reluctantly agrees to a stag weekend with his urbane friends, wild camping in the west of Ireland.
Much to their chagrin, the brother of the bride - 'The Machine' - a crazy, unpredictable alpha male, and an explosive Id to their collective Ego joins these modern men. Irish Film Board
Some day, all male-centred comedies will be modelled after
This present account - of a wayward walking weekend in Wicklow - at least forms one of the more likable variations,
holding back the willy-waving to examine how a set of middle-class Irishmen might well interact if pushed beyond their usual boundaries.
As the BBC's short-lived The Great Outdoors recognised, there's considerable mileage in the way these jaunts throw together diverse types.
The process by which Andrew Scott's lovelorn best man is undermined by alpha-ish interloper Peter McDonald is well-observed, while the inclusion of two gay travellers rather smartly sidesteps one of this subgenre's signature panics. One or two set pieces don't quite have the requisite heft, yet the movie clicks whenever co-writer/director John Butler stops to admire the scenery: his fine cast locate the material's underlying pathos, and sustain a funny riff involving the one walker who can't stand U2 ("You are Irish, right?"). The Guardian - Mike McCahill
"You rampant hurrrmurrrsexuahlists" is the somewhat grandiloquent expression one character uses to address his fellow men in John Butler's outdoor-pursuits comedy The Stag, a slapstick romp that mischievously implies Irishmen are not so tough as they used to be.
The man who makes this elongated utterance is called 'The Machine', played by Peter McDonald who makes a welcome return to our cinema screens.
McDonald co-scripted The Stag along with Butler and they clearly think the time is right for aiming humorous darts at the target of contemporary Irish masculinity - in all its post-Tiger, post-modern, metrosexual complexity. The Irish Post - Stephen Martin
78 min - Dir: Mark Noonan with: Aidan Gillen, Lauren Kinsella, George Pistereanu, Erika Sainte, Jesse Morris.
:: Guest Speaker:
"Noonan and cinematographer Tom Comerford do splendid work making a comparatively short car drive look and feel like an epic road trip, and David Geraghty's score is one of the best film compositions of 2015." - The Irish Times [Tara Brady]
"An engaging, bittersweet and humorous debut about a makeshift family navigating each other's guarded personalities." - Galway Film Fleadh
"The first feature from Mark Noonan, You're Ugly Too is an exceptional Irish film marked by humanity, warmth and humour, and there are terrific performances from the two lead actors, with a striking chemistry between Kinsella and Gillen." - www.ifi.ie [Michael Hayden]
Recently orphaned Stacey (played by Lauren Kinsella
in an auspicious debut), a pre-teen spitfire, is sent to live with her estranged Uncle Will (Aidan Gillen),
a convict who has been given compassionate leave for the purpose.
The pair journey towards a caravan park in the Irish midlands, where they attempt to approximate domesticity.
This is not an easy arrangement, and it's made doubly complicated by Stacey's narcolepsy and relentless smart-mouthing, not to mention Will's drug-taking and parental cluelessness.
Can the pair ever get along? Can Will stick to the terms of his parole? Can he at least learn to cook dinner? The Irish Times [Tara Brady]
"A film made all the more bittersweet by its delicate touch."
Aidan Gillen and young newcomer Lauren Kinsella play a makeshift family navigating each other's guarded feelings in Irish writer-director Mark Noonan's debut. An engaging minor-key drama about a stopgap family solution and its lingering impact on the two people thrown together, You're Ugly Too marks a modest but well-observed debut for Mark Noonan. Shot in the lonely Irish midlands where the writer-director grew up and infused with an evocative sense of place, the film showcases lovely, unforced performances from Aidan Gillen and Lauren Kinsella as an uncle and his orphaned niece who start out as strangers but form a connection probably destined to endure.
Premiering in the Berlinale's Generation KPlus section, which often blurs the lines between films about or intended for children and teenagers, this is a gentle reflection on the importance of trust and truth in relationships. While the emotional stakes are high, the director generally opts to keep the drama muted, which is both a virtue and a limitation. But that restraint also helps its mild dose of sentiment go down easily.
In an effectively drawn role that embraces the somber shades of rueful middle age as well as the laddish vestiges of youth, Gillen (Game of Thrones) plays rough-edged Will, who is given compassionate release six months before the end of his prison sentence to care for his 11-year-old niece, Stacey (Kinsella). Her mother died six weeks earlier of causes that are suggested but never fully explained, while her father has been deceased for many years.
The rapport of this odd couple is amusingly scrappy and irreverent as they dance around their masked feelings of loss, trading barbs in a distinctly Irish surly-sweet fashion. Humor is drawn from the irony that the "eedjit" fresh out of prison is the one endeavoring to curb the jaded tween's bad habits of spitting and cursing.
When Stacey opens up a little with her uncle it's mainly to ask why he went to prison, something her mother never told her and Will is also reluctant to discuss. Though audiences will likely guess the reason before it's revealed, and Stacey clearly has her suspicions, his silence on the subject contributes to keep the wall between them in place.
She makes no secret of being underwhelmed with his decision to drive them across miles of flat countryside
to stay at a caravan park where he and her mother used to go as kids. Other factors emerge as they get to know one another,
notably Stacey's bouts of narcolepsy, resulting in her being put on medication that keeps her out of school.
At the caravan park, they strike up a gradual friendship with a pretty Belgian neighbor, Emilie (Erika Sainte), whose marriage to the moody Romanian Tibor (George Pistereanu) appears strained. A former schoolteacher in her birth country, Emilie repays Will's kindness by offering to tutor Stacey, serving as a tentative bridge between uncle and niece.
The principal conflict concerns the limited amount of time Will has to find a job and prove that he can provide a stable environment for Stacey, before a welfare interview to decide whether the girl goes back into the foster system and he returns to prison to finish his sentence. That pressure, heightened by the scant employment options for a man with a criminal record, takes its toll. The Hollywood Reporter [David Rooney]
102 min - Dir: Terry McMahon with: Moe Dunford, Kerry Fox, Catherine Walker, Philip Jackson, Aaron Monaghan
:: Guest Speaker:
"When it comes to love," director Terry McMahon writes, "we're all a little crazy." - The Desert Sun [Andy Harmon]
"Terry McMahon's artistry in constructing a movie that tells an emotionally, politically and socially charged story, on a small budget, with great grace and passion, enlisting an exceptional award-winning cast and crew, is the substance of genius." - Festival and Gig Guide [ Amanda Reis de Paula]
"Underneath Patrick's Day is … a very strong comment on the state of the nation, a very precise metaphorical representation of Ireland that adds a further layer of depth to this remarkable, courageous and ambitious feature." - www.cinecola.com
A young man with schizophrenia discovers love and intimacy, but is denied his right
for both in Patrick's Day, the new film by Terry McMahon which was shown at the 59th Cork Film Festival.
Moe Dunford, who plays the titular Patrick is downright astonishing. There's an overall toughness about his outlook that further strengthens his vulnerabilities and makes his softness all the more real. Impressive to think that this is essentially his first leading role, and given the challenge of playing a young man with a mental illness might have proved a load much too heavy for a newcomer. Yet, his performance is restrained and never falls into the trap of overacting.
Cinematographer Michael Lavelle leaves plenty of room for close ups, a stylistic move which in itself glorifies the landscape of the human face and adds incredible force to the intimacy of the nature of the story.
Patrick's Day is quite simply a film where everything seems to work, including the fluid pace of the film that is at once meditative but also relentless. A few things are left to mention, and must be mentioned. Aside for the element of schizophrenia, this is a film that can be universally understood on every level. Its structure is that of a coming of age story, and the ordeal the leading character is forced to withstand is also frightening because it can be so easily understood by people who do not necessarily suffer from the leading character's condition. www.cinecola.com
"This labyrinthine tale explores the push/pull between Patrick,
a likeable young man with schizophrenia, and his fiercely protective mother, a determined, driven woman who only has
his best interests at heart… or does she?
Boasting riveting performances by Moe Dunford (Game of Thrones) as the afflicted young Patrick, and the brilliant Kerry Fox as Patrick's dragon lady mother, this audacious love story from writer/director Terry McMahon provocatively explores issues ranging from the treatment afforded the mentally challenged to the question of when parental love becomes a destructive force. Exceptional cinema in every way, this is an emotionally engrossing story unlike anything else you're likely to see this year." Palm Springs International Film Festival
Set in Dublin, this beautifully made Irish love story completely captured my heart.
It is an unusual beast: a movie about delusion, deception and the power of love and intimacy to both destroy and heal
that manages to be thoughtful, heartbreaking and funny by turns.
One of the the most impressive things about the film, apart from the absolutely pitch perfect performances by all of the four leading actors, is the way the sound and visuals support the story and engage us. Light, texture, focus, silence, music and muted sound are used to brilliant effect.
Usually these kinds of stylistic devices draw attention to the film maker. Here, in the masterful hands of director Terry McMahon, his cinematographer Michael Lavelle and the rest of the production team, they do the exact opposite, drawing us ever more deeply into the characters, their dilemmas and their struggles to resolve them.
Although the narrative logic of the script falters slightly on a couple of occasions, the humor, the sheer poetry of the visuals, the superb acting and fascinating characters (like the cop who moonlights as a standup comic) made this a wonderful addition to the festival. The Desert Sun - [Palm Springs International Film Festival] [Andy Harmon]
More Than God
(9 mins, comedy) Dir:
Donal tries to catch his wife having an affair. Things go wrong. He's forced to hide under a bed where he bumps into his daughter.
Best Short - Boston Irish FF
Short Film Award - Bahamas International FF
Best Director at Rhode Island International Film Festival 2015
Goodbye Darling (11 mins, drama) Dir: Maria-Elena Doyle
Day five of the 1916 Rising; one day in the enduring love story of Irish Volunteer Michael Joseph O'Rahilly and his wife Nancy.
Part of the "After 16" initiative of the Irish Film Board
(13 mins, drama) Dir:
A lonely typographer with a cruel speech impediment but an eloquent inner voice must face his greatest fear.
Best Live-Action Short - Oscars
(12 mins, drama) Dir:
1982 Cork. Roy's 11, small, and sure he's going to get on his club's starting team. Even if no one else is.
Best Short - Irish Film and Television Awards
Best Short Drama - Galway FF
Queen of the Plough
(12 mins, documentary) Dir:
This observational documentary aims to promote and celebrate women in farming in Ireland. It follows Joanne Deery from Monaghan and Laura Grant from Offaly in the lead up to the National Ploughing Competition.
Best Documentary - Galway FF
(13 mins, drama) Dir:
Ruairi O'Brien & John Kennedy
It's a hot summer and a young inner-city boy, Donal, is trying his hand at cutting lawns for pocket money. His luck changes when he meets Gerry.
Best Irish Short - Fastnet FF
(6 mins, docu-drama) Dir:
Inspired by the Noble Call delivered at the Abbey Theatre by Irish drag queen and rights campaigner Panti Bliss, which lit the touch-paper that helped carry the marriage equality referendum just a year later.
Amnesty International Best Short Film - Isle of Wight
How Was Your Day?
(14 mins, drama) Dir:
A woman is excited about the approaching birth of her first child. Adapted from a short story by Nollaig Rowan.
Best Irish Short - Foyle FF
Best Irish Short - Indie Cork FF
Grand Jury Award - SXSW
Luke and Roger
(1 min, comedy) Dir:
A very short film about a boy and his robot friend.
Winner of the One Minute Film Festival at the Galway FF
(8 mins, animation) Dir:
Violet is the dark, cautionary tale of a young girl who despises her reflection. On the night of the school ball, tired of her abuse, Violet's reflection decides she's not going to take it anymore.
Winner Best Animation - Galway FF
(14 mins, drama) Dir:
Belfast 1972. Laurence welcomes his cousin and man-on-the-run Mickey to a party of drinking, dancing, and young love. By morning, reality catches up with them.
Part of the "After 16" initiative of the Irish Film Board
93 min - Dir: Keith Farrell with: Peter Coonan; Hugh O'Conor; Owen McDonnell; Lochlainn O'Mearain; Duncan Lacroix; Patrick Aidan Byrne; Steve McCarten; Johnny Eveson; Seán T. O'Meallaigh; Séamus Hughes; Sophie Merry; Megan Cassidy; Gina Costigan; Malachy McKenna
:: Guest Speaker: Director Keith Farrell was with us on Skype after the film
"A Terrible Beauty, its title taken from a famous poem by W.B. Yeats , is a docudrama of extraordinary power. It is about bullets flying and bodies falling, but it will capture you on a deeply personal level." Chicago Tribune
"What a remarkable film, A Terrible Beauty. The Irish language with sub-titles, the even-handed portrayal of both sides, the documentary style with the personal stories and the archive film footage and the close-up horror of death. It was gripping - without the 'Hollywood' style 'glamorising' of war." Irish Diaspora Foundation [Ann Towey]
"...the distinction of Keith Farrell's film is that it is so attentive to it's chosen characters
that the viewer genuinely registered both sides of the story.
...a satisfyingly complex and detailed account of what happened during that blood-soaked week." Irish Independent
"You won't have seen a better film about the 1916 Easter Rising this Easter, and you won't see one any other Easter...it offered something rare: a completely fresh take on the subject." Evening Herald
"Director Keith Farrell builds the tension...and reveals the human cost of the conflict in a series of compellingly re-staged battle scenes. Moving, balanced and meticulously researched, A Terrible Beauty restores the ordinary soldier to the heart of the story." Jameson Dublin International Film Festival
Focusing on two of the most ferocious battles that week on Mount Street Bridge and the area around North King Street this is the first film to tell the story from three different perspectives, showing the human cost of the fighting on all sides.
By using first hand accounts to drive the narrative, we tell the little-known stories of the 'ordinary' people involved in the Rising; Irish Volunteers, British Soldiers and the innocent civilians caught in the middle. Mixing archive footage with dramatic reconstructions and first hand accounts it takes the viewer on a journey to the very heart of the conflict, giving them an up close and personal view of the often brutal and bloody fight which affected the lives of the men and women caught up in the chaos.
Mr. Yeats and the Beastly Coins (2016)
(12 mins, documentary)
Dir: Ann Marie Hourihane and Laura McNicholas
Ten years after the Easter Rising, in 1926, the Free State government decided to create a new coinage for the new state. They invited the most famous poet in the world, W.B. Yeats, to chair the design committee.
Behind-the-scenes battles were fought before the new coins became one of the most enduring success stories of the new Irish state.
Granite and Chalk (2016)
(13 mins, animation)
Dir: Patrick Hodgins and Naomi O'Leary; animation by Stephen McNally
Delving into declassified British intelligence documents, this documentary animation tells the story of two spies who could have changed Irish history. Codenamed Granite and Chalk, the agents reported from within rebel camps as they prepared to revolt against British rule in the 1916 Easter Rising.
Baring Arms (2016)
(13 mins, drama)
Dir: Colm Quinn
There are many ways to commemorate the 1916 Rising, only one involves bloodshed.
Baring Arms, which was directed by Colm Quinn, brings the story of the Rising up to date by setting it in a modern tattoo parlour.
1916 Centenary Newsreel Ciné Concert (1916) (40 mins - compiled from newsreels by IFI)
The Ciné-Concert will have musicians providing the live soundtrack for the 40 mins of silent newsreels. The musicians will also play at McKibbin's Irish Pub between screenings on the Saturday.
On Easter Sunday, at the IFI, there was a presentation of a ciné-concert featuring a programme of newsreels documenting events immediately preceding and following the Uprising in Dublin in 1916. The IFI repatriated these newsreels from international archives, such as the Imperial War Museum, and other news agencies, and presented the surviving newsreels in their original complete form with live musical accompaniment.
With the Funding Support of a grant from the Department of Foreign Affairs (Ireland): Cultural Relations with Other Countries Programme, arranged by the Embassy of Ireland to Canada, Ciné Gael is reprising that ciné-concert as a close to this matinée
As we approach the April 24th Anniversary of the 1916 Easter Rising, how are you going to remember the Rising? One special way to connect directly with the past is through this Newsreel Ciné-Concert on Saturday, two days before that anniversary.
This ciné-concert will be featuring a programme of newsreels documenting events immediately preceding and following the Uprising in Dublin in 1916. The British, German, American and Irish newsreels in this short programme were presented in 1916 in cinemas in Ireland and further afield. They are presented here with live musical accompaniment by harpist, Susan Palmer, and piper, Alan Jones.
A Terrible Hullabaloo (2015 animation)
Dir: Ben O'Connor; Written By Aoife Noonan
The story of young Vinny Byrne, a fourteen-year-old boy who found himself fighting for Ireland in the Easter Rising. An eighty-year-old Vinny reminisces on his time with the volunteers, which took him around the city during the fighting.
With Vinny's Dublin brought to life by the handmade miniature sets and puppetry, the film offers a uniquely charming first-hand account of the 1916 Rising.
The Cherishing (2016)
(14:30mm:ss, historical drama)
Dir: Dave Tynan with: Lauren Kinsella, Clare Dunne, Roxanna Nic Liam, Ben Carolan, Karl Rice
When The Rising starts the local sweet shops are the first to be looted by Dubliners living in the tenements. Noel and Tom race off and leave their mothers and sisters at home but the havoc of the next few days will come right to everyone's door.
Tell us a bit about your take on the Rising.
From an interview with Dave Tynan at filmireland.net
It's a story that hasn't been told before. The idea for the film came from my research. I came across something that mentioned that the local sweet shops were the first to be looted when the Rising started - there was a lot of looting. I thought that was interesting.
There is a great book called Dublin Tenement Life by Kevin C. Kearns. It's the most interesting non-fiction book I have read. It's not an academic book. It's interviews with survivors of the old Dublin tenements. Reading where people came from to where the Rising came into their lives was fascinating. These were hard times. Your average family might have ten people in a room the size of a small bedroom. They were already at war. The husband could well be away fighting for the Brits in the Somme or wherever - it was a better paying job than working on the docks. Every mother lost at least one child. Mothers and kids were just left there to rot. One in three people in Dublin lived in a tenement. They became the subject of the film.
In the film, there's a close-up of a sheep's head boiling in a pot that I'm really happy we got in this film because that is what the diet was - dripping, stale bread and the like. So if you are used to all of that, of course, you go for the sweets.
Guns and Chiffon (2004)
(52 mins, documentary)
Dir: Geraldine Creed; Writer: Sinead Maccoole
from the original exhibition that inspired the film - The Exhibition remembers de Valera's 'boldest and most unmanageable revolutionaries' The Independent [Alan Murdoch Dublin]
The documentary Guns and Chiffon commemorates the 80th anniversary of the internment of 550 women imprisoned by the Irish Free State because they would not surrender their ideal of the Irish Republic. The film tells the story of the fight for national independence, from the 1916 rising, through to the War of Independence, the Civil War and the struggle for the rights of workers and votes for women.
The picture could be of housewives on an Edwardian temperance society outing. But then there are the guns. In fact the women shown here were members of the Irish republican movement, pledged to throw off the yoke of British occupation.
Rallying to the nationalist leader Countess Constance Markiewicz's call to "dress suitably in short skirts and strong boots, leave your jewels in the bank and buy a revolver", hundreds of Irish women, from shop girls to society beauties, entered a world which their own journal called "a mixture of guns and chiffon".
The ordinary women, many still in their teens, who joined Cumann na mBan (the women's division of the Irish Volunteers) fought side-by-side with the men. Today only a handful of junior members remain, among them 98 year-old Teresa O'Connell, one of 300 Cumann na mBan women imprisoned at Kilmainham prison in Dublin in 1923.
A comrade, Katherine "Jake" Folan, a republican courier jailed there at 15 in the cell earlier occupied by Patrick Pearse before his execution, recalled her term inside as one of the happiest in her life. The historian Sinead McCoole argues that the republican sisterhood, having broken out of an Edwardian straitjacket that had held them in the background of public life, had a far-from secondary role. [full article]
The Independent [Alan Murdoch Dublin]
90 min - Dir: Ian Power with: Peter Coonan, Orla Fitzgerald, David Murray
:: Guest Speaker: Writer Colin Murphy on Skype after the film
...the unmaking of modern Ireland 'A bleak portrait of the end of a pocket empire'. Writer Colin Murphy and producer John Kelleher tell Donald Clarke about bringing the story of the most expensive bank bailout in history to the big screen. The Irish Times [Donald Clarke]
"There is a hunger in Irish people to see a clear, unbiased version of this story. I think they are owed that, and I think they will be surprised by the entertainment value of it - it's a real roller coaster ride." [Director Ian Power (The Runway)]
The Guarantee recreates the drama surrounding the most significant political decision in modern Irish history when the Irish government decided to guarantee the entire domestic banking system. The story charts the origins of that pivotal decision (four years before that fateful night), and follows developments through the peak of the boom to the beginning of the bust.
On the night of September 29th, 2008, the Irish government decided to guarantee the entire domestic banking system. That decision was made by a handful of men in a room in the middle of the night. By the time the costs can be fully counted, in another 30 years or so, it will have cost over €60 billion - the most expensive bank rescue in history. The Guarantee tells the story of that night, and what led to it. Starting four years earlier, it charts the peak of the boom and the beginning of the bust. from IFI.ie
58 min - Dir: Liam McGrath with: Dolores Keane and Tara Keane
[our first Members Evening of this Season, a Members Only event. We'll have at least one more in the Fall.]
Irish singer Dolores Keane's distinctive deep, soulful voice is loved the world over.
But Dolores' life was overshadowed for many years as she battled with alcoholism, depression and more recently, breast cancer.
Now she has re-emerged from the shadows to share her story. This landmark documentary by Scratch Films for RTÉ Arts pieces together in words, archive and classic song, the extraordinary story of one of Ireland's best-loved cultural icons.
Growing up in Caherlistrane Co. Galway, Dolores was steeped in the deep musical tradition of the area.
She first came to national prominence in 1975 as a member of De Dannann, before moving to London where she married folk musician
and singer/songwriter John Faulkner, the couple returned to Galway in 1981 and Dolores continued to perform around the country
and internationally both with Faulkner and the goup De Dannan.
In the '90s Dolores along with Eleanor McEvoy, Mary Black, Sharon Shannon, Francis Black and Maura O'Connell, had a huge hit with their album "A Women's Heart" and following the album's success Dolores toured the world with her own band. However, as the pressures of living on the road and bringing up a family took its toll on Dolores, her marriage to John Faulkner ended and she became vulnerable to depression and was increasingly reliant on alcohol in the years that followed. Dolores stopped touring in recent years but has now re-emerged from the shadows to tell her story.
The film web page for A Storm in the Heart is here.