Belfast Film Festival Short Film Review
Belfast Film Festival Short Film programme at Queens Film Theatre for 2018 proved packed with gems and new thoroughly well packaged cinema which met a full audience over the day’s viewing. Formulaic work was absent and refreshing alteration on story telling made for a complex mix of seeing as believing. Initially the programme came with strong family stories. The type where misunderstanding prevails and a reveal is the twist in the tail. Each found a way to deny you the obvious answer but produce a strong alternative for you to wrestle with. On the delivery of further films the depth and scope altered significantly covering some animation, some narrative tales, some films based on true stories and several versions of horror and surreal boundaries of belief. A venture into science fiction and two short stories materialised as ectoplasmic excursions which rattled the nerves over a range of ages. For local interest there was plenty. The tropes of political history were examined with varied results.
In the order they appeared I have written a short opinion on how they appealed to me and offer some criticisms purely in the sense no one will really get to write on much of these and I chance a few thoughts in helping to progress talking or reviewing the hopes as they reach us. How to? is not my approach but as with most reviews I take it from a personal viewpoint in how it struck my senses and where it accorded with my thinking or changed it. The pleasure was to see the advancement and this raft of films shows there to be plenty of talent in every aspect of film making with in this case most of the British Isles covered. An excursion to the Czech Republic also produced one of the most distinctive professional pieces in assured wonder.
In the sequence shown
Director : Naomi Waring
Arrivals at George Best City Airport and an ex paramilitary, Fisher, turns up and goes on the homeward taxi drive to his mothers house. Stella McCusker is alone in a loyalist estate watching over a vacuum with concerns careworn in her eyes. In black and white this film gives a profile to the estates and hinterland loyalism is in. It’s bonfire season and with sharp edits and close ups anguish and hard looks coil around the close knit community.
A young boy on a bike exchanged barbs and inquiring probes and he pushes the story on to position the incomer as on a limited pass to his own post terrorism territory. The young actor and older man form the core of the encounter with this eve of twelfth of July run in. It makes you think his prospects are much better than the protagonist who returns to the place after the ‘troubles’ though that is tentative.
The voices in the local working drinking club pitches a strong rendition karaoke style of ‘Penny arcade’ with floor singers welcome to the up and coming club contest. Shades of ‘Benidorm’ timewarp entertainment witnessed. References to the past Troubles are through pictures on the wall and insignia. The talk is of the day to day and in order to speak to his daughter who is at the club, a meeting of sorts is contrived. The past is inferred as family breakdown and the conciliation is sought by the incomer to redress his past. With the pace and lively approach including the stirring of tribal ritual as a backdrop and the pleasant homely feel of the exchanges and people in the community it is a well conceived though under developed piece of drama. The resolution is flat and it sits without a full exposure of the tensions which do exist and none of the everyday working life of the estate is seen to any degree. The playing and story itself is where any value is traced and the trademark acting is first class.
4* A serious attempt at conceptualising current dynamics and the pitfalls and reconciliation at a family level in our broken local world.
Siblings Cara and Nathan are on different paths and Cara’s return from University is the theme of the welcoming return. For Nathan he is a live at home attendant on an alcoholic mother. He is lamenting the hullabaloo over the simple terms of the homecoming and while loving the fact his young sister has achieved something he compares it with his one stalled hopes and career as a music teacher by being to the boil his anguish as this reunion prompts all the wrong emotions. The whirlpool of the welcoming party is seen through the eyes of a Nathan principally and his actions. He sulks alone and then the central comparisons take shape with acerbic doubt fired general differences which are mostly based on their different perspectives. The tally of right and wrong is grey territory with each having good reasons to be at the point they find themselves.
Like a lot of the films of this season it concerns itself with reconciliation of relationships spoilt by the past with a pressing question of who is right and is anyone to be faulted. For a short film it is ambitious to come up with any real solid answers and it does leave much undisclosed and unexamined. While it puts forward a very good trajectory of story easy to make some connections to it relies on the excellent cast to bring out its overhanging sadness. The script is initially laboured but the sciences between the two principles are very heartfelt and extremely convincing. In every home a dilemma if not a heartache. The difficult part of the drinking mother is played with unabashed fluidity and convincingly by the mother who is somewhat exploited in her stereotypical role with no really shocking or unexpected lines.
4* Fractured beginnings and endings with no winners. Has very good moments and universal themes.
Director : Eamonn Murphy. Cast : Emmet Kelly, Aoife King, John Kavanagh, Nicole Poletti
Here is a road trip with a difference. It is of a place where many have found themselves in with a seriously ill close relative advancing to confront your emotions and family relationships with love bearing down as the core central part of life visited darkly and in the very present reality of someone’s passing. Seán is an artist seen initially dropping of a canvas to a central Dublin Gallery and with flashback and scenes of celebratory exhibition modes traced there is an exchange of timescales where Seán is seen making the choice to deliver the piece to the Gallery as opposed to staying behind and being with his mother who is dying slowly. His own selfishness or neglect is called into question by himself and the trio of phone calls which come into his journey on the new highways of Ireland’s opening up of its meaning and separateness is all too familiar and an easy route or so it seems, to take. The journey is the central part. The conflicts each phone call takes feeds the emotions. First there is his Dad calling, then his Sister, then his girlfriend. Each pulls out a different framing of his love and indeed his notion of himself and where he is at in this new contextualised place. Cleverly the struggle of being his own self is examined and is carried very well by the actor who we see responding to tiny and implicit alterations and nuances as he drives. The burden is manifest in the darkness of nighttime driving and of the tracing out of the road in this Ireland of shallow and solid opportunity. “I’ve been very mean to you, I wish I was better to you.” Comes out of very many circumstances and lives. The mixed vibe is very good and industrially complex in not allowing a standard reaction to be held. I found the road scenes very immersive whereas the other open, ‘standard’ shots were not on the same level and dulled the effect.
4* Very good dynamic and lifting the spirit while demolishing it in an emotional excursion full of tension and original knife edge touch on familaier reality.
In the workings of a family of three there is an unspoken tension and it is not discernible to the audience of the mother who in her domestic day to day converses with a young daughter on the stories she comes across in school. The couple are late twenties and the girl around seven, eight.
The Gaelic Children of Lir and fantasy is an enjoyable framework for the educational needs as are other myths and stories of the ancient world. The appearance of the father is somewhat as a hectic perhaps civil servant with his bran flakes and tea/ coffee a hurried morning routine. The women of the household have a natural bond over the wordplay and story telling which is a feature of the day ahead. Of learning and the things and moral tales those educational paths bring. However the edgy troubled state of the husband is without explanation or even a cause the audience see and the woman does not. In a few short minutes. The film is only ten minutes long the suspense and it is nothing solid or an unnecessary flight of extreme probability but a thoughtful relevant and progressive denouement.
4* The Woman need not worry as the outcome or resolution of unexplained, behaviours, unkown series of occurrences is set to put her mind at rest as indeed it will yours – depending on your silo! or lack.
Director: Annika Cassidy, Writer: Annika Cassidy. Cast: Lauryn Canny, Ally Ni Chiarain, Seana O’Hanlon.
On a rainy day without rain umbrellas for effect are raised as two young teenage girls walk home from school. Implied (according to one younger viewers I spoke with) is a gay relationship perhaps going to emerge as the storyline. What happens in the first minute or two is the pair splitting up and after affectionate exchange of words one disappears to an apparent home of warmth and welcome where the other goes home to the detached and isolation of a leafy Dublin suburb to be greeted by a dilemma and house with a lack of paternal love or security. This is a film which gives a sharp shocking heartfelt thump to the emotions given the actors play out the scenario in a effective way. With its range however I thought the science choices and handling could have been much tighter and less frippery or less overdark fixed framing would have made it a very solid piece. The last scene in fact is with the young girl at a sink peeling the spuds for dinner. That is a reckoning for the title. It is a Vermeer type shot and if the whole of the film was of this closing quality with its observance and unspoken undercurrent it would have blown you away.
3* I thought the story was worth the telling but was distracted by the – in my mind anyway other views are less troubled perhaps – motion and scenes juxtapositions but possibly I was missing something in what was after all a very straight forward story of two separate experiences for the two girls though the First was not and may not have been as good as implied either as it was not dealt with in ‘mirroring’ the differences.
Director : Jonathan Harden, Writer : Bronagh Taggart,
Getting Katie to drop her guard outside the ring will be Kieran’s toughest battle yet the story goes. Funding notes – The film boasts an award-winning team, including BAFTA winner Michael Lennox, who was nominated for an Oscar for his short film Boogaloo and Graham in 2015. Lennox will produce, while multiple Emmy-award winner Robert Sterne credited with finding lead actors for hits such as Game of Thrones and Wolf Hall will cast the short. Former The Voice contestant Leah McFall will provide music.
The Belfast of sporting opportunity is cleverly and brilliantly projected in this story of a girl boxer training on the lone path to find her spine and core self in the way sport challenges do and asks questions of the mind and body. The girl Katie comes across the Westlink in Belfast on the footbridge running after coming from the derelict GAA stadium she has been pounding up and down the terraces of. Good hand held shots and a continuation of her situation is opened. Her father is at home and his return is ‘on probation’. He keeps at arms length or further away as he disassembles his narrative with his daughter. Bronagh’s Husband director Jonathan Harden is assured and with the stories unusual broad reaching quality. Bronagh Taggart never drops her guard in the playing of this character. Bronagh Taggart who has appeared in The Fall and has also a part in the film on Conor Magregor coming up, is this story’s writer and she conveys a cogent, very strong statement of a girl approaching her circumstances by trying to test herself, possibly to the limit. Her portrait and portrayal is brilliant.
Positioning herself in the frame centrally and not speaking any words save six over the whole of the 13 mins. With the speedy trajectory she offers an eagle stare and fixed presence of being in the world, wanting to perfect something imperfect and damaged. The damage she carries and conveys obviously setts her apart from her father. No spoilers here then. Not estranged but pragmatic and demanding Katie wants to train hard and her fathers skills are not declined in training in the backyard of their shared home. It is a home with bad memories and both live on its fringes avoiding talk of the past. Katie and her father make a pact and the local club St Joseph’s is enrolled to allow her to spar and ringwork. The boxing club manager is our own version of Ray Winstone’s trainer style (Jawbone a boxing film) Ian McElhinney. When punch comes to shove or fist comes to face and guard this film is intensely sharp and on the money. It gives as food as any film of its kind and is sharp witted while being totally plausible. The Commonwealth games now wound up are a mirror of the tenacity and intensity seen in this one of depiction of one girls pathway.
5* It ticks most of the boxes for me in that it is an absorbing forceful unapologetic disconcerting take on complex family troubles and making amends though in the drama a hovering unexplained poison exists which in a wider concept might provide further and added riches. A very well constructed smart story and brilliantly delivered.
Update on Commonwealth boxers! Both Michaela Walsh and Carly McCaul failed by the narrowest of margins and contested decision in the camp, obtaining a Silver Medal for their skills against top class opposition with determination and proper attitude speaking volumes as sportspersons of character.
Director : Tara Hegarty, Writer : Tara Hegarty, Cast : Gary Crossan, Naomi Cooke, Rachel Walker. Music : Karen and Jolene McLaughlin.
The fables of the sea are many and for a Lough Neagh eel catcher he failing to remember or keep the letter of superstition fully on board has the misfortune to rock his own boat. This involves the discovery of myth and legend immersed in the deep waters even so far from the Sargasso sea bring all kinds of crazy ideas to met up with him. Mindful as he is of the woes that might befall him he fails to comprehend the circular nature d the female of the species once he has troubled or mistreated their magic mysteries and powers of persuasion in ladies from the sea.
An explanation does nor exist in this fable of a C. Andersson fable (Agnete og Havmanden) it has within possibilities as origin. Those children of the sea free also. In the ballad, a merman woos Agnete to leave her children behind and come and live with him in the sea. She does so and has several children by him. But one day she hears the ringing of church bells and with the merman’s permission returns to land to visit the church. In some versions, the images of saints in the church turn away from Agnete when she enters. She meets her mother, telling her about her new aquatic life. In most variants, she then abandons the merman and stays with her previous family. In some versions from all regions, however, she returns to the sea.
The filming is difficult in the confines of a boat and only a few missteps or choices were found distracting. The costume design was very effective as were the aquatic skills of the cast. It dwelt a bit on the confrontations and comic played out the joke a bit labouredly. The underwater photography was a stand out.
3* With wet sails and a fable to follow the eels of Lough Neagh do not need any help in escaping the thorns of this vessel. The boatman is a mere transient in the hands of the women and is put to his penance with other worlds anticipated. The sea is wider and more expansive and I yearned for a more gripping tale along the lines of the one mentioned which Ibsen put into a stage play.
Must do is a Good Master
Director : Gerard McKenzie. gerardmckenzie.com
Do not let the title distract you. It means, what has to be done, has to be done. It comes from a saying often spoken to the director as a child by his father. What ever it takes, it takes or words to that effect. It will not provide you with a necessary truth or pathway here straightforwardly as this is a tale of grim telling. In the mode of a road movie this is a beautifully tight little short film with power and very lucid cinematic tension and fear woven in. When the broad road of the Czech countryside is first seen – the film begins with a wide frame shot showing you the environment in the best tradition of a short film introduction, then to the road vertically as a hitch hiker asks the driver who is Irish for a lift. It turns out the man taking the lift is a contrarian who is irritable and he makes his poverty known in an oblique way which is not his best course of action. He also in a dialogue sharply constructed and edited let’s us warm to the driver who is going out of his way – not in the literal sense – on this remote wood lined snowy winter route between towns for a fellow traveler. The crafting of a story is around the Irishman’s unconnected existence to this place. The question immediately is the reverse logic of immigration. While Ireland is populated from Donegal to Wexford with East Europeans this Irishman has gone in the opposite direction and drives his comfortable car into the tundra of a Czech winterscape.
Whatever his object is – and there is a hanging dreadful end to consider by the last frame we are left to behold the title. In closing also we notice he is a conversant comment Czech speaker which added seven further to the burden of ???
5* We have here a beautifully professionally created terror of a film which is in its absurdity surreal as well as brutally confronting. It is shot with a clean air depiction of different lives lived for reasons kept hidden but as paths cross the lives are taken intertwined and interlocking. Nothing further should be said until you see it. And the thing is seeing films – Must do – otherwise your none the wiser.
Marky’s bad week.
Director: Daniel Holmwood, Writer: Daniel Holmwood. Cast : Caoilfhionn Dunne, Neal Harrison, Darren Smith. Daniel Condon associate producer, Daniel Holmwood co-producer, Paul Rowland producer, Liz Wilson executive producer. Cinematography by Stephen C. Walsh, Film Editing by Daniel Holmwood.
The volume is turned up on the life of a canal side drug addict who in a bright sun filled day is settling into his habit to start the day on the wrong (right) vibe. The colour is turned up to ten and is almost off the dial with the costume department furnishing this hard worn disheveled man, Marky, Martin and Marty – his moniker is disputed – possibly given the worst yellow ribbed jumper someone has cast off for Christmas – several Christmases ago. It’s summer in the city of Dublin and Brendan Behans bro’s words warn of the jail down the road which (the keys go jingle jangle ok!) madam freedom is a hard road. For Marky it’s not helped by having a female acquaintance whose on moral guidelines appear to have slipped down onto the towpath and both are at each other’s level.
Spaghetti western music ups the ante with the visions of rattling saloon doors and you talk in’ to m scenarios as noise’s off. No one except Oscar Wilde and Behan would have doubted Marky’s predicament. Behind was a user and Oscar was a star gazer. Marky has had a bad week and he is in need of his fix of the smoking kind. The resin is lost however and this sets of a bad trail of events and comic relief is harshly sent to us for our entertainment. On occasion there have been exploitative films on these lines but here there is something different. There is a Wldiean pathos and beauty about this one. It puts on the towpath a curve to life outside – our own – hopefully few are in this discomfort – and unpatronsngly gives a heft and a push of hope in desperation ion as an antidote to the fate of Marky. A recent aside from someone to me on the subject of drugs was an observance “They seem to be the happier for it” is well wide and no comfort either.
4* A four square film with candor and carefully handled despair. It was provocative and well constructed and evidence of the state of our society in unseen parts. The coloration and musical elements served to produce a sunny vista for despairing scenario which itself realized its objectives of keeping us locked into believing the story and having a connection with the characters it showed.
The Tell-Tale Heart
Director: Patrick Ketch.
In an opening which was missed it is possible my perception of it was falsely formed. So by way of introduction I give you the story synopsis upon which it is based. Without giving away the narrative, this is a bleak and dark story of intense psychotic verve.
The narrator of “The Tell-Tale Heart” is generally assumed to be male. However, some critics have suggested a woman may be narrating; no pronouns are used to clarify one way or the other. The story starts in medias res. The story opens with a conversation already in progress between the narrator and another person who is not identified in any way. It has been speculated that the narrator is confessing to a prison warden, a judge, a reporter, a doctor or (anachronistically) a psychiatrist. In any case, the narrator explains himself in great detail. What follows is a study of terror but, more specifically, the memory of terror, as the narrator is relating events from the past. The first word of the story, “True!”, is an admission of his guilt, as well as an assurance of reliability. This introduction also serves to gain the reader’s attention. Every word contributes to the purpose of moving the story forward, exemplifying Poe’s theories about the writing of short stories.
Here we have a man loosing his mind while caring for an elderly man whose health continues to deteriorate.
In medias res there is explanation which the visual prompts display. I enter the story in the middle in all respects. So something Homeric might emerge and it almost does. For literature to shed its narrative visually it is possible this story might have been the most difficult the film creator could have taken on. Tell-tale things are often natural paths followed. There is an unnatural path taken here in that the perpetrator of the central element of a past act in the course of being executed is taken in parenthesis. How could such a thing have happened is the quest of the story yet the film offers only small snippets on this observance. Why is question and only a backstory of some consequence would enable the reader to be satisfied of having grasped the scope. 2 to 3 hours sleep is taken by the old man whose illnesses are House confining and his attendant is fixed on his own measure of care. It ends in grave sufferance for all concerned and the outsider looking in – two Garda are silent at the story end – are even less informative.
4* A brave attempt at visually representing a complex and perplexing; in its own reasoning, of the story The Tell-Tell Heart by Edgar Alan Poe. It is a very static film and therefore depends on but sometimes misses with the inferences derived from the facial examinations. In its mid section it is something of a slow unconvincing ‘act’ of betrayal. It gives up without a fight in some respects. Decent effort which may reveal more.
2017/Ireland (11 min 58 sec)
Co-Directors: Aoife Nic Ardghail and Kate Dolan
Notes. Maura, an aspiring poet, has been dumped in a voice mail. It was only a casual thing, but she’s still stuck with those grim feelings that come with rejection: self loathing, anger, resentment and an insatiable hunger for chocolate mousse. And bacon. And wine. To get out of this funk, she decides to take control.
Her mate thinks she’s a dope, but Maura’s sure she’ll win the guy over.
The event of a text dumping annoys and perplexes Maura whose ideas of a relationship in its short life, may not be the thing worth dwelling on never mind putting the rejection into poetry. On the other hand poetry can compensate for blemishes and failure is made the more resolved. Another idea is food craving and food combining added to the mix. For food combinations this is a recipe for pathos and held indifference. Maura carries an urge but her friend Emily, whose relationship with the male is in a space not fully defined, on FaceTime is a friend with other matters on her mind. One perhaps with her own longing for the unseen male. Probably best if she didn’t listen or text or read poetry we can agree. On the chances of this fine beautiful soul getting a relationship dependent on more than a few words of poetry are huge and unseen by her or her friend. It will come down to the wishing well and a meeting at the bandstand.
Toe to toe or the bench position of looking out to the same horizon without looking in each other’s eyes. The latter is selected as she sits to make the encounter bring out a new reward. Whether it is a song or dance or a love on a rocky path there is much to be discovered. We see the combined mind games and thoughts of love accumulate while we look to find an alternative she has overlooked. Opportunities exist but Maura is intent on her lost feelings or abandonment getting a result which she deserves. It is a wonder which way it falls. The playfulness of this dilemma is dealt with irony and aplomb by a series of filmic adventures delivering a pleasant comedy of mini rom com proportions. A girl never reveals except to a few close friends over a drink after a bust up maybe what the bloke was like as she lists the pros and cons. Good sex bad sex good cook bad cook and numerous details too ugly to mention and the fact few resolve her situation and what comes up in the next relationship is all that matters. This is an age of ‘perpetual’ innocence is betrayed by the fact those men questions which I would have loved some feminine insight to were absent.
3* Playful and entertaining it didn’t get the rub of the green – after all I’m an old cynic – it had its uplifting moments and ponderous ones but it though it lacked perhaps a bigger lesson on the male side of the equation. His character was one dimensional but it claimed no victims in its passing.
Co – Directors : Kathleen Bridget Murphy & Louis Tornero-Moffitt
Early morning and the road again. This is a tired factory worker returning home from a night shift and he encounters an obstacle on the road which he only just avoids. We see the uncommunicative but alive obstacle and the nearly trashed VW Golf, (brand placement everywhere these days) and he gives a bit of a ranting telling off to this semi inanimate obstacle. It is unmoved by his guide to staying in one piece and he takes the said obstacle off road and in his car to a destination yet to be found. The incident is stacked up with questions surrounding its principal parts inanimate or otherwise. The journey is a difficult one and it’s conclusion is precise and thoughtful and maybe just plausible in the scheme of things. Nothing really struck me as a dynamic of sufficient thrust and core bristling interest to warrant this good and well produced and carefully filmed piece. The script was on the ball and was full of believable reaction but in its completeness I thought it lacked a crucial identity and presence in forming a proof of purpose.
3* A creative and satisfying narrow road trip with a subtle difference was entertaining enough but failed in view of the work that surrounded it to stand out as a lone wolf signaling difference and originality. It was a chiller first, a mystery secondly, a conundrum thirdly and finally a concluding drama. It was a decent piece of work.
Monkeys in the Garden
Director: Marie Clare Cushinan, Writer: Marie Clare Cushinan
Cast : Sophia Adli, Susie Kelly, Maeve Smyth.
In the initial set up you can tell were this is going. Elderly Mummy is suffering dementia and is at the last looking glass of her view of the world. Weirdness comes with the territory as does compassion and dilemma. Beautifully choreographed to show the different sides and perfectly acted to show the believable shape of things it took any watcher into the perhaps unknown bewilderment facing those around dementia and served a very good drama in its telling. It was set in a local semi detached suburban house with an extensive garden. Ordinarily it would be a very nice place to spend those last years and it was up to a point. It shaped as a narrative in which the woman was blessed with two caring daughters, Keira and Amy, whose own lives are very engaged and active. One is the principal carer and is strained in managing the day to day with her at odds with the reality she habits as seen by the mother. Unreal things as the title gives you the trajectory; it’s so helpful sometimes when a short film puts in place an absurdity to look out for and it perhaps enhanced our enjoyment if that’s not to facile a word, to focus on the participants and the navigations they make around a persons confusing, emotional instability all to do with changes in the brain and not the character. Some staid and tiny set pieces were a bit rigid but the whole was a very good piece and it had an excellent cast who dealt with their own balancing act of love and tolerance in showing real concern across the ultimate kinship and family needs. There was a real sympathy felt for all those in that place, that raw family alteration. The garden is another player with beautiful apple blossom interwoven to the trauma of the interior worlds.
4* This was a piece which gave more than its gentle aura initially promised. It covered in depth and with a caring insight the necessity for tolerance and patience when a family member becomes different from the person you grew up with. While change and no going back – although there are a range of indicators progress could be soon made in respect of illness such as Parkinson’s, Alzheimer’s, Multiple sclerosis, agents of disease in the nervous system which have so many debilitating and seemingly irreversible effects. The film stands out as a very good educational piece for people unaccustomed as I was to the Monkeys in the Garden which is a metaphor in itself for the estrangement nature places us in. We are several steps removed now from the Garden of Eden. I write this on the day it is reported four orangutan’s collaborated in escaping from a medical facility. Someone therefore may well have been witness to new occupants in their garden.
Director : Phillip Lewis, Writers : Richard Kearney and Phillip Lewis.
The key to this short film is not believing all you see as it turns out. It starts of with a drive in – leaving the car keys in and bold as brass use of the long driveway – then a balaclaved daytime saunter through a luscious well kept garden to a period house and rear conservatory. No garden today then! In the audacity of the film maker putting the thought these burglars know what their doing – they have their own key – it sets up questions you flick through – workmen copying them in clay or making a quick replica somehow etc etc and you are a dope on rope. As I say all things are not as they seem and is anyone in the house? Will they get their comeuppance swiftly and violently?
The expectations are out there and grabbing you in. For the two boyos their audacity is to be completed dumbfounded. The results are a mixture of comedy, tragedy, misplaced hope and a divisive turning point. The sometimes misplaced simplicity and from a film angle occasional untidy piecemeal passages of script are unconvincing and required better treatment or a less obvious and less wordy might have driven it harder and more frenetically to the ultimate fallout.
3* I am being a bit ruthless here but I honestly was not taken or carried along with this particular piece of lunacy. Even with its salutary lesson or moral message it lacked a dynamic to match the acting and locational advantages. Good entertainment but not that memorable.
Leap of faith
Leap of Faith is written by Dave Thorpe, directed by Mark Smyth and produced by Jonny Farrelly for PIO Media.
The new rejuvenated apartment saturated domestic scene in Dublin is a far cry from the unplanned City from the sixties onward. The prosperity brought about by creating a sovereign state as a tax haven resulted in boom and the despair of bust is recognised by having a plan in absentia for Forty years down the road has freshness and renewal concocted now jam and biscuits tomorrow. The impossible burden of debt accumulated, written off for the Banks is sitting obstinately on the edges of the working world. Superman is needed to enter the mix. So the story provides an escapist adventure in the splendor of a pair of youthful optimistic singletons those realities don’t visit. While on her top floor balcony one day across the communal architecturally clean courtyard she sees in an adjacent block a young man exercising and taking it very seriously to the limits and she is engrossed in his routine. It turns out all is not as it seems. An incident is witnessed which changes her outlook entirely and she is more than intrigued but compelled to find out what is going on. By following him and shadowing him some things become clearer. The spooky and surreal is visited while the obvious is not followed. The shape shifters and decievers are in the building and normality is put to the side as found nonsense everyone else behaves in accordance with.
3* From the outset I found the discomfort of this vision of the Dublin altering unappealing like Seoul without the soul was and taken to a place where reality does not fit in only allowed and the film became one lacking substance while simultaneously carrying all the models of the genre competently and with fluidity. Cinematically a very good piece of photography neatly rounded and sufficiently different to keep its edge however blunt or sharp it was from time to time, was vaguely entertaining. Some folk like this escapist genre for its examples of otherness. It never reached into the zone of Blade Runner nor harvested or borrowed from another trope but relied too much on intended ordinariness to go just above the surface of believable narrative. Simple Japanese films (Taiwan/South Korea are also fine sources of inspirational work) have a gauge of this sort off to a tee and are the main point of reference I would use. The filmmakers could be served by looking into the similarities they seek to harvest or convey as they have sufficient talent, skills and dexterity to robustly shape an idea to succeed somewhere along the line. Disappointed viewer here. No religion, no guru, no faith.
Director Steve Wood, Producers Steve Woods – Cel’ Division.
Chester racecourse at the time of the famine is the improbable destination for George Moore’s (beneficiary of land due to The Napoleonic battle of that name) racehorse Coranna. The Moore family were the owners of a large tract of Antrim land in perpetuity. They made good use of it and it’s inhabitants. The one element this story fancifully takes for a story is probably less interesting than the actual facts. The jockey on a Coranna was one Francis (Frank) whose far from indifferent persona as played on intbhis animation was torridly fierce and a huge success. Born into the family of The Duke of Richmond’s family in 1817 he became a formidable horseman with tenacity and bright eyed sharpness. None of this appear in this laconic tale. The young man thrown up in the saddle of a brilliant mare to win the Chester Oaks in 1846 was far from the depicted boy in a mans job. Conceit or lack or research may have made this famine tale more palatable but in it as with Irish rejection still of large holdings by current British landowners in this province it actually galls. The Chifney brothers were as the extracts from the Sporting Life Book on Frank Butler are testified to in the accompanying extracts the opponents and in the writing it too lacks proper regard of the circumstances. There is no way a moderate filly would finish second in the Oaks ((Epsom) as it was the oldest most valuable contest on the turf alongside its brother The Derby. It would have to have been a very bad year. The animation is repedatative and loose while conveying something of an attractive story if your wanting to underpin regardless of fact the lack of ponying up of the British state to feed the itinerant famine plagued Irish. It’s obscenity is tenuously touched upon. The famine I saw seen as basically an aside without the horror conveyed other than the screenshot I’ve shown (my title). The story effects a bluster and cod English mocking approach which is simplified beyond fathoming.
2* I was interested initially in how the exposing of a families attempt at saving their skins by duping a young jockey and the fallout fro all concerned might take me. The shallow end is where it went despite the very good rendering painstakingly shoring up (an unwalled) Chester racecourse. I once sat on a horse the day before, training on the sand of Strangford and he went to race and win at the tight bowl of the town walled Chester Racecourse a valuable handicap the day after. To capture the real buzz and effort of the achievement was no in and out venture. Even the lovely Dee is not noted.
Directed by: John Carlin, Written by: Aaron Gray and Paul Skillen. Cast : Katie Goldfinch, Antony Achaempong, Nigel O’Neill.
A disclaimer for film school aficionados is given, I dislike the genre of most Sci Fi outreach portals cinema of no particular sense or form. Those seeing Silent Running, I grew up in a generation spell bound by it (namesake local band were not bad either!) or 2001 A Space Odyssey will be curling up in perplexed bewildered angst given the paucity of the story here. It was presumably put together with strong endeavour. The filmic quality, cinematography, is very assured as are some of the leaner dialogue passages but it is very static predicable and unsharpened in lots of elements. Set mainly and primarily in a cage of a dystopian altered enigmatic film genre inspired container on a transit loco (foley is brutal reminder) and two male – security as a name check – so they still don’t d The bogey room of vessels with in transit bodies is appallingly trite. There are problems in finding a new angle which are not addressed here. A story without robust and conspicuous conflict and endangerment is not one the confused Echoes appears to me in creative juices. What Echoes are we looking at, what drama is unfolding, what is the mission really in aid of. The time signatures put in text, in the frame, sometimes almost missed because of their duration and the changing background serve only to indicate the time it will take to come to some sort of conclusion.
3* it is a very attractively filmed and polished VFX rendered film all the way through and actress, Katie Goldfinch as Gouldine to hold the premise together is the saviour of the film and its uninteresting fodder commonplace fodder. Amidst the dry ice and ball of confusion which probably fell out of the doughnut of a story. Somewhere related to Planet of the Doughnuts? was the injection of the younger couple as the tedious grew with apathic Monet after moment. Some have called this the best Sci-Fi short film of 2018.The. It lacks any intensity or shock value and originality rests with its integral internalised viewpoint. A big disappointment and along the lines of the reviewed Leap of faith above, (horror) I would suggest a similar rethinking tales place. Simple Japanese films (Taiwan/South Korea are also fine sources of inspirational work) have a gauge of this sort off to a tee and are the main point of reference I would use. The filmmakers could be served by looking into the similarities they seek to harvest or convey as they have sufficient talent, skills and dexterity to robustly shape an idea to succeed somewhere along the line. Disappointed viewer here. No religion, no guru, no faith.
See Katie Goldfinch in Animus for a better shot of a film.
The Wedding Speech
Turning a tragic story into something of a comedy is a false move to begin with. This film will be in the provinces record of loss of life in circumstances other than the troubles is stretching good taste. Maybe it has been one way the joint writers – a short story version s credited to Isabelle Broom – has of dealing with very personal loss and tragedy it certainly is. The premise aside I was not greatly enamoured either with the stain and strained efforts excellently made all the more obvious by the grimacing ‘principal boy’ virtually continually coiled like a small Chris Eccleston, in fending off the moment he would have to greet instead of rehearse The Wedding Speech which was to be non-standard.
Perfectly sound in its filming and evenness of dialogue and following the ludicrous concept it managed to weave through on dialogue and characterization something meaningful.
3* A relatively safe short but made difficult because of the nearness particularly in this community of the central subject and is immediacy or reveal which may horror some in less strong positions to encounter this core life consequence. I was left wishing I had locked out of it rather that take it through such was it’s I’ll regard at least in my own mind remarkably not to be made mockery or comedy of.
Cast : Mel Tuck, Director: Alexander Wilson Flynn
Writer: Alexander Wilson Flynn, Cast: Mel Tuck, Alex Kilner, Justin Turnbull, Joyce and Jaqueline Robbins.
The far off Canadian province of British Columbia is where this is set. It was formerly once occupied by Indians whose land down to Washington was wrested from them by force of arms destroy for communities once having several dialects, languages, and freedoms which heck, Trudeau and Trump don’t actually relate to. This is a revenge film. At the old folks home setting is in black comedy gainful nuancing, having a couple of grey haired young old lady twins at peace and mirrors of the age on inactive promise, the scene is built for a story with added value throughout. Its balance of intrigue and intention is nevertheless built without tension. However it sets the scene for some bizarre outcome it seems. The direction it will take is held in uncertainty. There is a picture of tranquility with an old man watching the summer pass him by and as he surveys the pleasant outlook across a table next the main window looking into the car park we are given several red herrings. No food jokes here. The roominess and comfort is beyond question and the staff pleasant and unhurriedly carrying out this pace of daily routine. A car pulls up and a young family disembarks. There is fateful twist to this peaceful environment. A new male patient arrives and is shown to his new abode which is a delight and airy. He looks a bit like the Hundred Year Old Man and I wonder if he’s to get up immediately his belongings are packed away and escape through this new window on life. I could tell you more but that’s not the point. What happens is entirely plausible and very dark indeed with a universal theme and as I say it is a revenge black dark drama of no quivering or disjointed misplaced weight.
4* This film carries its subject very well and extremely professionally. Engaging from the outset it carries on keeping you thinking and in its conclusion shocks beyond any measure of expectation at least as I found it to appear and reveal its darkness. Excellent dramatic short film and very cleverly observed in the gentle persuasive making.
The Music Room
Director: Mick Gordon, Writer: Eugene O’Hare, Cast:: Isaac Heslip, Patrick O’Kane, Aislín McGuckin, Terry Keely as older Ben. The Ulster Orchestra. Production Kevin Jackson & Chris Parr, Cinematography by Ryan Kernaghan, Film Editing by Brian Philip Davis, Production Design by John Leslie, Costume Design by Diana Ennis, Makeup Department Sarah Blair assistant makeup artist. Duration: 14mins
Sebastian Bach, Pyotr Tchaikovsky, Johan Pachabel perhaps even Sergey Prokofiev, and Dmitriy Shostakovich all would be grist to the baton of the 10 year old Ben, who puts up with a lonely home life having an irritable father who is not pleased with his sons choice of hobby or obsession which is taken to a level he himself was not expecting. After a good spell in the TV drama My mother and other Strangers, Mr Heslip is in command of his acting. With the very accomplished Theatre Director and now by Mike Gordon this is the outstanding work seen at this festival in my view.
From a home which is full of modern advantages, his life within it is claustrophobic and to this he puts a solution into practice in the expanse of the music room he makes his attic retreat. The school he attends has a music teacher whose guidance and soft persuasion allows his passion to grow and evolve. The sublime understated love and well placed tutelage of Stella McCusker the very leafy surrounds of his school, puts this combination totally into the great onward tracking of the actual flashback and dreamlike smooth passage of story telling at its best. The comfort is also in the music which is performed with – a cinema elevates the receiving – of an outstanding stirring set of combined pieces to many to relay here. A little divertissement with a fellow pupil raised a laugh of musical criticism. You will be blown away I hope by the audacious ‘orchestration’ of the piece and the play of the baton skilled Mr Ben in action and his command of the music source which I will say little more of given the splendid and fantastic delivery it brings to the viewer, listener. Thoroughly rounded and extremely well filmed and edited giving a smoothness which belies its undercut complexity to deliver a many layered opus.
5* A very well rewarding piece in the viewing and full of brilliant playing and with twists and core intense delivery for such a short film. A perfect little masterpiece for all involved and will be seen in the near future on wider screenings and wider audiences.
Simon Rattle is old news Ben is the new kid on the block. Thoroughly enjoyable. Finis coronat opus.
Safe Haven’ features actors Bronagh Taggert (The Fall), Brenda McNeill, Luke Walford, and Sid Ralph. Produced by Margaret McGoldrick and Chris Patterson, and written by Spence Wright
This turns out to be a well conceived short horror pice wth fright and a child’s peril adding to the mix when he is left alone. His mother is called away from their Belfast flat on receiving a phone call from a person she is a carer to and despite it being her day off and she has to attend to their things she puts herself out to respond and therein lies the danger for young Zoran left behind. A volcanic ash cloud has enveloped the whole province and Belfast is under an umbrella of darkening skies. The television is the initial bringer of bad news on the Ash cloud and the views of twenty four hour news delivery on a lessening scale the impact. All is not as it would normally seem with much more to this than the grounding of airplanes and reduction in utility delivery, communications and movement.
The mother is played by Bronagh Taggart whose Guard is reviewed earlier. She is a very talented actor this time slipping into the role of an East European single parent with pathos depth and energy in which she delivers the arch of the dilemma and the peril element as an underestimation. There is a clear mother’s affection. Another character who enters is an elderly neighbour whose take on his name, Zoran, for Belfast woman is an aside and showing detail is paid to fill every local treatment in this well written story. It plays like any other European country would be proud to give exposure to. It is up with any comparable fear and horror of its kind in the field heavily populated by poor fudge. In the telling the young boy becomes the focus and his acting is well caught and unhesitatingly gripping for such a young lad. There is an ectoplasmic overtone which is not overworked and the close up attention is gripping when the story bites.
4* An excellent drama which is full of tension and altering perceptions as it approaches its conclusions. Bronagh Taggart excels in giving it a heft and gravitas which in lesser hands would have lessened the high resolution impact of this doom laden story. To my mind too much is told in the explanation of the film in the programme so avoid the notes they gave!
Sinead and Brian, played by Charlene McKenna and Rory Fleck-Byrne. Director : Selina Cartmell, produced by Claore Gormley for Parallel Films. Writer : Liz Quinn with a layering of Owen Roe, Camille O’Sullivan and Donnacha Crowley. Plus the band “Darktown”.
In a misty evening with the sun having gone down on Bray the Dublin Bay lights fringe the town as a young woman enters the neon fashioned Ballroom of romance known as The Bray Head in a normal life. Life here is in suspension with her entering a spot singer holding his vintage microphone doing an awesome job of the blues set which will permeate and wet the appetite for loves fling. The bar is empty and a lonesome lady sits like a fixed mannequin (Camille O’Sullivan) while a few bar flys talk next the slot machines at the end of the bar.
‘If I can’t smoke it, I don’t want to know’. What film of its kind doesn’t have a lasting line. A bad one. The young girl sidles up to the bar and is given a cocktail an awaits her date. For the date not to be first is a step back and the film is paced in this negative turning back of time. Rather than the alternative route of the evening racing forward into the unknown, deliberately there is time taken here to ponder. The encounter is friendly and a match is made in a place on the edge of need. Both are wanting this to be the return or frontier of golden promises. What is told by this simple tale is fairly bluesy in its fragile tenuous existence. The players both in the band and on the floor of romance are very clearly on their game. Only slight awkward moments arise occasionally when they seem to momentarily run out of ideas where to take it.
4* A very good feel of a film with great music (Darktown) and steady as she goes easy acting makes this a very decent short with no great expectations with the foi pace indicating you are not going to be in for a rollercoaster. Sit back and enjoy. The word I used is very appropriate it comes to mind again. The piece is a frontier imagining of loves promise ahead taken at an easy pace.
Kubrick by Candlelight
Shot in Tullamore, County Offaly by David O’Reilly, Cast, Darragh O’Toole (Red Rock, South), Amy Hughes (Dad’s Army, Vikings) and Phelim Drew (My Left Foot, Angela’s Ashes) crew DOP Stil Williams (Convenience, Gone Too Far) and producer Vinnie Jassal (Fast & Furious Six, Kingsman). Brian Cox as The Narrator.
A short film on a much loved historical excursion by Stanley Kubrick. Like Stone in your Pockets did the business of theatrical musing around a film being made this is a romantic costume drama Barry Lyndon (rereleased last year) mixed into the Seventies and ‘73 in Ireland to be precise. A posh portrayal of a young Kubrick is a bit Brass Eye in its presence. Also the young extras are sent into a world of absurdity even for seventies rhetoric. Given that the scene set is once again a very good delivery of the genus loci of the set at this time. In an Ireland at the edge of extinguishing itself the last thing you want to see are British redcoats in your border town of anywhere else with garrisons all over Ireland put to the back of British legacy this serves as a stark reminder of the undercurrents still in 2018 not lost on us. A third director is blonde, something about Mary, out of your league and beautiful, just as the stereo type black haired and ravishingly attractive Irish girl would be the counterpart the decorative elements and irony is laid on thickly and very comically though not in the unmatchable Graham Linehan irony of Father Ted or Black Books and IT. The crowd pleasing of making a film is even for Barry Lyndon with Kubrick perhaps spotting the irony of the historical context in the period he is returning to the soil soiled there is a fabulous multi-layering of the mindfulness played in rich tonal and an embracing realism of contrasts in the story. It has comic candle capers and beyond the pale politics in Offaly pleasurably recalled.
4* A very rewarding and thought provoking piece if only for the preposterous fixed repetitiveness of our own history being juxtaposed and shown in a very flavoursome visual treatment. It only ran for a short time but it could promise expansion into area# which we would have similar anxieties towards. I liked it the more I thought about it afterwards which in itself tells you something assured was working in the telling of it as it unfolded.
Directed and Written by Dominic Curran
Of the worlds fauna Darwin we are told favour the most productive and elemental to be the worm. This is the worm turning the soil of purgative dynamism recycling the organic of life we depend on. In a time when there is a massive depletion in insect life putting our kingdom at risk the keys to the locker room who transform the earth are busy as this film endeavors to trace. It unlocks only tentatively the story and there is one in there. In the Lough fisherman’s eyes these worms are only bait to allow him to catch fish. Every time he returns for more to the same sort of location he is drawn into thinking, as we are about the life of the worm. It is something of a ponderous tale and the word (not worm) in the notes preceding the film showing which is used is Sisyphean – the meaning of which – a son of Aeolus and ruler of Corinth, noted for his trickery: he was punished in Tartarus by being compelled to roll a stone to the top of a slope, the stone always escaping him near the top and rolling down again. Has its own methodology in comparison to the fisherman’s tale.
3* While it was an interesting film taking a viewpoint and extrapolating a curveball on it I thought it was visually static and only occasionally of sufficient vitality to continue going with the story. It was of course original and it had its moments without doubt.
The film was produced by Elaine Forde from The Playhouse, directed by Declan Keeney from Island Hill Productions, filmed by Chis Byrne from Pillarpix Media, and features a whole host of local acting talent.
The film was funded by the Department of Justice through the Policing and Community Safety Partnership Assets Recovery Community Scheme, BBC Children In Need, The Department of Foreign Affairs and a private donation through The Ireland Funds. The Playhouse is core funded by the Arts Council of Northern Ireland, Derry City & Strabane District Council and the Community Relations Council.
Sometimes films are carefully constructed to draw out a proskomide prophetic preachy script to follow. The writing of Colin Bateman here takes a set of standards conditioned to within not an inch of their lives, with young paramilitaries and immediate family in stereotypes suffered for ages by the Northern Ireland public that we are sick to death of all them. Here they are though one dimensioned and so institutionalised are the parameters, no references to Dublin, the East European criminality or the middle class small pond wheeler dealing linked with various mafia types in their twisted property dealings, embracing Portuguese and Spanish money floats. No instead of the who, why, what and where of a good streak of journalistic drama we get the street criminal hiding behind a car with his mate, his tearful mum, his journey across town, the Bolshevik drama queen, if only doorstepped and ecclesiastical on rendition about you wasters think you run the place.
Friars Bush graveyard gets a visit from the Derry crew for famine input? and we get a drama of flashback and staunchly anally receptive security messengers foresaking film originality for something like a TV pre Christmas Don’t drink and Drive warning. Very tedious and fun the ball.
2* They threw the works at this one. So much for Justice a quantity of worthy flag wavers stuck up their logo of support in credits flowing out afterwards. Technically proficient, sharply edited and with ongoing action and excellent characterisations by the principal players it was intact from beginning to end. The only problem was the condescending viewpoint it placed the apparent protagonists and audience it imagined would wish to be receptive of it goes into the millions of pound of funds sent to cure this ill.
Peace processes aside and outside looking in. Absolutely dreadful but well acted. Friars Bush graveyard awakened too.
Within a few yards of the funeral was a wall where in 1847 or thereabouts, (Black ‘47 is the Season opener) 2,000 people whose names where not recorded were cremated alongside the burials of the – recorded in a tablet next to the entrance lodge – and never once recognised. My how times have changed. It even had a **** drone aerial view introduced for extra flavour!
The Hidden People
Director Ronan Corrigan, Writer Callum Dziedzic
In the calibration of photographic history comes the Cootingley Fairies. Someone has happened upon this Yorkshire phenomenon in setting it to a contemporary setting which seeks to extrapolate a continuance of familial resonance. By taking as a central character a boy whose own happening upon this phenomenon brings out some pubescent lodgings and predicaments. While he is scolded by others familiar with this ‘nonsense’ this boy has wider thoughts of its living form. Out of the nest he is in a precocial state and is reliant only on his own senses.
3* The tensions between brothers is played out effectively around the story it centres on. While it is visually entertaining and maintains its interest I found it lacking in that special hard to find electricity a subject such as this might light upon. A decent but unmoving piece.
‘The Gift’ comes with the simple tagline “A gift can be a blessing…or a CURSE!”. Writer/director Murat Akser is a filmmaker based in Belfast but born in Istanbul, Turkey. Murat is currently developing his first feature film and teaching film production at Ulster University..
Much misunderstanding exists around ritual and religion. Myths and superstition is often a particular disturbance deflecting from spiritual gain or guidance. The reward for adherancece is often extremely negative and even life threatening. So the story here venture to flake us into a foreign fantasy. The early appearance of the retiree ‘Your Highness’ Roma Tomelty is a gift to begin with. She is bedecked in barbles, scarf and rings when she evokes and conjures up a spell for a wedding couple and sets their future life on a steady force which must for its sanction appear to be compliant with the inherent culture. The inherent culture includes symbolic knives and imagery to be taken none too literally.
Telling this story is only the half of it. Enter the NI security forces as a SWAT team and then entered an idiotic in accurate cop interview pressing a claim to a verve it fails to present. Mr Stuart Graham of recent things such as Line of Duty is brow beaten into regurgitating hateful demeaning words and puts into plat a NI trope of Racial hatred. Well done there then. Only the absurdity and misreads, perhaps my doing also, were of any genuine value to me. I was out of sorts with the lack of core substance and even believable characters ntent to sway me. Not forthcoming. If a political message were invested in this it is dealt with in a narrow and purple way. Well documented and common images of swat operations are universal and here it is a case of not moving on. The treatment is too overplayed and the focus of the intention of placing traditional misunderstanding at the heart of this is lost or diminished.
3* Great to see the lovely Roma once more in a fashionably exotic if over the top role. She delivered it in a lovely, very great dramatic soft timbre. The remaining content was unable to keep up.
Good Girls, written and directed by Niamh McKeown and produced by Jack Cowhig, is about Pinkman’s finest student and head girl, Bonnie, who takes us on a tour of her school as she tries to round up the school captains in time for the school photo.
Made by students at Edinburgh Napier University as their final year project, the film has been praised for its visual style, cinematography, set design and direction, with the judges commenting that it was like “St Trinian’s meets Wes Anderson”. The spiel not my words! Or view! The Kubrick film was superior in many respects but still failed to be my no. 1!
St Trinians and modern finishing school for posh girls is an area where knickers, bare thigh flesh and unabashed girl attitudes are often fashioned into a hedonistic trial of the state of the nation. From the primordial to the eloquence of educated civility is a step not to be taken at the gallop. Henrittas and Georgina’s are inescaple and top of the pile is a Scots head girl with attitude, Bonnie. She is on the case of further publicity to enable the floundering school to survive. A Green Wing type is cast, thrown to the dogs as headmistress and in order to fulfill this the wonderful school architecture becomes a backdrop for rounding up the needed party for a group photo. From tennis course to gym to libraries to corridors to courtyards they are sought. The voyerism of St T’s is in the ante as is the fruity language and interplay of frustration Association in a closed community of learning. Very Theresa May I thought.
3* This film packs a good wallop but covers with nods very often to similar comedy set in the boarding schools of England something staid and worn. Albeit never attempting to become the Girls School version of Kubrick’s Clockwork Orange it just came and went. The woman from the former constituency of Merton has no connection to the film. I would not tarnish it with her madness. Bombs – where do we keep them girls? Oh in the Chemistry lab. Good oh.! Put her in a strait jacket until she wise’s up please.
Director and writer Megan K. Fox Cast. Natalia Kostrzewa and Aaron Taylor.
In the setting of contemporary London this is a story of a young Polish girl hoping to pursue a design course to become a fashion designer. There is a vibrancy to begin with which is quickly arrested by the notion she may not have chosen the best boyfriend who is controlling jealous and a prat. They drink and carouse with the boyfriend seeming to want to impress his friends rather than commit to a loving relationship. Dorothy is played by Natalia Kostrzewa and Aaron Taylor unfortunate to be cast as the abusive boyfriend.
The only poor call is this ‘entry’ – the edit?
Dorota moves to London with dreams of becoming a fashion designer, but her path is altered by an abusive relationship. Despairingly this becomes a story which is indicative of the plight of a woman whose fortune alters drastically and she is left in a very dangerous situation without a home or money. One third of homeless women are victims of domestic abuse. The film brilliantly portrays how homelessness, sadly, could be a possibility for anyone as Megan Fox points out. She builds the tension and predicament compellingly with Natalia Kostrzewa creating the part brilliantly and believably she imparts the terror of this dreadful situation. It als has been compared with the American film of last year The Florida Project as it shows the vulnerability of homelessness and the various ways it materialises.
‘Calling Home’ is an impactful short film about domestic violence and female homelessness. The film was made with the support of leading homeless organisations including Inside Housing, Shelter and Women’s Aid. With its inspiration in part coming from documenting homelessness and it coming 50 years after Cathy Come Home by Ken Loach this film achieved the award to commemorate that anniversary last year in the Reel Homes Competition organised by Inside Housing a Homeless organisation.
It can be supported on this link where it can be viewed also.
By supporting the film you will aid its entry to further Film Festivals and also extend its outreach. Soha Housing also support it.
4* Film can show our society as we may have not experienced it and this film shows how homelessness is pervasive and the lack of housing or proper social mechanisms to deal with sudden problems is shown to be very harrowing. It is more than that of course but the film highlights and does it in a very dramatic way just one pathway to extreme hardship. It is well shot and there is an outstanding performance from Natalia Kostrzewa.
Director Patrick Myles. Cast Jason Watkins, Tim Key, Vicki Pepperdine, Alex Macqueen and Dominic Coleman.
I loved this story when I first read it years ago and have sen a few stage versions, one of a very high standard at the Hammersmith Theatre late ‘80’s. This is a variable feast of filmic playful black comedy which is slightly less than the sum of the story despite the huge efforts of this costly high end production. The sense one is meant to feel is Kafkaesque or with the satirical heft of a Terry Gilliam film. Not exactly 12 Monkeys or Messing with Don Quixote but this one is tilting at windmills with the ever daft Jason Watkins. This is a fairytale telling and adaption which follows a well worn path. There is a 1926 version of over 1hr and several shorts and an animated version short last year. The story is revamped not a Orwellian/Dickensian working office and the withdrawn and isolated man, (Jason Watkins) of the story is consumed by his lack of esteem and is forced into acquiring a new overcoat to show the world his worth. He is then toiled with acquiring the funds to buy the best he can possibly afford and this is beset with many threads of woven dramatic pathos and philosophical nuance as well as salutary lessons which the original story in effect delivers in spades. Ownership is not without its trials. The Nell Gwynn Tavern gets a look in along with Zadok the Priest.
4* This is a very decent effort but given the revamped version I would have hoped for more of the originals darkness and gravitas. It comes across a little to lightly unfortunately given the dynamism of the exuberant casting acting overlayering the effect rather than pulling back. Cillian Murphy does the voice over to the animated version and it is good fun comparing the others as this is a favourite story and fable not to be missed or mislaid.
Director: Rian Lennon. Cast: Helena Bereen, Niall Cusack, Aimee McGoldrick
Ever bold and horrific in finding new ways to disturb us the Northern Ireland director Rian Lennon comes up with a dark and gruesome tale of Lazarus type rejuvenation and older folk trying desperately to hold on to any life they still have. Earlier short work include student Devour winning film The Dick of similar small room but widely removed ilk. By giving them the tools of Methuselah an elderly couple, in becoming the authors of their revival, the writer provides, creates a scenario involving a small living room, a couple whose life is etched and close up and crazed with a captive believed to be the answer to their prayers. There is a medical basis to their ideas and like Kith Richards they surround complete blood transfusion employed in Privacy to inject some much needed vigour. Consuming the vial of renewal can come in many forms and these two veterans of the Northern Ireland acting scene give it all too a horrific edge and don’t disappoint in their madness.
3* A grim and overthe top renewal of a story of impeccable implausibility which is the trope of certain filmmakers. The more dubious and contrived the better. Unfortunately I give these a miss and with the dimwork confined to shock and awe with facial expression s very important in the telling of a conspicuously predicated Line to follow it takes the breath away, not. It leaks out after a while to pale desperation in conclusion. One or two end up dead bad.
A Break in the Clouds
Director: Tristan Heanue, Writer: Tristan Heanue
Cast: Gemma-Leah Devereux as Sarah, Marie Ruane as Natalie, Tristan Heanue as Jack, Linda Bhreathnac as Ally.
In the beginning there was a child. It was found in Connemara. We will call the child First born.
This is a thought provoking film of depth and formidable weight in a contemporary telling of the way families have in most locations; there are happily some exceptions I’m sure, become fractured. The modern pressures of a simple homelife are a struggle and loneliness along with post natal depression are foremost in this story. Compellingly insular despite the vast beautiful scenery. It cannot be called a backdrop as the sky is huge and land vast on the Atlantic seaboard. The place is stunning and the hopes of many generations have yet to come to terms with the society that they inhabit. Even down through many previous generations the demands are immense. No less so here though contemporarily communications are better there is still distance between family units who might previously been relied upon to assist child rearing but are now apart. This is the dilemma and the heart of the story to my mind. It is accompanied by the problems of identifying quickly and adequately responding to the problem arising. Tristan Heanue who I spoke to after the screening was not giving much away in responding to my take on it which was to that immediate effect. I might have caught him off guard as this is s very profound piece.
An interview I’ve subsequently read tells the origin of it partially.
Tristan Heanue Plays the father and is not afraid to have him show his inability to cope or communicate his feelings. He covers the ground in very perceptible darkness and vulnerability himself with much
It came from a few different places. A few friends of mine had babies in quick succession and I saw first hand the different types of strain that it had on them. It just stuck with me and I wanted to tell a story that showed what the pressures were like for both sides during this time. I guess it was me also putting myself in their position and wondering how I would cope with it. The same http://gearr.scannain.com interview told of the significance of that location. Under the Direction of Paddy Slattery it took on new meaning.
It was surprisingly very enjoyable. Mainly because I was blessed with an absolutely amazing cast & crew who worked so hard and made it all happen. I also had one of the best cinematographers in the country shooting it, Narayan Van Maele. He was a dream to work with. We spent a day down in Connemara planning all our shots and also left things loose enough that we could change stuff up on the day if we felt it needed something different. When you surround yourself with very talented people it really does make your job a lot easier.
Also in conversation his film Today could not be overlooked. Made by them in 2015 it was in the same setting of Derryinver/Letterfrack/Tullycross region of Co. Galway and featured John Connors and Lalor Roddy. It is a film I won’t forget.
5* It is an inspiring film given it is made with the thrust and knowhow of being in touch with a particular take on humanity in its writing and ease of communication through the direct medium of film. It is of a young couple at a point of crisis and thereby figuring out and responding to the messages the film opens up, partakes of and delivers in quantities seldom found in film brief or otherwise. I hope it will reach a lot of people and provide some comfort and degree of information for parents old and new in such an important time of their lives.
Bless me Father
Director and writer Paul Martin Horan, Cast: Francis Magee, Phelim Drew, Glynis Casson.
At the end of the day the truth will out or will it? As time moves on a man is preparing for his leaving the earth’s parish and decides he needs to fess up to his past misdeeds. Some of them might do with placing low down the scale of levity but others may cause great problems in their revealing. It is confession time and box no. 1 in the local House of God is calling. As for the third character she is perhaps the face of rectitude.
For the Priest the confession he is about to hear is to affect him deeply. He is faced with a dilemma. There is no violent crime confessed nevertheless it is a life changing thing he will hear. Where does the duty lie with the person hearing the confession and is he to give absolution to Michael who is now lifted of this burden which he has carried for years.
It goes to the heart of life in a small rural Irish community and its strength lies in the deliverance it brings to the people who are lost and nor solely under the protection of their maker. They have their own to contend with without the Catholic hierarchy deciding what’s right or wrong for them.
4* A much tighter film you could hardly construct. Set in the Church of the confession box it focuses in on the Donfeesion box itself with a close camera angle fixed on both sides playing out this dialogue between parishioner and Priest. It is a delight to watch and is essential Irish while universally full of primary primordial life aspects unfolding as the years go on.
A lot of these films are available online to view and I hope you get to see a few and support the filmmakers whose time and effort is on the screen as created.
I disagreed with the Grand Jury!
For a film to be totally on score and brilliantly entertaining there is no doubt and it got the no.1 vote was The Music Room.
If I can nominate in a parallel position against the rules of having another to be up there it is as follows.
My favourite film of them all was Guard which was a local copiewpoint with many aspects and a valued insightful piece of provocative film making
Leaving the damage central to the arch the unspoken and unknown event was itself disturbing along with the craft of Bronagh Taggart whose film story this was to put across.
A Break in the Clouds and Callng Home were both excellent broad scoping films which are exceptional and well worth seeing.
26 April 2018
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