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greenhatsinthesky · 4 years

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lockdown film no. 28 - Mr. Bean’s Holiday (2007) dir. Steve Bendelack

24/04/2020

because I am An Adult, this was the film that me and my parents decided to watch for my birthday this year. It was a thoroughly enjoyable evening given I hadn’t seen it in several years and we got a takeaway from the best pizza place around and my dad bought wildly overpriced vegan ben and Jerrys

- when mr bean wins the raffle its actually very heartwarming how happy everyone is for him

- THE TRAIN TRANSITION HOLY HELL

- im absolutely in love with all the the video camera footage they use

- “un café?” “oui” “du sucre?” “non” “you speak very good French” “gracias”

- last year for a film project we had to make a short film with only 20 words of dialogue and this is actually a great example of how to do it because he never really uses words its mainly just sounds

- the soundtrack in this is absolutely boss no lie

- i went on holiday with my friends last year to an island that was so small you could walk around the whole thing at least five times in a day, and also had basically no buildings. And so from there the concept of ‘mr beaning it’ was born, where you pick where you want to go and walk in a straight line in that direction

- the fact that this was the first film I saw Willem Dafoe in is hilarious to me because he’s such a serious actor and then there’s this. I saw this, Spiderman and then Mississippi burning and man that really threw me off

- ties and vending machines are a health risk

- richard curtis worked on this ??

- the plateau de fruits de mer scene absolutely sent my entire family it is just the peak of comedy. Me and my mum saw the film for the first time in a cinema when I was about eight and it just gets us every time

- THE OYSTER WHEN IT MOVES

- apparently the guy who plays the waiter in that scene is a very celebrated actor in France and he’s done loads of serious stuff so this is another kind of Willem dafoe situation it seems

- the boy playing Stepan was Viktor in the series years and years and when I say that absolutely blew my mind when I found out

- the scene where Stepan copies mr bean and they’re crossing their legs is so cute and a bit of nice light humour before the real shit kicks in

- I know it wouldn’t work if they could call the dad straight away but the two numbers at the end are clearly 97

- THE HOTEL WORKER WITH THE PHONE WHAT PAIN THEY WERE SO CLOSE

- ohhhhhh the market scene. whoever came up with the idea for that should get an Oscar

- mans got some strong legs holding a squat for the whole of rondo alla turca

- i think the opera scene in the market (i don’t know the name of the piece) is one of the funniest scenes in the whole film if not in a lot of films. Its absolute class and I love how mr bean, who doesn’t speak a full sentence for the majority of the film all of a sudden knows every word to an Italian opera. Also the scene that they construct and play out is actually very emotional and they both end up dead but its still funny ?

- stepan really just yeeted the camera at a total stranger now that is some faith in humanity right there

- I wanna grab onto a car while riding someone else’s bike in the middle of the French countryside and go zOOM past the tour de France

- the chickens cluck in tune with the song and I personally am a huge fan of that

- I think rowan atkinsons face is made of rubber or something

- he goes into that little hut and the vehicles gradually get more and more absurd like tHIS IS HOW YOU DO COMEDY

- I don’t think they went into how fucking weird it would be to fall asleep and wake up under a cart in a French village that turns out to be under siege by nazis

- also, I know Carson Clay is meant to be a parody of a Hollywood director, but I just want to know what happens at the end of the advert. Does sabine end the war and appease the nazis with yoghurt?

- Une minuscule explosion?

- Sabine was super chill about them using her phone to call basically everyone in France

- the car scene with the matches has absolutely gone down in history. Literally every time were driving at night someone will mention that scene

- the French translator at Cannes was hilarious like clay said his bit, looked over at the guy, the guy sort of cringes (?) and goes “he says it is a very good film”

- all the scenes we see from playback time get me every time and I’m pretty sure its one of my dads favourite scenes

- nothingnothing nothing nothing n o t h i n g

- OHHHH when the fam gets back together ! So wholesome!

- la mer. what a tune, and all the things lining up so he can just walk straight down to the sea I lOVE

- oh man what a good film

- its just a great comfort film and its so funny but its really warm as well and its not cheesy but its really funny and I love it

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jeremystrele · 5 years

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Witness The Best In New Australian Art At ‘The National 2019’

Art

by Elle Murrell

Eric Bridgeman, Sikiram Büng Scrum, The National 2019, Carriageworks. Photo – Zan Wimberley.

Mira Gojak, Exhaled Weight 2019, Steel rod, acrylic yarn, copper, dimensions variable. Courtesy the artist and Murray White Room, Melbourne. Photo – AGNSW, Diana Panuccio.

(left) Nat Thomas, Postcards from the Edge, The National 2019, Carriageworks. Photo – Zan Wimberley. (right) nova Milne, Skin Without Biography. Photo – AGNSW, Mim Stirling.

Tony Albert, House of Discards, The National 2019, Carriageworks. Photo – Zan Wimberley.

(left) Tony Garifalakis, Garage Romance, 2018–19. Courtesy the artist and Sarah Scout Presents, Melbourne. Photo – AGNSW, Mim Stirling. (right) Rushdi Anwar, Irhal (Expel), Hope and the Sorrow of Displacement 2013–ongoing. Courtesy the artist. Photo – AGNSW, Mim Stirling.

Tom Mùller, Ghost Line, The National 2019, Carriageworks. Photo – Zan Wimberley.

MCA The National Installation view, Jacquie Manning.

Nicholas Folland, Flirt, 2019. Courtesy the artist and Tolarno Galleries, Melbourne. Photo – AGNSW, Mim Stirling.

Sam Cranstoun, Utopia, The National 2019, Carriageworks. Photo – Zan Wimberley.

(left) James Newitt, Fossil 2019. Courtesy the artist. Photo – AGNSW, Diana Panuccio. (right) Andrew Hazewinkel, Part 1, The Emissaries: Keepers of Our Stories from The Ongoing Remains, (3 parts) 2019. Courtesy the artist and Reading Room, Melbourne. Photo – AGNSW, Mim Stirling.

The National 2019: New Australian Art is the second biennial exhibition in a six-year partnership between the Art Gallery of New South Wales, Carriageworks and Museum of Contemporary Art Australia. Profiling the diversity of Australian contemporary art practice, it offers up ambitious new and commissioned projects, created across the country and abroad by Australian artists of different generations and cultural backgrounds. In 2019, over 60 per cent of the exhibiting artists are women, and more than a third are Aboriginal and Torres Strait Islander artists.

All the creatives were asked to respond to the times in which they live, and they have answered with observations that are provocative, political and poetic. ‘At Art Gallery of New South Wales, artists invoke impermanence and examine states of change. Whether they reflect upon the sensation of instability within personal or political contexts or through material and form, these artists treat precariousness as a poetic proposition, and play with the boundary between chaos and control,’ explains curator Isobel Parker Philip of AGNSW. She highlights the teetering tower of Rushdi Anwar’s torched domestic chairs, the fragility of Linda Marrinon’s portrait of heroic resilience or Sally M Nangala Mulda’s stark portrayals of daily life in Abbott’s Town Camp, Alice Springs. The commissioned Nicholas Folland installation, ‘Flirt’ – piles of discarded crystal and glassware transformed into peaks and troughs based on a map of Lord Howe Island – is another standout.

A quick hop across the heart of town, Carriageworks maps memory and place. Troy-Anthony Baylis references Indigenous breastplates as he deconstructs Glomesh purses as ‘postcards’ from place to Country. Meanwhile, Cherine Fahd shares startling photos from her family archive and Tom Mùller uses sculptural flog to reflects on Carriageworks’ past as Eveleigh Railway Workshops. ‘Through a lens of “dark sunshine”, the works on display are bold statements of contemporary life, its states of instability and flux, and an insistence on past knowledge to sustain renewal and change,’ says curator Daniel Mudie Cunningham.

The Museum of Contemporary Art Australia presents works by Indigenous artists from the Pilbara and Kimberley regions of Western Australia, the Torres Strait, APY Lands in South Australia, Northern Queensland, and North-eastern Arnhem Land. Co-curator Clothilde Bullen highlighted a performance responding to each institution’s archival material by The Unbound Collective and paintings of pop culture by TDF favourite Kaylene Whiskey. ‘Many artists have drawn on their background in live music or experimental sound’ adds her co-curator Anna Davis, referring to Hannah Brontë’s collaboration with female hip-hop performers and Tina Havelock Stevens’ film of a drumming performance.

Performances and public programs continue throughout the duration of The National 2019 with artist talks, performances and workshops on offer alongside family and children’s activities and a wide variety of access programs. For more information visit The-national.com.au.

The National 2019: New Australian Art March 29th to June 23rd (and AGNSW to July 21st)

Art Gallery of New South Wales Art Gallery Road Sydney, New South Wales

Carriageworks 245 Wilson Street Eveleigh, New South Wales

Museum of Contemporary Art Australia 140 George Street The Rocks, New South Wales

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recentnews18-blog · 6 years

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New Post has been published on https://shovelnews.com/johnny-english-strikes-again-review-rowan-atkinsons-funny-sequel-is-stuck-in-the-past/

'Johnny English Strikes Again' Review: Rowan Atkinson's Funny Sequel Is Stuck In The Past

Rowan Atkinson and Olga Kurylenko in ‘Johnny English Strikes Again’Universal

The Credits:

Johnny English Strikes Again comes courtesy of Universal/Comcast Corp. It has already earned $82 million in advance of its Oct. 26 domestic debut. The last two films each earned $160 million worldwide with a minimal domestic footprint, and this third flick seems poised to do likewise. It stars Rowan Atkinson, Olga Kurylenko, Jake Lacey and Emma Thompson. Written by William Davies, directed by David Kerr, shot by Florian Hoffmeister, with music by Howard Goodwall and editing courtesy of Tony Cranstoun, the film is a StudioCanal, Working Title Films and Perfect World Pictures production. Atkinson serves as a producer alongside Chris Clark, Tim Bevan, Eric Fellner and Rafaël Benoliel.

The Review:

Johnny English Strikes Again is an odd duck of a spy spoof. Like the Austin Powers movies, especially the sequels, the Rowan Atkinson franchise is at a point where its lead character is a popular comic creation unto himself, as opposed to merely a skewed take on James Bond. And yet the franchise, which debuted in feature film form in 2003 and then returned in 2011, seems to dabble in the kind of 007 franchise tropes that were popularized back in the Pierce Brosnan era. Since it originated as a film franchise right between the last Brosnan 007 flick and the first Daniel Craig movie, the series is stuck riffing on the spy franchise’s prior incarnation.

And now this third movie arrives right as Daniel Craig is (presumably) preparing to take a bow. Even this third film, arriving seven years after Johnny English Reborn and 15 years after Johnny English, has a kind of “digital versus analogue” mentality, as well as a “Can a cultural dinosaur like James Bond survive in the modern era?” notions that were only a little refreshing in GoldenEye and Tomorrow Never Dies nearly 25 years ago. The series has always struggled in terms of how smart, competent and likable its protagonist should be. At its core, the conundrum of these films is in whether to present its protagonist as a clueless Inspector Gadget or a just-clever-enough Maxwell Smart.

The film picks up many years after the last film, with English teaching geography and secretly schooling his young charges the tricks of the trade. While he is clearly a bumbler as an actual spy, he comes off as so jovial, confident and charming as a teacher that you’re expecting a movie about how he comes to realize that teaching, not spying, was his true calling. No spoilers, but the movie never gets anywhere that deep in terms of character development or arcs. After MI7 is hacked, leaving the covert agents vulnerable to exposure, the Prime Minister (Emma Thompson) has no choice but to bring the retired (and off-the-books) former agent in from the cold.

That’s really all the plot we get. English and his old sidekick Bough (Ben Miller) eventually cross paths with a potentially dangerous would-be femme fatale (Olga Kurylenko, who has been the Bond girl in an actual Daniel Craig 007 film, Pierce Brosnan’s The November Man and now a Johnny English sequel) and a tech billionaire (Jake Lacey) who may be just the savior that Great Britain needs. The film could have been written in a Mad Libs book, but if you came to watch Atkinson bumble his way through international espionage, you’ll get your money’s worth. The picture is at its best when English struggles with tasks with which even a trained agent would struggle.

A first-act set piece in an upscale restaurant is a genuine laugh riot, and a mid-film sequence involving virtual reality impresses. The implicit joke is that English has all of the implied sexism and old-school attitudes of a stereotypical James Bond with neither the skills or the roughish charm or good looks to justify his confidence. But the kid-friendly tone (there is almost no real violence in this sequel) leaves it unable to dig into that subtext. The movie is about an awful incompetent who still gets to be the hero. Nonetheless, the first two-thirds of the 90-minute feature are perfectly enjoyable. It’s only when the movie asks us to care that it starts to falter.

Even as the franchise has indirectly become a kind of Before Sunrise/Before Sunset/Before Midnight of spy spoofs, the series hasn’t really evolved with the time, or at least reflected what the spy movies were at the moment of their release (at least Reborn gently mocked parkour and Bourne-type angst). That’s a little frustrating, even if I will admit that I laughed a lot more than I expected to, especially when the picture played off of seemingly realistic or logical consequences of conventional spy movie behavior. Is Johnny English Strikes Again a good movie? No, not really. But it made me laugh here and there throughout its running time. So, in that sense, mission: accomplished.

Source: https://www.forbes.com/sites/scottmendelson/2018/10/16/johnny-english-strikes-again-review-rowan-atkinsons-funny-sequel-is-stuck-in-the-past/

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scannain · 7 years

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The 2017 Audi Dublin International Film Festival (ADIFF) line-up was released yesterday, January 18th. The festival is set to feature a strong selection of Irish films alongside a host of top-drawer international films. It opens and closes with Irish films, Aisling Walsh’s Maudie kicks off the festival on February 16th, with John Butler’s Handsome Devil bringing the curtain down on February 26th.

Speaking about the strong representation of Irish work in the ADIFF 2017 line-up, Gráinne Humphreys, Festival Director said, that it is “an extraordinary testament to the current strength and depth of the Irish film industry.”

Here’s all of the Irish films at the festival, and where you can see them.

Maudie

Maudie is based on the life of Nova Scotia folk artist, Maud Lewis, and is an unlikely romance in which the reclusive Everett Lewis (Ethan Hawke) hires a fragile yet determined woman named Maudie (Sally Hawkins) to be his housekeeper. Maudie, bright-eyed but hunched with crippled hands, yearns to be independent, to live away from her protective family. She also yearns, passionately, to create art. Unexpectedly, Everett finds himself falling in love. Maudie charts Everett’s efforts to protect himself from being hurt, Maudie’s deep and abiding love for this difficult man and her surprising rise to fame as a folk painter.

Maudie is directed by Song for a Raggy Boy director Aisling Walsh and written by Sherry White (Crackie, Relative Happiness).The film shot in Canada with Guy Godfree as cinematographer. Post-production took place in Windmill Lane, with Stephen O’Connell as editor. Susan Mullen of Parallel Film Productions produces, alongside Small Shack Productions, and Painted House Films. Financing comes from the Irish Film Board/Bord Scannán na hÉireann, Mongrel Media, Telefilm Canada, Newfoundland Film Development Corporation, Ontario Media Development Corporation, The Harold Greenberg Fund, and Corner Piece Capital.

Thursday, 16 February – 19:30 – Savoy 1

Amanda Coogan: Long Now

Amanda Coogan: Long Now is an exploration of Coogan’s durational performance art practice, directed by Paddy Cahill. The film captures Coogan during a gruelling six week live durational exhibition, I’ll sing you a song from around the town. Hosted in Dublin’s RHA Gallery, the exhibition became the gallery’s most successful and visited in its history. Spanning six weeks, Coogan performs live, for six hours a day, five days a week for the entire run. The film visually explores the exhibition’s beautiful live performance, interwoven with Coogan’s reflections on the work.

Saturday, 18 February – 12:00 – IFI

Without Name

Lorcan Finnegan’s Without Name is one of the three Irish Film Board-backed Catalyst projects from 2014, and follows a systematic land surveyor who loses his reason in a supernatural environment that defies all boundaries.

The film stars Alan McKenna, Niamh Algar, and James Browne as leads, as well as Morgan C. Jones, Olga Wehrly, Brendan Conroy, Bryan Quinn, Paul Ward, Donncha Crowley, Brandon Maher, Helen Roche, and Alan McNally. Director Lorcan Finnegan and writer Garret Shanley have previously collaborated on the award-winning short film Foxes which was selected for SXSW and the Tribeca Film Festival.

Cinematography comes from Piers McGrail (Glassland), with Tony Cranstoun as editor. Casting was by Thyrza Ging and Louise Kiely, with production design by Jeannie O’Brien, art direction by Mick Minogue, and costume design by Niamh Buckley. The film is produced by Finnegan and Brunella Cocchiglia Lovely Productions, with support from the Irish Film Board/Bord Scannán na hÉireann.

Saturday, 18 February – 18:00 – Light House 1

The Secret Scripture

Legendary Irish filmmaker Jim Sheridan returns to ADIFF with his latest film The Secret Scripture. The film, which is an adaptation of Sebastian Barry’s 2008 Man Booker Prize nominated novel of the same name, is the story of a one-hundred-year-old woman, Roseanne McNulty, who now residing in Roscommon Regional Mental Hospital decides to write her autobiography. Lady Rose is an elderly woman who has lived in a hospital for 40 years. Despite her bleak surroundings there is a light in her eyes that cannot be extinguished. Dr Greene is drawn to her, compelled to discover her past and gain her freedom. Through her scripture we reveal a life of extraordinary love, great injustice and a remarkable young woman of courage whose only crime was to fall in love yet she survives the system’s brutal violations. Set against a backdrop of troubled times locally and chaos internationally we learn of her ultimate triumph.

US star Rooney Mara plays the younger Rose, with screen legend Vanessa Redgrave playing her in her older years. These are supported by Australian actor Eric Bana, and rising UK star Theo James, as well as Irish stars Jack Reynor, Aidan Turner, and Tom Vaughan-Lawlor.

Six-time Academy Award nominee Sheridan co-wrote the screenplay with the late Johnny Ferguson. Director of photography Mikhail Krichman worked on the brilliant Russian film Leviathan, and composer Brian Byrne has previously worked with Sheridan on In America. It is edited by Dermot Diskin (Wake Wood, Moscow Never Sleeps), with production design by Derek Wallace (Good Vibrations, The Sea). The Secret Scripture, which is produced by Noel Pearson and Rob Quigley for Ferndale Films in association with Voltage Pictures, is financed by the Irish Film Board, the Ingenious Senior Film Fund, Apollo Media, and the European Media Fund.

Saturday, 18 February – 19:30 – Savoy 1

Pickups

Irish actor Aiden Gillen teams up with British director James Thraves for this semi-autobiographical tale. Aidan’s been having trouble sleeping. His marriage has broken down and he’s spending less time with his kid. He’s addicted to his job, but he’s nervous of turning down work. He also has a serious back problem, the pain is nightmarish and the drugs aren’t working. At least there are the fans, popping up when he least expects it. He kind of likes the attention, although Aidan is slightly concerned one of them might be stalking him. If only he could get some sleep.

Saturday, 18 February – 20:15 – IFI

Sanctuary

Set in the world of people with intellectual disabilities, Sanctuary is a touching and funny love story about Larry and Sophie, two people who long to be together in a world that does everything to keep them apart. Larry, has Down Syndrome, Sophie, has severe epilepsy. The two are attracted to each other and, through a care worker Tom, they sneak away to a hotel room during a supervised trip to the cinema. What do they do once they are there? How do they express a love that dare not speak it’s name? Are they aware that in Ireland they are about to break the law?

Directed by Len Collin, the film is based on a script by Christian O’Reilly adapted from his own play, which was originally commissioned and produced by Blue Teapot Theatre Company. The multi-award-winning theatre company is known for its work with people with intellectual disabilities, and all the principal cast come from there.

Sanctuary is a world-first for actors with intellectual disabilities. Following on from pioneers such as Jaco Van Dormael’s as Le huitième jour (1996) and Galvao’s Colegas (2012) this film features nine wonderful actors with ID. The film stars Kieran Coppinger and Charlene Kelly in the leads, with support from Michael Hayes, Emer Macken, Paul Connolly, Frank Butcher, Patrick Becker, Jennifer Cox, and Valerie Egan. The film also features Stephen Marcus, Amy-Joyce Hastings, Tara Breathnach, Caroline Grace-Cassidy, and Christopher Dunne. Edwina Forkin produced the film for Zanzibar Films, with Russell Glesson as DoP, Julian Ulrich as editor, Eleanor Woods on production design, and music from Joe Conlon. Sanctuary was made with financial assistance from the Irish Film Board, the Broadcast Authority of Ireland, and RTÉ.

Saturday, 18 February – 20:30 – Light House 1

Sanctuary on Tour

In association with access>CINEMA, and with the support of the Arts Council, ADIFF will host three additional screenings of Len Collin’s Sanctuary in venues outside of Dublin during the festival dates. Tickets available directly from the venues.

Monday, 20 February – 20:00 – Pavilion Theatre, Dún Laoghaire Tuesday, 21 February – 20:00 – Droichead Arts Centre, Drogheda Wednesday, 22 February – 20:00 – Riverbank Arts Centre, Newbridge

Best

He was football’s first rock and roll star – a handsome, charismatic Belfast boy who could thrill and excite the crowds with every turn of the ball. But George Best was also the lead in his own Shakespearean tragedy, a flawed genius, brought down by drink, temptation and depression. In this feature documentary, director Daniel Gordon (Hillsborough) recounts the tale of this beloved but bedevilled superstar with riveting, evocative footage and testimony by those who knew him at his best—and worst.

Saturday, 18 February – 20:45 – Cineworld 9

ADIFF Shorts 1

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ADIFF Shorts 1 features three award-winning Irish shorts, and 5 specially selected international shorts.

Lily

Director: Graham Cantwell | Ireland | 21 mins | Writer: Graham Cantwell | Cast: Clara Harte, Dean Quinn, Leah McNamara

A girl with a secret, on the cusp of becoming a young woman. When a misunderstanding with the beautiful and popular Violet leads to a vicious attack, Lily is faced with the greatest challenge of her young life.

Second to None

Director: Vincent Gallagher | Ireland | 7 mins | Writer: Vincent Gallagher

Frederick Butterfield is tired of always being runner-up. When he becomes the world’s second oldest person, he hatches a plan to claim first place.

Gridlock

Director: Ian Hunt Duffy | Ireland | 20 mins | Writer: Darach McGarrigle | Cast: Moe Dunford, Peter Coonan, Amy De Bhrún, Steve Wall

Gridlock is a thriller set during a traffic jam on a country road. When a little girl goes missing from one of the cars, her father forms a desperate search party to find her, and soon everyone is a suspect.

Sunday, 19 February – 16:00 – Light House 1

The Piano Lesson

Directed by acclaimed Irish documentary filmmaker Ken Wardrop (His & Hers, Mom & Me), The Piano Lesson charts the musical journey of numerous piano students through the commitment and pressure of the keyboard examinations. The piano lesson offers a unique window into the students’ lives. It is an opportunity to consider the impact that music, learning and creativity has. The film examines the students’ relationships with their teachers, their counterparts, the music and definitely the pianos. Audiences will discover meaningful truth in their successes and setbacks; unearthing charming curiosities that will make them laugh and cry.

Monday, 20 February – 18:30 – IFI

In Loco Parentis

In Loco Parentis tells the story of Headfort, the last remaining boarding school for primary age children in Ireland. Directed by Neasa Ní Chianáin with co-direction for David Rane and set on a sprawling estate in Kells, Co. Meath, the documentary melds two seemingly incongruent worlds as the ultra-modern teaching of Headfort’s brilliant staff is set against the 18th century backdrop of the school’s grand reception rooms, long corridors and secret doors. The idyllic surroundings provide a space where teachers become mentors and surrogate parents as they usher the young pupils through their last days of childhood. In Loco Parentis is produced by Soilsíu and financed by the Irish Film Board, the Broadcast Authority of Ireland, RTÉ, TVE, and Creative Europe.

In Loco Parentis received its world premiere at the International Documentary Festival Amsterdam (IDFA) this November, where it also became the first Irish film to be selected to compete in the coveted IDFA Competition for Feature-Length Documentary. It is also playing at the prestigious Sundance Film festival, one of only two irish films selected in 2017.

Monday, 20 February – 20:30 – Light House 1 / Thursday, 23 February – 14:00 – Light House 1

Nails

Nails follows the story of Dana Milgrom, a track coach who, having survived a near-death car accident, finds herself completely paralyzed and trapped inside her own body. While recovering, she becomes convinced that an evil presence, the titular Nails, exists inside her hospital room and is intent on killing her. Believing her to be experiencing a mental breakdown, Dana’s family brush away her concerns. Becoming increasingly terrified, Dana soon realizes that she may not be the only target. Unable to leave her bed, she risks losing the ones she cares for most.

Descent star Shauna Macdonald plays Dana, alongside British comedian Ross Noble (Stitches), Steve Wall (of Irish band The Stunning), Leah McNamara, and Richard Foster-King as Nails.

Denis Bartok (producer of anthology horror Trapped Ashes) directs from his own script, which was co-written with Tom Abrams. Cinematography is by James Mather (Frank), with music by longtime Gary Numan collaborator Ade Fenton. The film has the support of the Irish Film Board, with Brendan McCarthy and John McDonnell producing for Dublin based Fantastic Films along with Jan Doense and Herman Slagter of The Netherlands-based, genre-specific Netherhorror.

Monday, 20 February – 20:45 – Cineworld 9

Photo City

Directed by John Murphy and Traolach Ó Murchú, Photo City is one of the two Reel Art documentaries, funded by the Arts Council, that feature at the festival. Rochester, NY is a city defined by photography. Once dominated by Kodak, the city now faces a new digital future. Photo City presents a portrait of photography itself as told through the lens of the citizens of a place defined by the art form. The film explores how the various strands of the city interact with photography, how its past informs its present, and how the resilience of its citizens perhaps suggests a future.

Tuesday, 21 February – 18:00 – IFI

The King’s Choice

Shortlisted for Oscar, The King’s Choice is an Irish-Norwegian co-production., directed by Erik Poppe. On the 9th of April 1940, German troops invade Oslo. The king of Norway is faced with a choice, which will change his nation forever. This is a film about real events, which turned a brave man into the people’s king.

The King’s Choice, which was written by Harald Rosenløw-Eeg and Jan Trygve Røyneland, stars Jesper Christensen, Anders Baasmo Christiansen, and Tuva Novotny. Newly appointed Irish Film Board project coordinator Lesley McKimm co-produced for Newgrange Pictures, alongside Finn Gjerdrum, Stein Kvae, Jackie Larkin, Henrik Zein, Malene Ehlers, and Madeleine Ekman.

The film received backing from the Irish Film Board, Windmill Lane Pictures, Norsk Filminstitutt, Copenhagen Film Fund, Film i Väst, Film3, Eurimages, Svensk Filminstitutt, Nordisk Film & TV Fond, Coficine, Jesper Christensen, Nordisk Film, Paradox Rettigheter, Beta Film, Danmark Radio, Nordisk, Norsk Rikskringkasting, and Svensk Television.

Wednesday, 22 February – 20:40 – Cineworld 8

Unless

Unless, which is adapted and directed by Alan Gilsenan, is based on the award-winning and final novel from Canadian author Carol Shields, and will world premiere at the Toronto International Film Festival next week. The film follows a successful writer struggling to come to terms with her daughter’s decision to withdraw from the world and start pan-handling on a street corner.

Academy Award nominee Catherine Keener leads a star-studded cast, which also features Matt Craven, Brendan Coyle, Hannah Gross, Chloe Rose, Abigail Winter, Martha Henry, and Hanna Schygulla. Gilsenan is best known for biographies The Yellow Bittern and Eliza Lynch: Queen of Paraguay.

Unless is a Canada-Ireland co-production, produced by Jennifer Kawaja and Julia Sereny of Sienna Films and Tristan Orpen Lynch and Aoife O’Sullivan of Dublin-based Subotica. Multiple IFTA award-winning editor Emer Reynolds oversaw post-production, with Celiana Cardenas as cinematographer, production design from Tim Bider, and music from Jonathan Goldsmith. The film is financed with the financial participation of the Irish Film Board, Telefilm Canada, the Ontario Media Development Corporation (OMDC), Mongrel Media, Premiere Fund and Windmill Lane Pictures, with development funding by Super Channel.

Wednesday, 22 February – 20:50 – Light House 1

ADIFF Shorts 2

Breathe

ADIFF Shorts 2 contains two award-winning Irish shorts, and seven curated international short films.

Breathe

Director: James Doherty | Ireland/UK | 15 mins | Writer: Theo James Krekis | Cast: John Connors, Lee O’Donoghue, Lynn Rafferty

A hardy Irish Traveller becomes increasingly concerned with his nine year-old son’s femininity and sets about toughening him up.

Din

Director: Helen Flanagan | Ireland | 9 mins | Writer: Helen Flanagan | Cast: Noel O’Donovan

Even when sinister noises begin haunting him in his isolated house, ailing farmer Pat refuses to admit that he needs help.

Friday, 24 February – 18:00 – Light House 3

Notes on Rave in Dublin

Notes on a Rave in Dublin

“What’s your name? Where ya from? How many ya on?” Notes on Rave in Dublin is a roller coaster ride through the birth pangs of dance music in our dirty old town. From the democratic romance of those early loved up dancefloors to how a cold social stratification and commercialisation crept back. That left it up to a network of outsider labels, pirates, and ravers to establish the indigenous scene that we now call our own. This is a story of how an underground works, mutates and survives.

Friday, 24 February – 18:30 – Light House 1 / Sunday, 26 February – 14:00 – Light House 3

ADIFF Shorts 3

The Nation Holds Its Breath

Director: Kev Cahill | Ireland | 20 mins | Writer: Kev Cahill | Cast: Sam Keely, Barbara Brennan, Ally Ni Chiarain

On the day of the most important football match in Irish history, an expectant father is torn between witnessing the miracle of childbirth and the miracle of reaching the quarterfinals of the World Cup.

Gone

Director: Patrick Maxwell | UK/Ireland | 15 mins | Writer: Patrick Maxwell | Cast: Niamh Algar, Ran Andrews

Paul returns to his hometown to find that his ex-lover has a child with another man. As old sparks reignite, jealousy and revenge lead to fatal consequences.

Pebbles

Director: Jonathan Shaw | Ireland | 15 mins | Writer: Jonathan Shaw | Cast: Marie Mullen, Niamh Algar, Stephen Brennan, Sam McGovern

On her 50th wedding anniversary Ruby returns to the hotel where she spent her Honeymoon. Will her estranged husband return to honour a promise?

Saturday, 25 February – 18:15 – Light House 3

The 4th Act

Directed by Turlough Kelly, The 4th Act tells the story of the €1bn regeneration of Ballymun, a high-rise working-class community on the north side of Dublin, through the eyes of the community itself. Drawing on hundreds of hours of local and personal archives collated over the past thirty years, the film explores themes of loss, community, hope and defiance as the residents of Ballymun watch their familiar landscape and way of living disappear.

Saturday, 25 February – 18:15 – Cineworld 8 / Sunday, 26 February – 4:30 – Light House 1

Tomato Red

Directed by Juanita Wilson (As If I’m Not There), Tomato Red is based on the acclaimed novel by Daniel Woodrell (Winter’s Bone) and follows the story of small-town drifter Sammy Barlach on his search for his next cold beer and the bunch that’ll have him. When he meets the red-haired Jamalee and her beautiful brother Jason, his life is opened up in ways he could never have imagined. Happy to have a home at last, Sammy finds his life opening up in ways he could never have imagined. But this new life is torn apart by a sudden violent incident, leaving them crying out for justice and revenge. But what if your cries fall on deaf ears? How do you make yourself heard if you don’t have a voice? Finding themselves powerless against the forces of corruption and prejudice, the only thing Sammy has left to fight is the demons inside his own head.

The film stars Julia Garner as Jamalee, with Nick Rowe as her brother Jason, and Jake Weary as Sammy. British actress Anna Friel plays Jamalee and Jason’s mother, with Sean Tyson, Kurt Max Runte, Kathryn Kirkpatrick, Trevor Lerner, and Scott A. McGillivray supporting.

Principal photography took place in British Columbia in Canada in summer 2015. Post-production took place at Screen Scene in Dublin, with Room editor Nathan Nugent. Cinematography is by the always excellent Piers McGrail, with a soundtrack from Kevin Murphy, Thomas Haugh, and Stephen Shannon. The film is produced by Elizabeth Gill and James Flynn of Metropolitan Films/Octagon Films, and Daniel Bekerman for Scythia Films. Financing comes via the Irish Film Board/Bord Scannán na hÉirean, Take 5 Productions, and Screen Scene.

Saturday, 25 February – 20:45 – Light House 1

The Farthest

Directed by Emer Reynolds, The Farthest promises to be one of the most stunning documentaries at the festival. I s it humankind’s greatest achievement? 12 billion miles away a tiny spaceship is leaving our solar system and entering the void of deep space. It is the first manmade object ever to do so. Slowly dying within its heart is a plutonium generator that will beat for perhaps another decade before the lights on Voyager finally go out. But this little craft will travel on for millions of years, carrying a Golden Record bearing recordings and images of life on Earth. In all likelihood Voyager will outlive humanity and all our creations. It could be the only thing to mark our existence. Perhaps someday an alien will find it and wonder.

In this powerful, poetic and cinematic feature documentary, The Farthest celebrates these magnificent machines, the men and women who built them and the vision that propelled them farther than anyone could ever have hoped. Launched from a fractious planet, these pioneers sail on serenely in the darkness – an enduring testament to the ingenuity of humankind and the untapped limits of the human imagination.

Sunday, 26 February – 14:00 – Savoy 1

Handsome Devil

Director John Butler closes ADIFF for the second time (The Stag – 2015) with the beautifully tender and wonderfully funny coming-of-age drama Handsome Devil.

With his shock of red hair, proclivity for old rock songs, and general oddness, Ned is a certified outcast in his rugby-crazy, all-boy boarding school. Ned doesn’t even dislike rugby, but that doesn’t stop him from being an easy target. His mind is set on expulsion or escape, until the arrival of a new English teacher and a new roommate, a surprisingly sensitive rugby player with more than a few secrets, sets Ned on a path towards finally allowing himself to be heard.

The young cast is led by Fionn O’Shea and Nick Galitzine (one of the 2015 Screen Stars of Tomorrow), with support from Andrew Scott (The Stag, Sherlock), Moe Dunford (Vikings, Patrick’s Day), Michael McElhatton (Game of Thrones), Ruairi O’Connor, Jay Duffy, Mark Lavery, and Jamie Hallahan. The film also features cameo performances from Ardal O’Hanlon, Amy Huberman, Norma Sheahan, Mark Doherty, and Hugh O’Conor.

Post-production on Handsome Devil took place at Windmill Lane Pictures with The Stag editor John O’Connor. Rebecca O’Flanagan and Rob Walpole produce for Treasure Entertainment, with backing from the Irish Film Board. Key crew include DOP Cathal Watters (Viva); production designer Ferdia Murphy, costume designer Kathy Strachan, and sound recordist Hugh Fox, all of whom worked with Butler on The Stag. Casting was by Louise Kiely.

Sunday, 26 February – 20:00 – Savoy 1

The Dublin International Film Festival is sponsored by Audi, its principal funder is the Arts Council and it is also in receipt of funding from the Irish Film Board. Key partners and funders include hotel partner The Merrion Hotel, print transport partner Wells Cargo, post-production partner Windmill Lane, digital out-of-home provider Orbscreen, social listening partners Olytico, food ordering app Just Eat and media partners Entertainment.ie, 98FM, The Times & The Sunday Times.

Tickets for ADIFF are now on sale at 01 687 7974 and online at www.diff.ie.

#ADIFF17: Irish Films screening at the 2017 Audi Dublin International Film Festival The 2017 Audi Dublin International Film Festival (ADIFF) line-up was released yesterday, January 18th. The festival is set to feature a strong selection of Irish films alongside a host of top-drawer international films.

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