PDF - Jameson Dublin International Film Festival

Transcription

DUBL N
I N TER N ATIO N A L
FILM FESTIVAL
16 TH - 26 TH
FEBRUARY 2012
W W W. J D I F F.C O M
3
www.jdiff.com
Opening GALA
cloudburst
15
10th Anniversary Edition
WELCOME
TO THE 10TH
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JAMESON DUBLIN
INTERNATIONAL
FILM FESTIVAL
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galas
Contents
pick your films
6–7
Sponsors & Supporters 8–9
Forewords
Films
irish talent spotlight
11 – 13
15 – 123
123
66
stargazing in dublin
68 – 69
workshops & events
124 – 128
Film Index
Closing GALA death of a superhero
134
special presentations
albert nobbs 35
HÄXAN37
in darkness
79
Stella days
85
wilde SALOMÉ
59
Loyalty Card
www.jdiff.com
5
HOW TO BOOK
Don’t go unrewarded
1. Go to jdiff.com
2.Call us on 01 687 7974
3. swing by in person:
a.Filmbase
B.Cineworld
C.Light House
Look out for our iPhone
and Android app
(available from 10 February)
Ticket PRICES
Afternoon Screenings*
€8
Evening Screenings €10
Follow us on Facebook and
Twitter for daily promotions
and competitions to win tickets
Ticket Office Details
Fancy building points each time you
make a purchase at the IFI?
Want to convert those points into free tickets?
Now you can with the FREE IFI Loyalty Card!
With points for everyone who spends at the IFI,
and with double points for members, you’ll be
able to reap the rewards of all your visits to the IFI!
4c back in points at the IFI for every €1 spent.
Some great films you may miss at the
Jameson Dublin International Film Festival
but can catch at the IFI over the coming months…
CARANCHO from March 2nd
MICHAEL from March 2nd
TRISHNA from March 9th
ONCE UPON A TIME IN ANATOLIA from March 16th
THE KID WITH A BIKE from March 23rd
Opening dates may be subject to change.
To apply for a free IFI Loyalty Card, simply complete your application form
at reception/box office, call 01 679 5744 or fill the form in online at www.ifi.ie
Filmbase
Curved Street, Temple Bar, Dublin 2
Opening Hours:
10am – 7pm daily (3 – 26 February)
Cineworld
Parnell Street, Dublin 1
Opening Hours:
2pm – 8.30pm (6 – 15 February)
12pm – 8.30pm (16 – 26 February)
Light House
Blackhall Walk, Smithfield Market, Dublin 7
Opening Hours:
10am – 7pm (16 – 26 February)
For full details of our ticketing terms and conditions
and for further information, check our website www.jdiff.com.
A fee of €1 per booking applies to phone and online orders.
Special Presentations
€15
Galas**€18
Full Season Ticket***
(except National Concert Hall)
€235
BATMAN: DANNY ELFMAN FILM MUSIC
(Tickets only available from National Concert Hall –
visit www.nch.ie or call 01 417 0000)
* For screenings before 6pm weekdays
** Opening Gala (Cloudburst), Closing Gala (Death of a Superhero)
*** Terms and conditions apply. For details, visit www.jdiff.com.
DISCOUNTED TICKETS
Evening Pass
(for 10 evening screenings)
€80
Afternoon Pass
(for 10 afternoon screenings before 6pm)
€60
123 Happy Hour
Every day between 1pm and 3pm we will be publishing
a limited number of special offers on tickets for JDIFF screenings.
Check our website or join our social media channels. Students, OAPs
and Unwaged save 10%.
16 – 26 FEB 2012
6
7
www.jdiff.com
PICK YOUR FILMS
Each film fits into
a section which
is colour coded
Gala
Cloudburst Use the sections
TO FIND all the
AMAZING films
you want to see!
Death of a Superhero First Look
15
123
Special Presentation
Albert Nobbs 35
Häxan 37
In Darkness 79
Stella Days 85
Wilde Salomé 59
All in Good Time
Spectrum
95
Amador 48
Apples of the Golan Aurora117
Best Intentions 77
Dollhouse Beauty 107
Café de Flore Bel ami
51
The Best Exotic
Marigold Hotel
32
Black Gold 43
Blackthorn107
Contraband 92
Damsels in Distress 24
Elles 19
The Fairy 31
Faust56
Discovery
Apartment in Athens
Avé32
Blame34
Bonsaí Breathing 65
101
Fort McCoy 21
Hard Labour
95
Invisible 46
Play 49
A Quiet Life 76
Sing Your Song silver tongues Turn Me on, Goddammit Up There 118
64
45
110
Womb19
For a day-by-day breakdown
of the festival, see fold-out
schedule at the back
Footnote 45
Goodbye, First Love 36
Hunky Dory 20
Irish
102
Jeff, Who Lives at Home 57
Jo Nesbø’s Headhunters
113
Le Havre 49
Margaret 63
Michael 62
The Monk 38
Once Upon a Time in Anatolia 64
The Raid 99
Return 57
A Royal Affair 106
Salmon Fishing in the Yemen 39
Silent House 77
Sleepless Night 84
Trishna 93
Where Do We Go Now? 55
Your Sister’s Sister
75
Chicken With Plums 119
92
Dreamtime, Revisited El Gusto Out of the Past
33
111
75
105
Bambi Batman 117
The Enigma of Frank Ryan 36
Gallivant Curling King
110
The Far Side of Revenge
63
l’important c’est d’aimer
Elena 108
Finding Joy
54
The Life and Death
of Colonel Blimp 87
Flanagan’s Wake
The Jewel 46
Hill Street 47
Nightdancers 90
Kawasaki’s Rose
The Mole
106
44
Nuala 101
105
Monsieur Lazhar
28
Saving the Titanic 20
Mourning 62
Silence 86
My Little Princess 55
Tin Can Man 48
Superclásico 33
Wonder House 84
Target 76
Yellow 30
Terraferma 38
The Vanishing of Páto
90
Twilight Portrait 93
The Yellow Sea 42
German
Buck 74
Calvet 82
Crulic – the Path to Beyond
34
Family Instinct 31
61
29
Into the Abyss
The Day I was Not Born 87
Khodorkovsky54
114
Dreileben:
One Minute of Darkness
115
Dreileben:
Don’t Follow Me Around
115
If Not Us, Who? 108
Sleeping Sickness 103
Three56
A Man’s Story 83
Samsara 29
Sing Your Song 102
61
100
Looking for Richard 17
Orphée 44
Terence McDonald
118
The Panic in Needle Park 74
Puzzle of a Downfall Child 30
Santa Sangre 86
Sherlock Jr.
43
Other Presentations
Real to Reel
The City Below Dreileben: Beats Being Dead
82
Blow-Up17
Courage The Good Doctor 120
Baraka100
118
This is Not a Film
47
This Our Still Life
103
Unfinished Spaces 21
Batman: Danny Elfman
Film Music
109
IFB Shorts
18
JDIFF Shorts
91
Reservoir Dogs
67
Surprise Film
121
16 – 26 FEB 2012
8
SPONSORS
9
SUPPORTERS
TITLE SPONSOR
Funders
Official Partners
Official CINEMA Partner
Official Hotel Partner
Official Vehicle Partner
Official Radio Partner
Official online Partner
OFFICIAL POST PRODUCTION PARTNER
OFFICIAL PRINT TRANSPORT PARTNER
blow
Official Print Media Partner
www.jdiff.com
16 – 26 FEB 2012
10
highlights
Cloudburst
Death of a Superhero
Albert Nobbs
HÄXAN
In Darkness
Stella Days
Wilde SALOMÉ
The Raid
The Yellow Sea
Monsieur Lazhar
Bambi
Jo NESBØ’S Headhunters
11
www.jdiff.com
DIRECTOR’S FOREWORD
Welcome to the 2012 Jameson Dublin
International Film Festival. This year we
celebrate our 10th anniversary with an
extensive programme of both indigenous and
international cinema and a top-notch guest
list to accompany the premieres, workshops,
masterclasses and special events we’ve
planned especially for you.
To mark our birthday, our Outreach programme has produced an
extensive tour of the classic Buster Keaton silent film Sherlock Jr.,
while with ‘Picture House’ we bring great films to ten Dublin care
centres for the first time. We will also host a special gallery exhibition,
‘Stargazing in Dublin’, celebrating film stars and film-makers who
have visited Dublin over the years.
Many of you will know by now that Al Pacino will attend the festival
to share his new film Wilde Salomé with Dublin audiences. He is one of
a roll-call of film-makers and stars we are delighted to welcome; our
list includes acclaimed actress Glenn Close (Albert Nobbs), Marjane
Satrapi (Chicken with Plums), Whit Stillman (Damsels in Distress) and
Agnieszka Holland (In Darkness) and the experimental film-maker
Andrew Kötting will also bring his unique films to Dublin.
A very special treat on offer is a rare opportunity to see Häxan:
Witchcraft through the Ages accompanied by the Matti Bye ensemble.
International cinema is well represented with a particularly fine crop
of new films from Scandinavia, Russia and Germany, including the
mammoth Dreileben, Andrei Zvyagintsev’s Elena and Morten Tyldum’s
Headhunters. Our industry programme will include an opportunity to
meet French producer Marin Karmitz.
Our Irish programme is packed with new films, including Pat Collins’
hauntingly beautiful Silence, Ian Fitzgibbon’s award-winning Death
of a Superhero, Kirsten Sheridan’s fascinating Dollhouse, Maurice
Sweeney’s powerful Saving the Titanic and Emile Dinneen’s kinetic
Nightdancers, as well as two short film programmes. Our recent focus
on documentary continues with wonderful films such as Crulic - The
Path to Beyond by Anca Damian and Werner Herzog’s Into the Abyss,
along with the third year of the Reel Art programme. This year’s
eclectic archive programme includes Cocteau’s Orphée, Schatzberg’s
Puzzle of a Downfall Child and, for its 70th birthday, a rare screening of
Walt Disney’s masterpiece Bambi.
In 2003, the first festival ran for a week with a programme of
66 screenings. This year, the festival spreads over 11 days with a
programme of 147 screenings, shorts programmes, workshops and
concerts. This expansion has only taken place due to our partnership
with three very special organisations: our title sponsor Jameson, who
have been with us since the beginning and we thank them sincerely
for their ongoing commitment to this event; the Arts Council, which
has been our key funding partner and has allowed us to develop the
festival’s commitment to presenting world cinema (75% of the films
shown here will not be screened in Ireland again) and our touring
programme, and the Irish Film Board, which has worked with us to
platform new Irish films, promote screenwriting in Ireland and to
develop the international profile of the event. The festival is proud to
work with them and all our supporters and friends.
I would like to conclude with some heartfelt acknowledgments: a
huge round of applause for our numerous friends in distribution, both
in Ireland and internationally, who are so generous with their films on
an ongoing basis. A huge thank you to the festival board of directors
and my hardworking colleagues, and of course to the ‘beautiful
friendship’ of our audiences who have supported us since the very
beginning and come in increasing numbers each year. Our muchmissed colleague and friend Michael Dwyer always maintained that
Irish audiences were the best in the world and deserved the greatest
films, a credo the festival retains to this day. At its simplest, festival
programming is like ‘catching butterflies’; it’s been exhausting but a
thrilling opportunity to bring this programme to life - I hope you enjoy
the next 11 days of vibrant colour and spectacle.
Gráinne Humphreys
Festival Director
13
www.jdiff.com
CHAIRMAN’S WELCOME
It is a great pleasure to welcome you all
to the 10th edition of the Jameson Dublin
International Film Festival – how the years
have flown!
Our Director, Gráinne Humphreys, has assembled a wonderful programme
of films and events to celebrate our 10th birthday and on behalf of
everyone associated with the festival I thank her sincerely for her grace,
her eclectic taste and her unstinting dedication to the festival.
Joanne O’Hagan, our CEO, and her tireless team have yet again met the
formidable task of managing all the financial and logistical challenges
involved in mounting the festival with aplomb and good humour.
Our unique sponsorship by Jameson has been central to the growth
and development of the Jameson Dublin International Film Festival from
the very start. In 2011 we bade adieu to Alexandre Ricard, who was a
friend to us for several years and, in his stead, we warmly welcome
ADVERT
The BAI is pleased to
support the Jameson
Dublin International
Film Festival 2012
Anna Malmhake as the new Chair and CEO of Irish Distillers. It is a sign
of the strength of our partnership that we have recently extended our
relationship with Jameson for a further three years.
The festival could not be without the support of a great many financial
partners and in particular we thank The Arts Council/An Chomhairle
Ealaíon and The Irish Film Board/Bord Scannán na hÉireann for their
continued investment in the festival.
To our dedicated staff, and especially our incredible army of volunteers,
we say a huge thank you.
I particularly wish to thank our splendid Board of Directors
who volunteer their time to help to guide the festival with their wisdom
and expertise.
And to you, our audience – you are what it’s all about – we are ever
grateful for your support, adulation, criticism, but most of all, your
presence.
Arthur Lappin
Chairman
JAMESON
introduction
2012 is going to be a special year for Jameson
and film – not only is it the 10th anniversary
of the Jameson Dublin International
Film Festival but I am also delighted to
announce that we have renewed this special
partnership for another three years.
w
www.bai.ie
BAItweets
BAIreland
Our association with film began in 1998 and I am very proud to say that,
today, Jameson is involved with some of the most dynamic and successful
film festivals around the world, including the Jameson Empire Awards in
London and the Film Independent Spirit Awards in Los Angeles.
At the heart of our film association is, of course, our sponsorship of
JDIFF, which has grown from strength to strength since 2002. In support
of this, we have once again developed an integrated marketing campaign
consisting of TV, print, radio, outdoor, online and extensive in-bar and retail
promotions around Dublin. This year’s programme will once again feature
the hugely popular Jameson Cult Film Club where we will bring to life
Quentin Tarantino’s debut film Reservoir Dogs.
2012 is also notable for Jameson for another reason. To meet the
growing demand for the brand, we have committed to a €100 million
investment in the expansion of our distillery in Midleton, Co. Cork.
We have great ambitions for Jameson this year and I very much look
forward to an exciting and successful 2012 festival.
I hope over the coming weeks you will join us for a Jameson at one of
the many after show parties taking place during the festival.
Anna Malmhake
CEO & Chairman
Irish Distillers Pernod Ricard
15
THUrs 16 FEB
cloudburst
OPENING Gala
THurs 16 Feb / SAVOY / 7.30PM
Brenda Fricker and Thom Fitzgerald
will attend the screening
Winner, People’s Choice Award for Best Film,
Atlantic Film Festival
“the strength of Cloudburst stems from its refusal to
temper its humour nor sacrifice the genuine tenderness
of the leads’ relationship for quick gags or cheap pulls
at the heartstrings”
Vue Weekly
It’s hard to believe that writer/director Thom Fitzgerald didn’t
create the central role in Cloudburst for Olympia Dukakis. Stella,
a foul-mouthed, seventy-something lesbian who has loved Dot
(Brenda Fricker) for 31 years, is a part Dukakis was made for,
but the film is an adaptation of Fitzgerald’s play of the same
Director: Thom Fitzgerald
2011 / US / 93 minutes
Cast: Brenda Fricker, Olympia Dukakis, Kristin Booth
name, which was once a short story. When Dot’s granddaughter,
Molly, schemes to separate the couple so she can get her hands
on their house, Dot and Stella take to the road, heading from
Maine to Canada so they can get married and hopefully put a stop
to Molly’s plans. Along the way they pick up a hitchhiker (Ryan
Doucette) who’s travelling from New York to see his dying mother.
The success of Cloudburst relies on the chemistry between all
three actors and while Doucette falters at times, the teaming of
Dukakis and Fricker is pitch-perfect, with the latter bringing a
touching realism to their aging relationship. It’s a film about how
all love is the same, be it straight or gay, and it gets the message
across with plenty of laugh-out-loud moments along the way,
including a scene involving Fricker’s face and a pair of testicles.
Now that’s a first!
Brian Finnegan, Editor of GCN
17
FRI 17 Feb / LIGHT HOUSE 2 / 2.30pm
Director: Michaelangelo Antonioni
1966 / UK / 111 minutes
Cast: David Hemmings, Vanessa Redgrave, Sarah Miles
antonella palmieri will give a one houR talk after the film
out of the past
In a career that spanned almost fifty years, from Cronaca di un Amore to
Beyond the Clouds, Michaelangelo Antonioni became one of a handful of
directors who defined the possibilities of post-war cinema. To celebrate
the centenary of Antonioni’s birth, JDIFF presents a special screening of
Blow-Up, his first English language film and one of his most celebrated
works, introduced by Antonella Palmieri.
Filmed at the height of Swinging London, Blow-Up stars David
Hemmings as a David Bailey-style fashion photographer who stumbles
across what appears to be a brutal murder in a London park. To this
thriller premise, Antonioni brings his trademark modernist alienation
and existential ambivalence as Hemmings’ photographer tries to piece
together the crime from clues left on a roll of film. With a memorable
soundtrack of jazz and rock and cameos from Jane Birkin and Jimmy
Page, Blow-Up is both a snapshot of an era and a landmark in cinema
that inspired everyone from Coppola to Mike Myers.
Alistair Daniel, Jameson Dublin International Film Festival
LOOKING FOR RICHARD
Director: Al Pacino
1996 / US / 112 minutes
Cast: Al Pacino, Alec Baldwin, Kevin Spacey, Winona Ryder,
Aidan Quinn
FRI 17 Feb / LIGHT HOUSE 1 / 3.00pm
out of the past
Fri
17 FEB
BLOW-UP
fri 17 FEB
Antonella Palmieri lectures in Film and Television Studies at the University
of Lincoln and the University of East Anglia. Her research interest is broadly
concerned with the politics of gender, sexual and ethnic representations in
popular culture, with particular regard to Hollywood cinema.
High-spirited and infectiously energetic, Al Pacino’s Looking for
Richard is a masterclass in Shakespeare and acting conducted by an
uncommonly passionate and delightful teacher. Ranging from New
York’s streets to the reconstructed Globe Theatre in London, talking
with everyone from strangers encountered by chance to scholars and
celebrated actors, Pacino is the voluble, mercurial centre of a film that
ingeniously interweaves commentary on Shakespeare with analysis of,
rehearsals for and key segments from a Richard III on film.
The film’s source, unmistakably, is the actor’s love for Shakespeare
and desire to communicate the writer’s poetry to audiences of all
stripes. What starts as history lessons and rehearsals has, by its end,
left behind all intellectual props and achieved a magnificent emotional
force. Pacino’s performance as Richard not only provides the film’s
rawest, most ferocious energies, it also suggests why this play is ideal
for the actor-director who wants to illuminate Shakespeare overall.
While intelligence, gusto and generosity characterize Pacino’s work
with his cast, the film is equally noteworthy for the combined economy
and clarity of its editing. It also shines with a general exuberance and
good humour that provide a steady stream of comic moments and lighthanded asides to buoy the drama’s weightier concerns.
Godfrey Cheshire, Variety
18
Directors: Various
2011 / Ireland / 118 minutes
Director: Elaine Gallagher
Running Time: 5 minutes
At a competition, a young dancer waits
nervously in the wings. Once on stage,
however, she shines, demonstrating her
great passion for Irish dancing.
ASAL
Stiúrthóir & Scriobhneoir: Tom Sullivan Fad: 12 nóiméad
An Gearrscannán is Fearr, Fleadh Scannán
na Gaillimhe. Cuireann Fionn, iascaire óg
as iarthar na hÉireann, a shaol féin i mbaol
chun cara a shábháil.
THE FISHERMAN
Director: Tom Burke
Following the death of Pake Walker, his son Pat
climbs the high hill of Bull na Mór, in County
Mayo, overlooking the Atlantic Ocean, to honour
his father’s memory and to contemplate a life
spent at sea.
DOWNPOUR
Director: Claire Dix
A bride-to-be recalls pivotal moments in her
relationship which all took place in a shower,
a drizzle or a downpour.
fri 17 Feb / LIGHT HOUSE 2 / 6.10pm
WASHED UP
LOVE
The Irish Film Board presents a selection of short
films which showcase the wealth of cinematic talent
currently at work in Ireland. This year’s selection is a
tour-de-force of strong, original storytelling, visual
flair and consistently high production values.
AN RINCEOIR
WOMB
fri 17 Feb / LIGHT HOUSE 1 / 6pm
Director: Ross Whitaker
From the makers of the award-winning Bye
Bye Now, Home Turf is a visual celebration of
the dying craft of turf-cutting.
WE, THE
MASSES Director: Eoghan Kidney
In a barren snowy landscape a man falls to
the ground. Searching to continue his fall, he
discovers other men. He joins them, hoping
they will lead him to his destination. What he
is led to is incomprehensible.
23 DEGREES
5 MINUTES
Director: Darragh O’Connell
An old explorer close to freezing in the
Arctic recalls his student days at Trinity
College when he studied under the enigmatic
Professor Orit.
Remember Me,
My Ghost
Director: Ross McDonnell
As the social housing scheme in Ballymun
is demolished, one former resident recounts
her life lived in the flats.
ORIGIN
Director: James Stacey
A young man is on the brink of emigration,
but as he races through the streets of
Dublin he comes to realise the spirit he’s
leaving behind.
THE HATCH
Directors: Mike Ahern, Enda Loughman
In the midst of a stormy night, a fisherman
and his son witness a glowing object fall
to sea. Director: Benedek Fliegauf
2010 / Germany / Hungary / France / 111 minutes
Cast: Eva Green, Matt Smith, Lesley Manville
Dan Fainaru, Screen International
Elles
fri 17 Feb / cineworld 9 / 6.15pm
Director: Malgorzata Szumowska
2011 / France / Poland / Germany / 96 minutes
Cast: Juliette Binoche, Joanna Kulig, Anaïs Demoustier
Malgorzata Szumowska has moved into dark and controversial territory.
Yet while her ability to probe deeply into the sexual recesses of
contemporary society is impressive enough; the range of control she
exerts, over a story that in lesser hands could have proven unman
ageable, is startling.
Juliette Binoche plays Anne, a wife, mother and – most importantly –
a journalist researching an article about student prostitution for ELLE
magazine. Anne finds herself drawn to two young women: a down-onher-luck Polish student and a French girl from one of Paris’ housing
projects. Both women have entered the sex trade for different reasons,
and as they open up to Anne, we are allowed glimpses of the reality of
their work. Meanwhile, Anne is forced to confront the bourgeois reality
of her own life, where her husband seems married to his cellphone.
Szumowska’s film dares to explore a precarious region where perhaps
only Catherine Breillat has ventured before. Female sexuality, in all its
complexity, is placed under a microscope, turning Elles into a must-see
film from a director whose talent has finally flourished.
QUARANTINE
Directors: Tadhg O’Sullivan, Feargal Ward
An intimate portrait of one woman’s solitary
time with illness, fate and faith.
THE BOY
WHO LIVED
IN A BUBBLE
Director: Kealan O’Rourke
Rupert, a 10-year-old boy, falls hopelessly in
love for the first time. When it all goes terribly
wrong, he invokes a spell to shield him from
emotion forever. With the voice of Alan Rickman.
FRI 17 FEB
Whichever way you want to look at Benedek Fliegauf’s new film –
whether as an engulfing story of love trying to beat death, a sci-fi
speculation on clones in human society or a cautionary Oedipal tale –
there is one aspect of it that no one will deny: this is one of the most
spectacularly handsome films of the year, confirming Fliegauf’s already
established reputation as a world-class aesthete.
Rebecca (Eva Green) resorts to cloning in order to produce for herself
a copy of Thomas (Matt Smith), the man she has loved and lost. Once
she gives birth she selfishly tries to keep the new Thomas, an exact
copy of the departed one, only for herself, which works fine as long as
he is a child. But once he grows into a young adult, she inevitably has to
face the fact that her total dedication to him takes on dimensions that
are not necessarily maternal.
Green conveys every bit of the stubborn obsessive passion driving
her to confront nature, and Lesley Manville strikes an impressive pose
as Thomas’ original mother, profoundly troubled at the sight of the
perfect copy of her dead son. It is a disturbing proposition indeed.
Director: Dylan Cotter
Frank and Moira’s love has gone missing,
but the tide is about to turn.
HOME TURF
19
discovery
ifb shorts
Piers Handling, Toronto International Film Festival
first look
FRI 17 FEB
16 – 26 FEB 2012
FRI 17 FEB
20
Saving the Titanic
Director: Maurice Sweeney
Cast: David Wilmot, Hugh O’Connor, Ciarán McMenamin
UNFINISHED SPACES
[ESPACIOS INACABADOS]
21
FRI 17 FEB
Director: Alysa Nahmias, Benjamin Murray
2011 / Cuba / US / 86 minutes
maurice sweeney and executive producer
stephen rooke will attend the screening
Benjamin Murray will attend the screening
APARTMENT IN ATHENS
fri 17 Feb / light house 2 / 8.40pm
In the centenary year of the sinking of the RMS Titanic on 14 April
1912, the festival is delighted to present the world premiere of producer
Stephen Rooke and director Maurice Sweeney’s recreation of this
most iconic of sea disasters. Based on eye-witness accounts, Saving
the Titanic tells the story of the disaster from below deck, exploring the
question of what happened in the engine and boiler rooms after the
collision. It follows nine men from the engineering crew – among them
18-year-old electrical engineer Albert Ervine from Belfast and Chief
Engineer Joseph Bell (David Wilmot) – as they work among the huge,
coal-fired furnaces and massive dynamos to satisfy the ship’s demand
for power. Their personal stories of bravery are slowly revealed as the
men fight to hold back the sea and keep the power systems running, even
when they learn that all is lost. Most of these men died but their actions
saved many lives. A fascinating hybrid of documentary and dramatic
reconstruction that makes use of stunning CGI effects, Saving the
Titanic brings to life the last hours of the “unsinkable” ship and features
a stellar ensemble including David Wilmot, Ciarán McMenamin, Owen
McDonnell, Andrew Simpson and Hugh O’Conor. Unmissable.
Gráinne Humphreys, Jameson Dublin International Film Festival
Director: Ruggero Diapola
2011 / Italy / 95 minutes
Cast: Gerasimos Skidaressis, Laura Morante, Richard Sammel
real to reel
irish
WORLD PREMIERE
FORT McCOY
fri 17 Feb / CINEWORLD 9 / 8.45pm
Todd McCarthy, The Hollywood Reporter
Director: Kate Connor, Michael Worth
2011 / US / 101 minutes
Cast: Eric Stoltz, Kate Connor, Lyndsy Fonseca
Kate Connor will attend the screening
Helmed with style and aplomb by first-time director Ruggero Diapola,
this adaptation of G. Wescott’s 1945 novel Apartment In Athens is a
remarkably accomplished tale of hatred, revenge and freedom, set in
1940s Greece. Featuring star turns from Laura Morante (previously seen
in Molière) and Gerasimos Skiadaressis, the film is also based on a
little-known historical occurrence during World War II.
The Helianos family, middle-aged and settling into a comfortable
existence, live in an apartment in Athens with their wayward ten-yearold son and twelve year-old daughter. However, they soon find their
life is blown apart with the sudden arrival of the cruel and methodical
Captain Kalter, who has been ordered to commandeer their living
quarters. His brutal reign of terror reduces the family to shells of their
former selves as they spend each day dreading their master’s orders.
When he is ordered to return to Germany, they discover that freedom no
longer has any meaning. And when the domineering Kalter returns, they
are relieved but he is a changed man, receptive and accommodating,
striking a worryingly fragile balance in the apartment.
winner, Best Drama, Cannes Independent
discovery
Colm McAuliffe, Jameson Dublin International Film Festival
discovery
An apt metaphor for the history of the Cuban revolution itself, Unfinished
Spaces is a stirring study of the euphoric creation and complex, unfortunate
aftermath of an ambitious cultural project initiated in Havana in 1961.
In a sympathetic but unblinking manner, Alysa Nahmias and
Benjamin Murray assemble this ambitious look at the birth and
subsequent troubled life of Cuba’s National Art Schools, a complex on
the edge of Havana seemingly conceived on a whim by Fidel Castro.
Three young architects and ardent revolutionaries were given two
months to plan five schools and to begin construction immediately
thereafter. The creations of Roberto Gottardi, Ricardo Porro and
Vittorio Garatti were stunning, at once both excitingly modernistic and
redolent of old influences. World events quickly overtook the enterprise,
however. Further construction was halted and the three architects were
disenfranchised and worse.
The three old colleagues reunite to traverse their spectacular
creation, ruminate on what became of their youthful dreams and
contribute to the schools’ restoration. Lucidly filmed, Unfinished Spaces
is an excellent example of the specific used to illustrate a wider truth, in
this case about unfulfilled dreams, both artistic and political.
First-time screenwriter Kate Connor’s Fort McCoy is as ambitious as it
is personal: together with co-director Michael Worth, Connor retells her
grandmother’s childhood experiences as the daughter of a barber on the postWorld War II military base of the title, which includes a German POW camp.
The film begins with Frank (Eric Stoltz) and Ruby Stirn (Connor),
their two children, Lester (Marty Backstrand) and Gertie (Gara Lonning),
and Ruby’s younger sister, Anna Gerkey (Lyndsy Fonseca), moving to
Fort McCoy, where Frank will do his part for the war effort as a barber.
When Gertie befriends the young German Heinrich, darker parts of
the outwardly idyllic base come into view, including the presence of
ideologically unrepentant SS soldiers.
Fortunately, most performances are more than up to par with the
film’s lofty ambitions. Stoltz is entirely convincing as a man humbled
by his German heritage and prevented from showing his American
patriotism on the battlefield. Connor clearly proves that she can carry
a lead, especially if it’s tailored to her period-piece-friendly looks.
Fonseca is delightful as a young girl in love, with executive producer
Hirsch also showing great potential as her paramour.
Karsten Kastelan, The Hollywood Reporter
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RENAULT Z.E. RANGE, 100% ELECTRIC, 100% AFFORDABLE, 0% EMISSIONS.
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FRI 17 FEB
24
Damsels in Distress
fri 17 Feb / cineworld 17 / 9pm
Director: Whit Stillman
2011 / USA / 97 minutes
Cast: Greta Gerwig, Adam Brody, Analeigh Tipton
Whit Stillman will attend the screening
first look
Writer/director Whit Stillman made three of the most resonant American
independent films of the nineties: Metropolitan, Barcelona and The Last
Days of Disco. With Damsels in Distress, he adds to his personal canon
with a film that is distinctly offbeat, even manic, and yet retains his
precise wit and refined dialogue - all executed with vintage Stillman
aplomb. His latest film takes a unique look into the psyche of privileged
American youth, this time focusing on a group of undergraduates at a
leafy East Coast university. The film stars Greta Gerwig as Violet. Prim,
proper and extremely odd, Violet is alpha to a trio of attractive girls
who’ve vowed to improve anyone they deem in need. When the girls
spot a new transfer student named Lily (Analeigh Tipton), they take her
under their wing and show her what to wear, who to date and how to
help prevent campus suicides (solution: tap-dancing, free doughnuts
and good hygiene). However, when Violet is betrayed by her beau and
begins to pine for Lily’s new flame (Adam Brody), her orderly world
starts to crumble. A heady yet deceptively light take on the all-girl clique
subgenre best exemplified by Heathers and Clueless, Stillman takes
that beloved formula to new, often-surreal10th
heights.
Neatly divided
Anniversary
Editioninto
chapters, Damsels in Distress is funny, tragic and delightfully weird all
at the same time. Better still: it contains several dance numbers.
Cameron Bailey, Toronto International Film Festival
ABBEY THEATRE
ALICE IN
FUNDERLAND
PHILLIP MCMAHON
& RAYMOND SCANNELL
direc t ed by wayne jordan
w o r l d p r e m i e r e o n t h e a b b e y s tag e
A modern irish musical full of
explosive tunes and crackling action.
30 m a rc h - 1 m ay 2012
(01) 87 87 222
|
www.abbeytheatre.ie
|
tickets €13 – €40
sat
18 FEB
Use only when space
precludes use of master logo
Master logo
nb: ‘screen commission’ set to overprint
Master logo b/w
Master logo reversed b/w
For use at small sizes
Go ahead…
Shoot in Cork
m100 y100
CC0000
255, 51, 51
Graphic element for decorative or background use
Master logo reversed
…it’ll make
your day!
Font: Univers 67 Bold Condensed Oblique
The Art of Graceful Living.
The Merrion is unique.
Behind the refined exterior of four lovingly restored Georgian townhouses, Dublin’s most luxurious
5 star hotel has revived a 200 year old tradition of gracious living amidst elegant surroundings.
At The Merrion, the spirit of hospitality is as unquenchable as it was when Lord Monck entertained in
these great rooms two centuries ago. Expect a welcome as warm as its roaring log fires. And attentive service
as detailed as the exquisite Rococo plasterwork above you.
The Cork Screen Commission is your one-stop movie shop!
With a comprehensive database of locations, an extensive list
of experienced cast and crew and a broad knowledge of film
production Cork Screen Commission will go the extra mile to
ensure your film is beautifully realised. Go ahead - shoot in Cork!
A stay here redefines relaxation with the shimmering infinity pool and state-of-the-art gym as well
as the treatment rooms of The Tethra Spa. And as home to the renowned Restaurant Patrick Guilbaud,
overlooking authentic 18th century formal gardens, and Ireland’s largest, private contemporary art collection,
at every turn, The Merrion exudes the unmistakable air of timeless excellence.
There is nowhere finer to stay.
For more information visit
www.corkscreencommission.com
Cork Screen Commission,
The Gunpowder Mills, Ballincollig, Co. Cork, Ireland
[email protected]
www.corkscreencommission.com
Cork Screen Commission is an initiative of Cork County Council, Cork City Council and Cork Film Centre
a member of
Upper Merrion Street, Dublin 2, Ireland. Tel: 353 1 603 0600 Fax: 353 1 603 0700
e-mail: [email protected] Website: www.merrionhotel.com
XXX 18
XX FEB
FEB
sat
28
10th
10thAnniversary
AnniversaryEdition
Edition
29
Samsara
sat 18 FEB
Director: Ron Fricke
sat 18 Feb / cineworld 17 / 1.15pm
EUROPEAN PREMIERE
real to reel
producer mark magidson will attend the screening
mONSIEUR LAZHAR
THE CITY BELOW
[UNTER DIR DIE STADT]
Samsara reunites director Ron Fricke and producer Mark Magidson, whose
previous films Baraka (see p. 100 and Chronos were acclaimed for combining
visual and musical artistry. Samsara expands on their effort to portray the
connections between humanity and nature. Filmed over four years and in
more than twenty countries, the film transports us through multiple cultures
to sacred grounds, disaster sites, industrialized zones and natural wonders.
By dispensing with dialogue and descriptive text, the filmmakers subvert
our expectations of a documentary. Instead, they encourage our own
interpretations inspired by images and musical compositions that infuse the
ancient with the modern. Samsara is a Tibetan word that means “the ever
turning wheel of life,” and Fricke describes the film as a “guided meditation
on the cycle of birth, death and rebirth.” Tableaux include the surrealist
wreckage of houses after Hurricane Katrina, the testing of lifelike robots
alongside their human counterparts, group exercises in a prison, garbage
pickers in an endless horizon of trash and Muslim pilgrims circling around
the tomb at Mecca. Fricke and Magidson bring a revivified perspective with
stunning compositions, matched with the latest in photographic technology.
For filmgoers who cherished the revelations of Baraka almost twenty years
ago, Samsara proves to be worth the wait.
Thom Powers, Toronto International Film Festival
Director: Christoph Hochhäusler
2010 / Germany / 105 minutes
Cast: Nicolette Krebitz, Robert Hunger-Bühler,
Mark Waschke, Corinna Kirchhoff
sat 18 Feb / LIGHT HOUSE 2 / 2pm
Christoph Hochhäusler’s One Minute of Darkness
is part of Dreileben (see page 115)
spectrum
Director: Philippe Falardeau
2011 / Canada / 94 minutes
Cast: Mohamed Fellag, Sophie Nélisse, Émilien Néron,
Brigitte Poupart, Danielle Proulx
Winner, Best Canadian Feature,
Toronto International Film FestivaL
Winner, Audience Award, Whistler Film Festival
Writer-director Phillipe Falardeau (adapting a play by Évelyne
de la Cheneliére) tackles these topics with a delicate touch,
bringing wit and warmth to the classroom scenes and granting
the heavier material an appropriate gravity. It’s not often that you
see elementary school and global politics sharing a screen, but
Monsieur Lazhar makes the fit an entirely natural one, as Bachir
and his students come to terms with loss, guilt, and other issues
that life has prematurely thrown at them. It’s an inspiring character
study that earns every one of its heart-warming moments the hard
way – through insight, empathy, and eloquence.
There are some sights a child was never meant to see. When a
group of Montreal students find their beloved teacher hanging from
the ceiling of their elementary school classroom, the shock of the
incident is, needless to say, traumatizing. Her replacement, Algerian
refugee Bachir Lazhar (Mohamed Fellag), now has the doubly
difficult task of reaching his distraught students while securing his
own asylum from past tragedies in his homeland.
Calgary International Film Festival
A high-flying corporate bigwig meets his match in Christoph
Hochhäusler’s tense drama set in the upper echelons of Frankfurt’s
banking sector. It’s a malevolent world of high finance and corporate
malfeasance, in which dour men sit around gargantuan tables in
penthouse boardrooms plotting the takeover of rival firms.
The dourest of all is the reptilian Roland Cordes (Robert HungerBüehler) who, at the outset of the film, seems to have lost some of his
appetite for conquest. A chance encounter with the wife of an underling
reignites the fire in his belly, and soon it’s business as usual for Roland,
except that now his machinations play out in the bedroom instead of
the boardroom. His enigmatic paramour Svenja Steve (Nicolette Krebitz)
is no shrinking violet, as Roland quickly discovers, and before long he
finds himself embroiled in some of the most delicate negotiations of his
career. Evocatively filmed and impressively acted, Hochhäusler’s solemn
tour de force is an utterly fascinating excavation of nihilism and late
capitalism on the wane.
german
SAT 18 Feb / SAVOY / 11AM
Michael Read, San Francisco International Film Festival
Presented in co-operation with the Goethe-Institut Irland
SAT 18 FEB
30
yellow
Director: Amanda Coogan, Paddy Cahill
sat 18 Feb / light house 4 / 2pm
THE FAIRY [LA FÉE]
sat 18 Feb / LIGHT HOUSE 1 / 2.30pm
“Coogan… is the leading practitioner of performance in the
country” The Irish Times
Amanda Coogan
first look
Puzzle of
a Downfall Child
Director: Jerry Schatzberg
1970 / US / 105 minutes
Cast: Faye Dunaway, Roy Scheider, Viveca Lindfors,
Barry Primus
FAMILY INSTINCT
[GIMENES LIETAS]
out of the past
sat 18 Feb / cineworld 9 / 2pm
sat 18 FEB
Director: Dominique Abel, Fiona Gordon, Bruno Romy
2011 / France / Belgium / 93 minutes
Cast: Dominique Abel, Fiona Gordon, Philippe Martz
“this deliriously droll confection …
hones the misfit charm of their earlier features”
Variety
At once poised and headily anarchic, the visual absurdism of Abel, Gordon
and Romy is one of the most distinctive comic styles in today’s cinema.
Following Iceberg and Rumba, their new feature takes their laid-back
eccentricity into the realms of the magical. Dom (Abel) is receptionist in a
small seaside hotel. One night, a woman named Fiona (Gordon) checks in,
announces that she’s a fairy, and grants Dom three wishes – of which he
promptly chooses the first two. Romance soon blossoms between a pair
clearly made for each other – partners in a series of elaborately crafted,
audaciously executed sight gags that showcase the duo’s Keatonesque
acrobatic prowess and gawky grace. A sort of cartoon fantasia, except
with human actors, The Fairy is an idiosyncratic flight of fancy – an oddly
fastidious blend of slapstick, circus, dance and trompe l’oeil illusionism.
Among the highlights: an underwater ballet with plastic-bag jellyfish,
and a hair-raising race to save a baby in peril. Utterly sophisticated yet
somehow winningly innocent, The Fairy sees Abel, Gordon and co-director
Romy casting a spell that’s entirely their own.
Jonathan Romney, BFI London Film Festival
Director: Andris Gauja
2010 / Latvia / 56 minutes
sat 18 feb / LIGHT HOUSE 3 / 2.30pm
Director Jerry Schatzberg also made The Panic in Needle
Park (see p. 74) with Al Pacino
Lou Andreas Sand (Faye Dunaway) is a former model. Broken by the
fashion world, she has taken refuge in a house on the shores of the
Atlantic, where she devotes her time to painting and sculpture. When
she tries to put the pieces of her youth together, her friend Aaron
Reinhardt (Barry Primus) pushes her to record her confidences. The
result is a patchwork of memories in which reality is subjected to the
whims of imagination and mythomania...
The film caused a commotion amongst the best critics when it
was released. Michel Ciment wrote in Positif, “Without a doubt never,
since The Boy With Green Hair (Joseph Losey), had a first American
work shown such astounding mastery.” Puzzle of a Downfall Child has
something in common with Joseph Losey’s work - that art of revealing
a secret wound with astonishing clarity.
Schatzberg opted for bold directing, matching the challenges of
his use of sound with an original story, to such a point that a special
link is created with the spectator, who alone can access the mental
perceptions of the heroine. Puzzle of a Downfall Child is a film that
marked its time. It had not been visible for a very long time.
Lumiere 2011: Grand Lyon Film Festival
real to reel
irish
Buried deep in the market area off Dublin’s Capel Street, almost
underground, is the historic Irish abbey, St. Mary’s. Here, in this
hallowed space, six women dressed in yellow come, one by one and
night after night, to wash and re-wash the long garment they are
wearing. The ritual of repeatedly submerging and scrubbing the cloth
becomes an act of cleansing and rebirth, their raw knuckles scraping,
increasingly violently, against the fabric. The grunts and groans of their
efforts become haunting cries echoing throughout the chamber. Their
bodies twist and contort, becoming harbingers of an almost talismanic
energy; an energy that can be felt like breath on your face, an energy
that collectively becomes a triumph of the spirit.
This film of that event has as its premise that to endure is to live
and finally to triumph. It engages with the shamanist ritual of healing.
These six extraordinary performances filmed in a series of epic takes is
an Irish film unlike any other you’ll see this year. The film unfolds over
four hours, following the durational nature of the original performances.
Amanda Coogan and Paddy Cahill’s film presents concurrently on a
single canvas the six performances.
31
Andulis is so shy he can barely speak, Dzon stabs himself with a
corkscrew, Oskars steals a chicken from his grandmother. All of them
are trying to woo Zanda, a young woman with two children, both of
whom were fathered by her brother. Welcome to the world of Family
Instinct, a portrait of one of the most dysfunctional communities you
are ever likely to come across, where the men are always drunk,
the women try to pick up the pieces and the children look on, taking
everything in.
This extraordinary documentary follows Zanda over the course of
a long, harsh, Latvian winter. Valdis, her brother and the father of her
children, has been imprisoned for “old sins” and as Zanda struggles to
make ends meet, her younger brother Maris turns up to sponge off her
while the local men declare undying love. It seems that everyone wants
something from Zanda, but with the violent Valdis due for release, and
social services threatening to take her children away, she becomes
increasingly desperate.
What in other hands might make for unbearable viewing becomes,
under Andris Gauja’s direction, a gripping drama beautifully composed
and shot through with a rich vein of the blackest Baltic humour.
SAT 18 FEB
32
THE BEST EXOTIC
MARIGOLD HOTEL
Director: John Madden
2012 / UK / 118 minutes
Cast: Judi Dench, Maggie Smith, Bill Nighy, Tom Wilkinson,
Dev Patel, Penelope Wilton, Celia Imrie, Ronald Pickup
33
Apples of the Golan
sat 18 FEB
Director: Keith Walsh, Jill Beardsworth
sat 18 feb / CINEWORLD 17 / 3.45pm
Jill Beardsworth and Keith Walsh will attend the screening
FIRST LOOK
Academy Award® nominee John Madden (Shakespeare in Love)
steers this star-studded adaptation of Deborah Moggach’s novel
about a disparate collection of English retirees, each one disappointed
in their lives, drawn to a hotel in Jaipur by the promise of living out
their remaining years in the kind of romantic grandeur they can’t afford
at home.
There’s timid Evelyn (Judi Dench), still grieving for her late husband;
Muriel (Maggie Smith), a housekeeper and inveterate xenophobe;
Graham (Tom Wilkinson), a retired high court judge nursing an old,
deep wound; bickering couple Douglas (Bill Nighy) and Jean (Penelope
Wilton), not to mention Ronald Pickup’s hapless Lothario Norman and
Celia Imrie’s free-spirited Madge. Converging on the hotel with their
hopes writ all too large on their faces, they find not the paradise they
imagined but a picturesque ruin presided over by Sonny (Slumdog
Millionaire’s Dev Patel), an irrepressible optimist whose talent for selfpromotion hides his powerlessness in the face of his formidable mother.
The sharp script is full of knockout lines delivered – as you’d expect
from a cast of this calibre – with panache as each traveller gropes their
way towards surprising forms of redemption.
discovery
sat 18 feb / LIGHT HOUSE 3 / 4pm
irish
Barrie Dowdall, Documentary filmmaker
Director: Konstantin Bojanov
2011 / Bulgaria / 86 minutes
Cast: Andjela Nedyalkova, Ovanes Torosyan, Martin Brambach,
Svetlana Yancheva
A road movie sustained by the perfectly calibrated, soulful performances
of two youngsters barely out of their teens, Konstantin Bojanov’s
feature film debut manages to capture not only the frame of mind of
his country’s young generation but also some of their dreams and the
crises they undergo.
Art student Kamen (Ovanes Torosyan) is trying to hitchhike his way
to a small town called Ruse, to attend the funeral of his closest friend
who had committed suicide. On the roadside, he meets impish Avé
(Andjela Nedyalkova) who jumps into the first ride he gets, claiming
she is going to Ruse as well. She sticks to him like glue with each
subsequent ride to their destination, every time inventing a new story
for their relationship. Once she pretends he is her brother; then that he
is her pervert boyfriend; later that she is accompanying him back home
where they are grieving for his brother killed in Iraq. She never warns
him beforehand of her next fib until, enraged, he tries to get rid of her
but without success.
The picture clearly points out the generational gap between parents
who are either too stiff or too removed from their offspring, who are
disconcerted by the world around them and trying to escape, without
quite knowing where to.
Dan Fainaru, Screen International
SUPERCLÁSICO
sat 18 feb / LIGHT HOUSE 1 / 5pm
Director: Ole Christian Madsen
2011 / Denmark / 99 minutes
Cast: Anders W Berthelsen, Paprika Steen, Jamie Morton,
Sebastian Estevanez, Adriana Mascialino
Having scored a blockbuster hit in Denmark with Flame & Citron, Ole
Christian Madsen cements his commercial instincts with Superclásico,
a likeable comedy set in Buenos Aires.
Anders W Berthelsen plays Copenhagen wine merchant Christian
whose wife Anna (Paprika Steen), a football agent, has left him for
a hunky young Argentinian soccer star and moved to Buenos Aires.
Miserable, increasingly drowning his sorrows in wine and unable to
relate to his morose son Oscar, he decides to go to Buenos Aires with
Oscar (Jamie Morton) and win Anna back. When they arrive, much to
Anna’s surprise and chagrin, Christian realizes he has a tough challenge
ahead. She is living in a beautiful town house, is engaged to the soccer
star Juan Diaz (Sebastián Estevanez) and about to broker a deal for him.
Furthermore it’s too hot and he can’t stand the local wine.
Superclásico abandons romantic comedy convention and nothing
happens as you’d expect. Through a series of bizarre circumstances
including a sexual affair with Anna’s 70 year-old housemaid (Adriana
Mascialino), Christian gets back on his feet. His rival Juan is played with
great exuberance by Estevanez, and Steen is her ever watchable self. A
subplot in which Oscar falls for a local girl adds to the romantic mayhem.
spectrum
AvÉ
Directed by Keith Walsh and Jill Beardsworth, Apples of the Golan –
filmed entirely in the Golan Heights over four years – poses many
questions about the clandestine occupation of Golan. Israel seized the
Heights from Syria in the closing stages of the 1967 Six Day War, during
which time most of the Syrian Arab inhabitants fled the area. Today,
surrounded by electric fences, landmines and trenches the area is home
to about 20,000 Syrian Arabs who share Israeli-occupied Golan with an
estimated 20,000 settlers who live in more than 30 Jewish settlements.
Prior to the occupation there were 139 villages in the Golan. Today,
only five remain and one of these – Majdal Shams – is the backdrop
to this fascinating documentary in which a myriad of characters, from
shepherds to rap singers, speak. Apples, brought to the region by a holy
man in 1945, are both the lifeblood of the Druze Arabs and a metaphor
for survival: “we cling to our homeland like the apples cling to the
trees”. The Arabs of Golan are neither Israeli nor Syrian and are classed
as ‘undefined’. As one person puts it, “we are like birds in a cage: you
give the birds food and water, but the birds cannot escape.”
Mike Goodridge, Screen International
SAT 18 FEB
34
CRULIC –
THE PATH TO BEYOND
35
sat 18 FEB
Director: Anca Damian
2011 / Romania / Poland / 73 minutes
Voices: Vlad Ivanov, Jamie Sives
anca damian will attend the screening
Narrated from beyond the grave by its main protagonist, Crulic – The
Path to Beyond is an unusual animated feature telling the story of a
33-year-old Romanian who died in a Polish prison while on hunger
strike. He was wrongly accused of stealing credit cards from a Polish
judge in Krakow when he claims he was not in the country. The film
reconstructs his life story from the available evidence, but its animated
techniques lift its analysis to a new expressive level. The use of hand
drawn images, collage, stop motion, and cut out animation brings
subtlety and poetry to a tragic story that is both beautifully written and
sensitively visualised. The character of Crulic is voiced by the Romanian
actor Vlad Ivanov, noted for his work in Romanian ‘New Wave’ films.
A co-production with the Krakow Festival Office, it is both a strong
indictment of a prison system guided only by rules and an exposure of
bureaucratic failings.
real to reel
Peter Hames, BFI London Film Festival
Blame
ALBERT NOBBS
Director: Michael Henry
2010 / Australia / 89 minutes
Cast: Damian de Montemas, Sophie Lowe, Kestie Morassi,
Simon Stone
discovery
Young vigilantes find their coldly calculated murder plot unravelling at
the seams in this compact thriller set in a remote corner of Australian
bushland. A strong cast of up-and-comers helps first-time writerdirector Michael Henry maintain tension as he carefully teases out
the plot twists to make the most of a single location and a deceptively
simple concept.
Armed with nothing but a bottle of sleeping pills and a devouring
hunger for revenge, five young people in balaclavas invade the isolated
outback home of a middle-aged music teacher (Damian de Montemas).
He is hogtied and force-fed the sedatives but kept as much in the dark
as we are as to his would-be killers’ motive. The intruders drive off,
leaving him for dead beside a suicide note on his laptop. Soon they are
back – a cell phone’s been left behind. They find their quarry groggy but
alive, and the recriminations begin.
As fault lines appear in otherwise rock-solid relationships, we learn
more about these hot-headed avengers and what exactly this man has
done to earn their murderous ire. The truth inches out, giving the two
female leads, Sophie Lowe (Beautiful Kate) and Kestie Morassi, scope to
play a range of emotional tilts. Both rise to the task.
Megan Lehmann, Associated Press
aer lingus special presentation
sat 18 feb / savoy / 7.30pm
Glenn Close will attend the screening
Glenn Close won Best Actress for Albert Nobbs at the
Tokyo Film Festival and was nominated for a golden globe
Irish composer Brian Byrne composed the score both
for Albert Nobbs and for The Good Doctor (see page 87).
See the Irish Talent Spotlight (page. 66).
“a gripping ensemble piece”
The Guardian
Albert Nobbs unfolds within the opulent rooms of Dublin’s
most luxurious hotel, a place designed for the enjoyment of the
privileged class. For those who live and work there, however,
private dramas are unfolding, and much is not as it seems. Take
Albert, the shy butler. He keeps to himself for a very good reason.
Albert is actually a woman.
Director: Rodrigo Garcia
Cast: Glenn Close, Mia Wasikowska, Aaron Johnson,
Jonathan Rhys Meyers, Brendan Gleeson
Nineteenth-century Ireland was not an easy place for a single
woman of no means. To keep herself from destitution’s door, Albert
(Glenn Close, who played the role in an off-Broadway adaptation)
has spent over twenty years pretending to be a man. By now it
would seem that nothing could spoil her immaculate ruse, but when
a handsome painter arrives at the hotel, Albert is tempted to let the
mask she’s worn for so long slip away.
Based on the short story ‘The Singular Life of Albert Nobbs’
by George Moore, the film benefits immeasurably from its
adaptation, the fruit of a collaboration between Close and Booker
Prize–winning author John Banville. Their witty exchanges are
handled with utter finesse by the cast, which features not only
Close, Mia Wasikowska and Aaron Johnson, but also Brendan
Gleeson and Jonathan Rhys Meyers.
Toronto International Film Festival
XXX 18
SAT
XX FEB
FEB
36
GOODBYE, FIRST LOVE
(UN AMOUR DE JEUNESSE)
37
AnniversaryEdition
Edition
10th Anniversary
XXX
sat XX
18 FEB
Director: Mia Hansen-Løve
2011 / France / Germany / 110 minutes
Cast: Lola Créton, Sebastian Urzendowsky, Magne-Havard Brekke
first look
First love is a staple of films, books and music. Mia Hansen-Løve in no
way reinvents this subject, but she infuses it with an emotional force
that turns Un Amour de Jeunesse into a deeply satisfying experience. At
the start of the film, Camille (Lola Créton, of Catherine Breillat’s Barbe
Bleue) is a wide-eyed fifteen-year-old who throws herself with abandon
into the heady adventure of an all-consuming relationship. By the end,
she is older, wiser and wistful about what has been experienced – and
lost – through her passionate affair.
Camille’s boyfriend Sullivan (Sebastian Urzendowsky) is a few
years older. Not wanting to tie himself down while still a teenager,
he is determined to travel and experience new things. Despite her
entreaties, Sullivan chooses to leave, sparking a long fit of depression in
Camille. The core of the film focuses on her growth as a young woman,
overwhelmed by the powerful emotions ignited by love, but left without
a focal point after Sullivan’s departure.
Hansen-Løve proves herself a master of delicate emotional terrain
seen from a woman’s point of view. City and country, classroom and
office, bedroom and open field provide the landscape for this rich portrait
of something each one of us has experienced in our own unique way.
The Enigma
of Frank Ryan
Director: Desmond Bell
Häxan: Witchcraft
Through the Ages
Desmond Bell will attend the screening
irish
Frank Ryan’s short life was action-packed and shrouded in mystery and
controversy. Born in Limerick in 1902, he was an IRA volunteer in his
teens, an irregular in the Civil War, and a dissident republican socialist
in 1930s Dublin. In the Spanish Civil War he joined the International
Brigades to fight fascism before ending up isolated in wartime Berlin,
and died in Dresden in 1944. While historical details remain sketchy, his
reputation is further obscured by competing ideological claims. Some
see him as an icon; a strong, committed socialist republican, while for
others his presence in Nazi Germany brands him as a reactionary who
compromised with fascism.
In this richly-textured film portrait, the terminally-ill Ryan looks back
on his life and documents it with the assistance of young German radio
producer Hans Hartman. Desmond Bell’s film, based on Ryan’s letters,
his journalism and the written records and testimony of friends and
contemporaries – including the critical probings from his lover, feminist
and socialist Rosamund Jacob – weaves together Ryan’s compelling
story. The elegant interweaving and integration of drama and archival
material which is a signature element in Bell’s documentary practice
has here achieved his most accomplished work to date.
Stephanie McBride, Lecturer in Film Studies, DCU
special presentation
SAT 18 feb / LIGHT HOUSE 1 / 8.15pm
Director: Benjamin Christensen
1922 / Sweden / 87 minutes
Cast: Benjamin Christensen, Maren Pedersen, Clara Pontoppidan
Häxan is arguably the most original and impressive of all Swedish
silent films, and today is still a technically and cinematographically
astonishing achievement. An eccentric mixture of didactic lecture
and spectacular dramatization, Häxan recounts popular beliefs
in the devil and superstition throughout the ages - with director
Christensen himself playing Lucifer - and through striking imagery
depicts the hypocrisy, sexual repression, and witch hunts of
medieval times. Christensen was Danish, as was most of the
cast and crew, but the film was entirely financed by the Swedish
production company Svensk Filmindustri, which gave Christensen
unprecedented artistic freedom and an enormous budget.
This special screening of Häxan features a live score from the
Matti Bye Ensemble. Matti Bye (born 1966) is widely considered
as one of Sweden’s most important composers of film scores and
an extraordinary performer with his own, incomparable style of
improvisation on the piano. He is also widely recognized for having
written a series of innovative scores for such early Swedish silent
film classics as The Phantom Carriage, Häxan and Gösta Berling
Saga. Last year he wrote the score for Academy Award® nominee
Jan Troell’s latest feature Everlasting Moments (JDIFF 2009) and
Stig Björkman’s Scenes from a Playhouse – a documentary about
Ingmar Bergman.
Jon Wengström, Swedish Film Institute
sat 18 FEB
38
Terraferma
Director: Emanuele Crialese
Cast: Filippo Pucillo, Donatella Finocchiaro, Beppe Fiorello
39
SALMON FISHING
IN THE YEMEN
sat 18 FEB
Director: Lasse Hallström
2011 / UK / 110 minutes
Cast: Ewan McGregor, Emily Blunt, Amr Waked,
Kristin Scott Thomas
A wealthy Yemeni sheikh (Amr Waked) has a vision: a barren valley in
his homeland filled with flowing streams and leaping Scottish salmon.
He has the money to realise his plan, what he needs is expertise.
Enter Dr Fred Jones (Ewan McGregor), a tweedy and prematurely
middle-aged fishing expert. Jones thinks the plan is every bit as mad
as it sounds, but he is forced to co-operate by the British government.
Forming a reluctant partnership with the sheikh’s consultant, Harriet
Chetwode-Talbot (Emily Blunt), he heads for the Yemen to oversee the
delivery of 10,000 North Atlantic salmon. As the unlikely scheme begins
to prosper, Fred slowly sheds his fusty demeanour and finds himself
falling not only for the Sheikh’s gentle philosophy, but for Harriet herself.
But Harriet’s boyfriend is missing in action in Afghanistan, and as the
Sheikh’s plan comes under threat from Islamist militants, Fred finds his
chance of happiness held hostage by Whitehall’s publicity machine.
Simon Beaufoy (The Full Monty, Slumdog Millionaire) scripts this
witty and charming adaptation of Paul Torday’s bestselling novel.
McGregor and Blunt establish an effortless rapport, while Kristin Scott
Thomas turns in a scene-stealing performance as Bridget Maxwell, the
PM’s terrifying press officer.
Winner, Jury Prize, Venice Film Festival
THE MONK [LE MOINE]
Director: Dominik Moll
2011 / France / Spain / 101 minutes
Cast: Vincent Cassel, Déborah François, Joséphine Japy
first look
Dominik Moll will attend the screening
Vincent Cassel gets back to the roots of Gothic in Dominik Moll’s
suitably torrid adaptation of the legendary novel about good, evil and
dark desire.
In his first two features, Harry, He’s Here To Help and Lemming,
writer-director Dominik Moll blended thriller tension with an outré
sense of the surreal. In The Monk, he gets back to Surrealist roots with
a vengeance. Matthew Lewis’s 1796 novel The Monk was one of the
wellsprings of Gothic literature, and a key text for the Surrealists – in
fact, Luis Buñuel co-scripted the version filmed in 1972 by Adonis
Kyrou. This decidedly hothouse Spanish-set narrative concerns
Ambrosio (Vincent When a mysterious masked youth is taken in at his
monastery, Ambrosio finds himself confronting supernatural forces, and
his own illicit attraction to a beautiful admirer (Joséphine Japy). Moll’s
film mixes lurid dashes of Iberian-flavoured Euro-horror with art-cinema
composure. But above all, he takes an audacious risk in truly honouring
the spirit of Lewis’s narrative, in all its extremity. The result is a film
that Buñuel would surely recognise as his legacy, right through to the
mischievous philosophical pay-off.
first look
spectrum
Emanuele Crialese returns to Sicily for this beautiful film focusing on the
fishing community that has inspired so much of his work. Terraferma
revolves around a family whose patriarch stubbornly refuses to admit that
times are changing, and that perhaps the sea will not provide him with
a livelihood forever. He has a son and a daughter who have both moved
on, looking for a better life by embracing the growing opportunities in
tourism, a choice that comes with its own set of compromises.
When the family recovers a group of illegals floundering in the sea
and find themselves hiding a young pregnant woman, their lives are
turned upside down. A humanitarian gesture of short-term assistance
soon turns into a different kind of commitment as they come to know
this striking and proud woman. Do they turn her in, as they are required
to do by law, or do they make other plans?
Crialese has always had a magnificent sense of the landscape of
his Sicilian islands and the lives of its poor, working people. Grafted to
the hot-button subject of illegal migrants, Terraferma tells its story with
boldness and confidence while wearing its social conscience smartly.
Dublin
Dance
Festival
May
11—26
2012
Dublin Dance Festival
in association with the
Abbey Theatre presents
Trisha Brown
Dance Company
May 17-19
Abbey Theatre
THE IRISH TIMES
irishtimes.com
Tickets on sale now!
dublindancefestival.ie
“Some of us only dream about flying;
Trisha Brown launches her dreams
onto the stage.” The Village Voice
sun
19 FEB
Carlton Screen Advertising is proud to support
The Jameson Dublin International Film Festival
The Stone Building, 15 Flemmings Place, Ballsbridge, Dublin 4 Tel 232 0955 Fax 664 3744
www.carltonscreen.ie
XXX XX
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19 FEB
42
42
10th
Anniversary
10th
AnniversaryEdition
Edition
43
BLACK GOLD
sun 19 Feb / cineworld 17 / 1.30pm
SUN 19 feb
Director: Jean-Jacques Annaud
2011 / France / Italy / 130 minutes
Cast: Tahar Rahim, Antonio Banderas, Mark Strong, Freida Pinto,
Riz Ahmed
first look
Freida Pinto also stars in Trishna (see p. 93)
THE YELLOW SEA [Hwanghae]
SHERLOCK JR.
sun 19 Feb / light house 1 / 2pm
Black Gold has everything you’d want a big-budget Arab-themed epic
to contain: ambition, scale, compelling source material (Hans Reusch’s
novel The Great Thirst), a potent line-up of fine actors and an intriguing
story laced with themes of family, loyalty, love, pride and the eternal
battle between traditional ways and modernisation.
In the 1930s, rival emirs Nesib (Antonio Banderas) and Amar (Mark
Strong), agree to bring their bitter, warring feud to an end. To guarantee
the peace, Amar gives over his two young sons to be raised in Nesib’s
household, essentially as hostages, and the two swear before Allah to
leave an untouched no-man’s land between their two sheikdoms. While
Amar adheres fiercely to tribal traditions, the greedy, conniving Nesib is
an easy touch when American oilmen discover their favourite substance
burbling under the Yellow Belt sands.
As the thoroughly modernising sultan, Banderas is never less than
entertaining; Riz Ahmed brings soul and comic relief to his role as
Amar’s forgotten son; but it’s Strong who registers most persuasively.
The British actor brings a commanding nobility and fierce stoicism to
Amar. Black Gold is dazzling and impressive, and Annaud delivers some
splendid desert action sequences while also striking a nice balance
between intimate dramatic moments and panoramic vistas.
Matt Mueller, Screen International
Director: Buster Keaton
Cast: Buster Keaton, Kathryn McGuire, Joe Keaton
spectrum
Director: Na Hong-jin
2010 / South Korea / 140 minutes
Cast: Ha Jung-woo, Kim Yun-seok, Cho Seong-ha
“Na directs like a pole dancer – balancing difficult
technical manoeuvres with a racy mixture of grace
and sleaze”
The Hollywood Reporter
wipe out Gu-nam’s debt if he kills a man. In a story that combines
Grand Guignol with raw realism, there are double-crosses, a
clandestine trip to Seoul, and chases that are as spectacularly
choreographed and sometimes as funny as those in a Looney Tunes
cartoon.
Mr Na, reunited with the cinematographer and editor who worked
on his feature debut, The Chaser, makes 140 minutes fly with scenes
that alternately take their time and compress life histories into a
few shots. The kinetic filmmaking conveys the palpitating fear of
the chase and the thrill of escape in a movie that suggests that – for
all the miles Gu-nam racks up – for him there may be no exit.
Written and directed by Na Hong-jin, The Yellow Sea follows Gunam as he descends into a nightmare. Gu-nam, an ethnic Korean
(or chosun-juk), spends his time losing money at mahjong, driving a
cab or passed out in his squalid apartment. His wife has left to find
work in South Korea, and Gu-nam has built up a debt that he seems
unlikely to work or gamble his way out of.
When he can’t pay what he owes, he lands before a gangster,
Myun-ga (Kim Yun-seok, in a tour de force performance), who will
Manohla Dargis, The New York Times
With accompaniment by Morgan Cooke
Throughout his movie career, Buster Keaton celebrated and drew on his
long years touring the country as a vaudeville performer, while at the same
time experimenting with the technical possibilities of film like a child with a
new toy. Nowhere is this combination of elements more pronounced than in
Sherlock Jr., a simple tale of a theatre projectionist’s efforts to prove himself
innocent of the theft of a watch and thereby win the hand of his sweetheart.
In the middle of this plot, Keaton and his writers present a dream sequence
in which the projectionist finds himself transported into the film he has been
projecting on-screen. He becomes the world-famous detective Sherlock
Jr., a man who can solve any case and who is capable of amazing feats of
physical daring. As in all his films, Keaton is careful to demonstrate that he,
and not some stand-in, is doing all of the stunts. That, as well as his habit of
staging his stunts frontally (to assure the audience that no camera trickery
is involved), makes those moments when he does play with the camera all
the more wondrous.
out of the past
sun 19 feb / savoy / 11am
Morgan Cooke is composer in residence and performer with Branar
Drámaíochta, who do puppet theatre for children. Morgan has been
performing live, improvised soundtracks to silent movies since 2009,
starting with Metropolis. Morgan is also a voiceover artist, and worked on
TG4’s version of Jim Henson’s Fraggle Rock.
sun 19 FEb
44
THE MOLE [KRET]
sun 19 Feb / cineworld 9 / 2pm
Director: Rafael Lewandowski
2011 / Poland / 108 minutes
Cast: Boris Szyc, Marian Dziedziel, Magdalena Czerwinska
45
TURN ME ON, GODDAMMIT
[FÅ MEG PÅ, FOR FAEN]
sun 19 FEb
Director: Jannicke Systad Jacobsen
2011 / Norway / 75 minutes
Cast: Helen Bergsholm, Henriette Steenstrup, Malin Bjørhovde
ORPHÉE [ORPHEUS]
sun 19 Feb / light house 1 / 3.45pm
The ghosts of communism come back to haunt not only the generation
that resisted it but their children as well in Rafael Lewandowski’s
ambiguous thriller The Mole. Set in a wintry Poland of snowbound
city streets and whitewashed landscapes where something is always
buried, The Mole follows Zygmunt and Pawel, a convivial father and
son, as they travel across Europe dealing in second hand clothes. Pawel
is fiercely proud of his father, a former mineworker’s union leader and
hero of the Solidarity movement, but when the papers break a story
accusing Zygmunt of being a communist informer, Zygmunt’s response
calls in question everything his son has ever known.
Marian Dziedziel is outstanding as Zygmunt, a fragile and deeplyscarred old man alternately revered and despised as successive
revelations emerge, while Borys Szyc’s Pawel grows from boyish
naivety to a man struggling under the weight of his father’s – and his
country’s – past. As Pawel slowly uncovers the truth of what happened
thirty years before, he finds himself caught in a web of conflicting
loyalties, and Lewandowski expertly ratchets up the tension in a slowburning thriller that builds to a nerve-jangling climax.
Director: Jean Cocteau
1949 / France / 95 minutes
Cast: François Perier, Jean Marais, Maria Casares
Director Jannicke Systad Jacobsen WILL ATTEND THE SCREENING
Winner of the screenplay award at the Tribeca Film Festival
discovery
spectrum
Marian Dziedziel also stars in Courage (see p. 117)
FOOTNOTE
[HEARAT SHULAYIM]
Alma is a small-town teen with a big imagination. Horny and looking
for love, she has only her lively imagination and a kindly phone sex
operator to ameliorate her frustratingly lonely and chaste life. But
Alma’s active fantasy world and even more active libido only seem
to get her into trouble. After a titillating yet awkward encounter with
school heartthrob Artur promises to literally make Alma’s dreams come
true, she is instead shunned by her catty classmates and saddled
with a particularly unkind nickname. Suddenly a social outcast, Alma
is desperate to just move out of town and on with her life… if only
growing up were ever that simple.
Turn me on, goddammit is an offbeat coming-of-age comedy with
a deadpan sense of humour, enlivened by its rich sense of fantasy and
frank but sweet approach to teen sexuality. With its complicated and
perfectly executed tone balancing candid sexual content with a certain
earnest awkwardness, Turn me on is an apt evocation of the particular
complexities of teen girlhood.
Cara Cusumano, Tribeca International Film Festival
Director: Joseph Cedar
2011 / Israel / 103 minutes
Cast: Shlomo Bar-Aba, Lior Ashkenazi, Aliza Rosen
INTRODUCED BY VAN PAPADOPOULOS OF THE INSTITUT LUMIÈRE
winner, Best Screenplay Award, Cannes Film Festival
The poet, playwright, artist, essayist and cinéaste Jean Cocteau made
this film, his fifth and best, in his 60th year when he was a commanding
figure in a European culture struggling to recover from the Second
World War. The movie transposes the story of Orpheus and Eurydice,
one of Cocteau’s favourite myths, to contemporary Paris where Orpheus
(played by Cocteau’s favourite actor, Jean Marais) is a celebrated poet
moving in fashionable intellectual circles, but like Cocteau subject
to constant envy and sniping. Death (the raven-haired beauty Maria
Casares) is driven in a chauffeured Rolls-Royce with motorcycle
outriders, Hades is entered through mirrors, and its tribunal has echoes
of clandestine Resistance meetings and post-war courts judging
collaborators. A magical, enduring classic, to be seen again and again.
“a sprightly, shrewd and ingenious black comedy of middle
age and disappointed ambition” The Guardian
Van Papadopoulos recently created the French digital distribution
company, Unzéro Films which focuses on the promotion and
programming of recently restored, classic cinema. Van also collaborates
on two film festivals (Cannes Classics, Festival Lumière) as a
programmer and coordinator and spent ten years in New York working
in independent film production. He has a BA in Comparative Literature
and a dangerously fertile addiction to collecting film posters.
first look
out of the past
Philip French, The Observer
Dazzlingly inventive, this biting, darkly witty tale of father-son rivalries
within the Israeli academic establishment is an astute study of pride, envy
and temptation. It concerns the bitter rivalry between a father and son,
both professors in Talmudic studies at Jerusalem’s Hebrew University,
which intensifies when it’s announced each is to receive a prestigious
honour. Cedar’s acerbic, Cannes prize-winning script is almost novelistic
in its deft analysis of the pair’s differences and similarities and its often
hilarious depiction of the arcane rituals of Israel’s academic establishment.
At the same time, a brilliantly inventive, truly cinematic style echoes the
film’s content; even the title alludes to a tiny but crucial plot point, to the
personality of the modest but conscientious father and to an aspect of the
film’s own sophisticated narrative structure. The fabulous score, meanwhile,
perfectly suits a study of small-scale familial and academic conflict which
assumes, for all involved, the dimensions of an epic struggle between old
and new, truth and lies, right and wrong. Utterly fresh, it’s a real treat.
Geoff Andrew, BFI London Film Festival
XXX XX
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19 FEB
FEb
46
THE JEWEL
[IL GIOIELLINO]
Director: Andrea Molaioli
Cast: Toni Servillo, Remo Girone, Sarah Felberbaum
THIS IS NOT A FILM
[IN FILM NIST]
Director: Mojtaba Mirtahmasb, Jafar Panahi
2011 / Iran / 75 minutes
Adrian Wootton, BFI London Film Festival
Director: Michal Aviad
2010 / Israel / 90 minutes
Cast: Jenya Dodina, Ronit Elkabetz, Sivan Levy
Arrested on political charges, sentenced to six years in jail and a
twenty-year ban on directing, travelling abroad, and giving interviews,
the Iranian filmmaker Jafar Panahi – under house arrest in his Tehran
apartment while awaiting the outcome of his appeal – speaks to a
video camera. He eats breakfast to the sound of explosions and police
sirens, takes a call from his lawyer, and welcomes a friend – another
filmmaker, Mojtaba Mirtahmasb.
Mirtahmasb wields the camera while Panahi delineates a room
with tape on the rug and acts out scenes from the script of a movie he
wasn’t allowed to make, about a young woman who is locked in her
house by her devout parents. Even a visit from the interim custodian
evokes persecution, with his reminiscences of the night of Panahi’s
arrest and a glimpse through the barrier at the property line to the city
at large, with its fires of festivity and revolt.
Panahi depicts his plight with warm, self-deprecating humour via the
droll trivia of his domestic routine – including feeding the pet iguana –
but he shows a DVD box on a shelf that cries out with the grim truth of
his situation: “Buried.”
real to reel
Based partly on the true story of a notorious recent criminal case in Italy
surrounding the collapse, by massive mismanagement and corruption,
of a gigantic food company (Parmalat), this is a gripping, handsomely
mounted combination of conspiracy thriller and high-finance drama.
The Jewel cleverly and entertainingly plots the rise and then
dramatic fall of the initially family-owned business (nicknamed ‘The
Jewel’ because of its value to the Italian economy) by fair means and
increasingly foul, with dodgy financial deals, dubious political alliances
and gross greed aplenty, in a period covering over 20 years. Molaioli’s
film is his second, after his highly-regarded feature The Girl by the
Lake (JDIFF 2008), and he confirms the promise of his debut with this
meaty story, well told with verve and style. Embellished by luminous
cinematography from Luca Bigazzi, The Jewel is also anchored by
another magnificent performance by Toni Servillo (Consequences of
Love, Il Divo) as the cunning, irascible, but almost pathetically loyal
chief finance officer, who tries to hold things together as everyone
around him is devoted to pillaging and plundering the company’s assets.
spectrum
sun
XXX XX
19 FEB
FEb
sun 19 Feb / LIGHT HOUSE 3 / 6pm
Tony Servillo also stars in A Quiet Life (see p. 76).
INVISIBLE
[LO ROIM ALAICH]
47
Hill Street
Richard Brody, The New Yorker
Director: JJ Rolfe
Michal Aviad will attend the screening
JJ Rolfe will attend the screening
Michal Aviad’s powerful debut feature Invisible is the gripping story of
two women who meet by chance and realise they are still haunted by a
shared nightmare from their past. Driven by passionate and impressive
performances by Ronit Elkabetz and Jenya Dodina, this haunting Israeli
film details how two intelligent women attempt to deal with the fact that
they were victims of a serial rapist some 20 years earlier.
Reserved television editor Nira (Dodina) comes across Lily (Elkabetz),
a left-wing activist, while covering an event, and realises that she
knows her from attending the line-up to identify the rapist. Both are
strong, independent, women but at the same time both are haunted
by what happened. Nira becomes obsessed with looking back to the
rapes and gently inserts herself into Lily’s life. Elkabetz makes a striking
impact as the seemingly perfect wife/mother/campaigner whose life is
beginning to crack ever-so-slightly. Equally fine is Dodina, who realises
that re-living the past will help the two women deal with their futures.
Director Michal Aviad shoots with restraint, never exploiting the
harrowing subject matter, but allowing the moving story of two women
dealing with a long repressed trauma be told in an engrossing and
emotive manner.
Mark Adams, Screen International
Hill Street is the fascinating and hi-octane account of the evolution
of skateboarding culture in Dublin from the late 1980s to the present
day. JJ Rolfe’s documentary focuses on Clive Rowen, proprietor of
skate shop ‘Clive’s of Hill Street’, who helmed the burgeoning scene
through the building of primitive ramps at the shop before graduating
to a temporary skate park in the Top Hat Ballroom in South Dublin. Clive
even managed to convince a Powell Team, including the legendary Tony
Hawk, to visit the park for a now historic demo.
His continuing efforts resulted in a leg of the European Skate
Championships being held in the Point Depot in 1991. From these early
days skaters from Hill Street eventually opened their own full time
private skate parks starting with Simons Park on Sir John Rogersons
Quay. This troubled park soon closed but not before a visit from the
then “Deathbox” Team (now Flip Skateboards) including cult skater Tom
Penny. An unmissable chartering of the gradual rise of the skate scene,
Hill Street is a gripping watch, rich in local interest.
irish
discovery
Winner, Ecumenical Prize, Berlin Film Festival
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48
Amador
Director: Fernando Léon de Aranoa
2010 / Spain / 112 minutes
Cast: Margaly Solier, Celso Bugallo, Pietro Sibille
Play
tin can man
Director: Ivan Kavanagh
Cast: Patrick O’Donnell, Michael Parle, Emma Eliza Regan,
AnneMarie Naughton
Le Havre
sun 19 Feb / LIGHT HOUSE 1 / 8.30pm
Steve Gravestock, Toronto International Film Festival
Director: Aki Kaurismäki
2010 / Finland / France / Germany / 93 minutes
Cast: André Wilms, Blondin Miguel, Jean-Pierre Darroussin,
Kati Outinen
Winner, FIPRESCI Prize, Cannes FILM FESTIVAL
“A continual pleasure,” Variety
first look
irish
Rory Bonass, Jameson Dublin International Film Festival
Director: Ruben Östlund
2011 / Sweden / Denmark / France / 118 minutes
Cast: Yannick Diakité, Kevin Vaz, Anas Abdirahman
An insightful and troubling film about race, ethics and manipulation,
Ruben Östlund’s Play is based on an actual incident in Gothenburg,
Sweden in which a group of black kids manipulated white and Asian
teenagers into surrendering their valuables.
Yannick (Yannick Diakité) and his friends target a trio of younger,
presumably wealthier kids, two of them from “traditional” Swedish
backgrounds and one whose family emigrated from Asia. Eventually, they
lure their targets outside the city, where they construct an elaborate ruse
to relieve them of their belongings. Filmed entirely in long shot, Play is
chilling in its ambiguity. The distance between the viewer and the action
happening in the image invests the film with an ominous impenetrability,
exacerbated by inchoate assumptions and suspicions about race. The
proceedings have the feel of a sociology experiment gone horribly awry.
One of Sweden’s most daring young filmmakers, Östlund is part of a group
that has altered the face of Swedish cinema. Play is the most audacious and
disturbing film to come out of Sweden since A Hole in My Heart.
Ivan Kavanagh & cast will attend the screening
Pete (O’Donnell, winner of best male performance at 2010’s JDIFF for
The Fading Light) has seen better days. Dumped by his girlfriend after
proposing, and given twenty days to turn around his sales numbers,
what he doesn’t need is a strange call at the door, but what he really
doesn’t need is Dave (Michael Parle) dragging him through a hell David
Lynch would take notice of.
From his family home and uncomfortable truths, to Dave’s basement
and torturing the eponymous Tin Can Man, to Dave’s terrifying mother
and sisters, there is no respite for Pete from this cavalcade of horrors,
and thanks to Colin Downey’s ever present camera, we see every
etch of pain, confusion and utter terror on Pete’s face. Impressive as
O’Donnell is as Pete, the real star here is the utterly unhinged Michael
Parle, Dave’s charisma and menace perfectly realised in every grimace,
chuckle and threat.
Entirely in black and white, with much of the light coming from the
torches Pete and Dave carry, Ivan Kavanagh’s new cut of his cult horror
tears through its runtime (and the viewer’s nerves) while perfectly
maintaining a taut sense of dread; eerie, expressionist and entirely
without mercy.
sun
XXX XX
19 FEB
FEb
winner, Best Director, Tokyo International Film Festival
Winner, Grand Prix, 2 in 1 International Film Festival, Moscow
discovery
spectrum
Laced through with twisted black comedy and subtle social critique,
Fernando Léon de Aranoa’s (Mondays in the Sun, Princesas) film about
the plight of an immigrant worker living in Spain wickedly subverts the
slice-of-life drama and ultimately packs a punch that is as scathingly
funny as it is devastating.
Marcela (Peruvian actress Magaly Solier, who also starred in
Altiplano) is an immigrant living on the outskirts of Madrid with her
boyfriend Nelson who scrapes together their meagre living by selling
flowers. Frustrated with Nelson’s limited ambitions, she is on the brink
of leaving him when she discovers that she is pregnant. Forced to take
another job, Marcela keeps her pregnancy hidden and starts caring for
a bedridden old man, Amador, while his daughter and her family are
on summer holidays. Initially they are reserved and somewhat brusque
with each other but an unlikely conspiracy is formed when they discover
each other’s best-kept secret.
Aranoa slyly infuses this barbed morality tale with the golden hues
of the Spanish summer, giving the film a lyrical feel that is counter to its
sharp, calculated observations about class order and the tenacity and
resourcefulness of the dispossessed.
Sydney International Film Festival
49
Since the early 1980s, Finnish auteur Aki Kaurismäki has been
achieving a quiet miracle – making films that gladden the heart the
most when they’re at their most unflappably lugubrious. Le Havre offers
us the director’s usual menu – poker-faced acting, weather-beaten
faces, political compassion, hyper-stylized staging and decrepit bar
room interiors. But there’s something fresh in this new film.
Marcel Marx (André Wilms) is a philosophical ex-artist in the French
port, trying to eke a living as a shoeshine man. He lives in impoverished
happiness with wife Arletty (Outinen) in a working-class neighbourhood.
While Arletty is away in hospital, the shoeshiner befriends Idrissa (Blondin
Miguel), a young African immigrant on the run from police. Marcel offers
Idrissa shelter and tries to find a way to reunite Idrissa with his mother.
The director’s regular cinematographer Timo Salminen shoots with
meticulous style, bringing an almost comic-strip economy both to exteriors
and to the sets. French comedy legend Pierre Étaix contributes a sympathetic
cameo and, as ever, Laïka is the best-lit mutt in European cinema. Jonathan Romney, Screen International
‘If you ran into me Da with a motor car,
he’d thank you for the lift.’
AD 12
by
Monday – Saturday at 7.30pm
Saturday Matinees at 2.30pm on selected dates
Tickets from €20.00
Hugh
Leonard
Book online and choose your seats:
www.gatetheatre.ie
hugh leonard’s hilarious comedy Da explores the relationship
of Charlie, a successful playwright, with his adoptive father. In this
semi autobiographical play set in 1960s Dublin, we ﬁnd Charlie in
his childhood home just aer Da’s funeral. While he sorts through
his father’s things, he is visited by Da’s ghost, who stubbornly refuses
to leave the house or his son’s mind. As Charlie revisits his past, we
get to share in the tender, frustrating and very funny moments that
deﬁned the complex relationship between father and son.
Winner of the 1978 Tony Award for Best Play, New York Drama
Critics’ Circle Award for Best Play, Outer Critics Circle Award for
Best Play, and the Drama Desk Award for Outstanding New Play.
Directed by Toby Frow
Set and Costume Design by Ben Stones
Lighting Design by Paul Keogan
Cast includes: Ingrid Craigie, Susan FitzGerald,
Stuart Graham, Rebecca Grimes, John Kavanagh,
Tadhg Murphy, Owen Roe and Stephen Swift
Bel Ami
51
sun 19 FEB
Directors: Declan Donnellan, Nick Ormerod
2012 / UK / France / Italy / 102 minutes
Cast: Robert Pattinson, Uma Thurman, Kristin Scott Thomas,
Christina Ricci, Philip Glenister, Colm Meaney
Directed by acclaimed theatre directors Declan Donnellan and Nick
Ormerod (aka Cheek by Jowl), Bel Ami is a sumptuous adaptation of Guy
de Maupassant’s 1885 novel about an ex-soldier turned journalist who
ascends the social ladder, trading one well-connected wife for another.
More social mountaineer than mere climber – after six months
working as a clerk in a Parisian newspaper peasant-born Georges
Duroy (Robert Pattinson) rises to political editor and becomes a valued
member of the incestuous Parisian literati. He is soon the object of
affection of three influential women: an unlikely mentor (played by Uma
Thurman) who helps him to write his first articles; Clotilde (Christina
Ricci) who becomes his passionate mistress, and his boss’s wife (Kristin
Scott Thomas), who becomes an unwitting pawn in his ambitious plans.
Based on de Maupassant’s own journalistic career, Bel Ami is both
a portrait of Paris and a turbulent sexual merry-go-round in the style of
La Ronde and Laclos’s Les Liaisons Dangereuses, complete with amoral
characters, heightened sexual economics and the triumph of experience
over innocence. With a smart cast and a particularly impressive
performance by the underrated Pattinson, first time directors Donnellan
and Ormerod have fashioned a highly amusing divertissement.
first look
NOW ON AT THE GATE
WWW.
JDIFF.
COM
All information in this brochure
is correct at time of publication.
Programme is subject to change.
Please check our website
for screening times to avoid
disappointment.
XXX XX FEB
52
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20 FEB
mon 20 FEB
54
FINDING JOY
mon 20 Feb / light house 3 / 6pm
Director: Neil Dowling
2010 / Ireland / Germany / South Korea / 80 minutes
Cast: Crisjan Zöllner, Ji-young Moon, Cosima Shaw
My Little Princess
mon 20 Feb / LIGHT HOUSE 1 / 6.10pm
irish
Khodorkovsky
Director: Cyril Tuschi
2011 / Russia / 111 minutes
mon 20 Feb / cineworld 9 / 6.10pm
mon 20 FEB
Director: Eva Ionesco
2011 / France / 105 minutes
Cast: Isabelle Huppert, Anamaria Vartolomei, Georgetta Leahu
winner, Best Film, Mumbai Film Festival
spectrum
“[Finding Joy] has a funky, offbeat charm that is all its own.”
The Irish Times
How do you find a girl in a city of 10 million people? Even in the modern
world it’s not easy, when all you have to go on is a name: Joy. But Lukas
is determined to try. In flight from his disastrous life, Lukas meets Joy on
a train, and from their first faltering attempts at conversation it’s clear
there’s something special between them. But Joy is a dancer, only in
Berlin for a show, and after a single evening together she flies home to
Korea. Unable to return to domesticity with his long-suffering girlfriend,
Lukas flies to Seoul to find her. It’s a grand romantic gesture, but when he
arrives he realises that finding Joy is even harder than he thought.
Irish writer/director Neil Dowling’s debut feature is a wise and
delicate story about the conflict between reality and desire. Beautifully
shot in a kind of perpetual twilight, and set to a haunting ambient score,
the film soaks up the textures of city life as Lukas searches the streets
of Seoul and – somewhere across the city – Joy pines for him. Crisjan
Zöllner is note perfect as Lukas, the rakish thirtysomething drifter,
while Ji-young Moon is equally good as ingénue Joy, caught between
acceptance and hope.
55
WHERE DO WE GO NOW?
[Et maintenant, on va où?]
Painful personal experience is distilled into poignant drama in Eva
Ionesco’s promising first feature My Little Princess. Autobiographical
events are shaped into a fairytale-like narrative illuminating the abusive
nature of Ionesco’s relationship with her mother.
In the 1970s, Ionesco’s mother rocked the Paris art world with
photographs of her naked, pre-pubescent daughter. In My Little Princess,
Violetta (Anamaria Vartolomei) is ten when wildly unconventional mother
Hanna (Isabelle Huppert) takes the fun of dressing up in old clothes to a
different level. Soon, Hanna has the career and acclaim she has always
desired whilst Violetta is both seduced and appalled by her sudden
elevation into an adoring adult world.
Huppert brings a feverish edge to Hanna, suggesting the restlessness
of an older woman perhaps only too aware that time and society are not
on her side. Vartolomei was only 10 when the film was shot, but brings an
astonishing emotional maturity to her character, conveying the conflicting
emotions within Violetta and the righteous anger that may have saved
her from her mother’s clutches. Ionesco directs the film with a pensive
detachment and never judges the characters. She captures a genuine
sense of the affection that permeates these troubled, claustrophobic lives.
Allan Hunter, Screen International
Director: Nadine Labaki
2011 / France / Lebanon / Italy / Egypt / 110 minutes
Cast: Claude Baz Moussawbaa, Julian Farhat, Kevin Abboud, Leyla
Hakim, Nadine Labaki
Thoroughly researched and highly entertaining, Khodorkovsky recounts
the strange story of its eponymous subject, Mikhail Khodorkovsky, the
famous oligarch who’s been languishing in a Siberian prison since 2003 on
trumped up tax-evasion charges. Helmer Cyril Tuschi doesn’t disguise his
admiration for the tycoon who defied Putin, but the docu never descends
into hagiography, and along the way it delivers a pungent portrait of Russia.
Weaving together numerous interviews, archival material and stylized
computer animation illustrating moments from Khodorkovsky’s life including
his arrest, pic unfolds a fascinating story of the rise and fall of a man who,
at the height of his powers, was among the richest individuals on the planet.
But when he tried to champion reform and embarrassed Vladimir Putin
publicly with accusations of state corruption, the president bit back.
Tuschi injects Khodorkovsky with a welcome playfulness. There are
some fine comic moments sprinkled throughout, as when one subject
illustrates his point about state power using a hungry baby hippopotamus
he happens to be feeding at the time.
Along the way, the pic not only tells Khodorkovsky’s story but builds
a less-than-flattering portrait of Russian society now, one populated by
materialistic New Russians, drunken journalists, cynical ex-KGB men
and ignorant young people who’ve swallowed the Kremlin Kool-Aid that
preaches Khodorkovsky “stole” from the people of Russia.
Leslie Felperin, Variety
Winner, People’s Choice Award for best film, Toronto
International Film Festival
Winner, Audience (Fiction) Award, Doha Tribeca Film Festival.
first look
real to reel
In a war-ravaged Middle Eastern village, Muslim and Christian women band
together to prevent further sectarian violence in the comic fable Where Do We
Go Now? The second feature from Lebanon’s Nadine Labaki (Caramel) offers
a clever twist on Aristophanes’ classic comedy Lysistrata as the resourceful
femmes try almost every means at their disposal to pacify their menfolk.
Unfolding in an unspecified time and uncertain place, the pic’s poetic
and visually striking opening moments establish the universal nature of
the theme, as a bevy of black-clad women sets off for the local cemetery,
their solidarity splitting only when some veer toward the Christian section
and others toward the Muslim. They’re from a place with more dead than
living, a remote spot surrounded by landmines and accessible only by a
damaged bridge, where mosque and church stand nearly side by side.
Most days, the women gather at the cafe of feisty Christian widow
Amal (helmer Labaki) to share gossip. When fighting in the outside
world incites local incidents between members of the two faiths, the
women work night and day to defuse the situation, with some of their
solutions more potent than others.
Alissa Simon, Variety
56
THREE [DREI]
mon 20 Feb / LIGHT HOUSE 2 / 8pm
Director: Tom Tykwer
Cast: Sophie Rois, Sebastian Schipper, Devid Striesow
german
There’s a sex comedy lurking at the heart of Tom Tykwer’s new film about
a long-term hetero couple in Berlin who both, unbeknownst to each other,
begin seeing the same other man. But the stylishly quirky shell it hides
within is so good-looking, inventively plotted, perfectly cast and in tune
with the times that it’s only as the credits roll that we realise.
This is Tykwer’s first true indie outing since Run Lola Run. Hanna
(Rois) and Simon (Schipper) are a modern, childless urban couple.
Their relationship is solid, affectionate, and buoyed by a shared
sense of humour. Still, there’s a restlessness in their 20-year-old
affair that we first detect in Hanna, and when she meets a research
biologist called Adam (Striesow) and then bumps into him on two
separate occasions, the coincidence fosters an erotic spark between
them. A night of passion follows – precisely the night when Simon
is diagnosed with testicular cancer and subjected to an emergency
operation. Recuperating with some swimming workouts, Simon meets
the metrosexual Adam at the pool – and is surprised to find himself
attracted to him.
Stylishly shot, Three is an intelligent comedy that takes its
characters’ intellectual and cultural curiosity on board with wry scrutiny
but without ridicule.
Lee Marshall, Screen International
57
Return
mon 20 FEB
Director: Liza Johnson
Cast: Linda Cardellini, Michael Shannon, John Slattery
The subject of a soldier returning home and finding it hard to adjust to
life has been tackled on screen many times before, but writer/director
Liza Johnson’s subtle and simply told film offers a fresh look at just how
hard it is.
When Kelli (Linda Cardellini) arrives back from active duty into the
welcoming arms of her husband Mike (Shannon) and young daughters
things appear at ease. She is happy to be at home, loves her husband,
likes being with her friends again and welcomes the chance to be with
her children. She has no war stories to tell – she worked in supplies –
and saw no dead bodies, but she still cannot adjust to home life.
Cardellini (from ER) is terrific as Kelli, appearing in virtually every
scene and generating a real sense of warmth and affection but also a
slight unease and distrust in those around her. She is the real centre
of the film, and carries the project with intelligence and compassion.
Michael Shannon is equally impressive as her husband.
This story of a woman returning from war is both thoughtful and gently
powerful. Linda Cardellini’s terrific performance demands attention, and
the film marks Liza Johnson as a new talent in indie US cinema.
first look
mon 20 FEB
Mark Adams, Screen International
Jeff, Who Lives at Home
Director: Jay Duplass, Mark Duplass
Cast: Jason Segel, Ed Helms, Judy Greer, Susan Sarandon
Faust
mon 20 Feb / LIGHT HOUSE 1 / 8.30pm
Director: Aleksandr Sokurov
Cast: Johannes Zeiler, Anton Adasinsky, Isolda Dychauk
With a daring and justice that should be recorded in Venetian history,
the jury of the 68th Mostra del Cinema gave the Golden Lion to
Aleksandr Sokurov’s Faust. The story of a medieval doctor crossing the
threshold between good and evil comes to life in a Russian-directed,
German-speaking masterpiece.
We see, hear and almost smell the Middle Ages. We are transported,
bumpily but thrillingly, through comedy, tragedy, romance, fable. We are
teased with caricature – including a Mephistopheles of grotesque shape
and swaggering menace, brilliantly played by Anton Adasinsky – and
awed by beauty, from Isolda Dychauk’s Margarete to cliffs and forests
out of Caspar David Friedrich. In the last reel, Sokurov all but blows our
socks off. The film goes onward and upward to a conclusion that seems
to be not of this world, nor of any we have foreseen or imagined.
Goethe’s original is sometimes barely recognisable. The poetplaywright’s text has mutated into a vision. Sokurov, for years a byword
for eccentric minimalism (Whispering Pages, Moloch) alternating with
flashes of quixotic virtuosity (Russian Ark), has made a film complete,
magical and accessible to all.
Nigel Andrews, The Financial Times
first look
first look
“There are films which change your life forever.
This is one of those films.” Darren Aronofsky
Fraternal filmmaking duo Jay and Mark Duplass inhabit an enviable
niche. They transitioned from micro-budget indies like The Puffy Chair
to the studio-backed Cyrus with their resourcefulness and integrity
intact. With Jeff, Who Lives at Home, the brothers deliver another fresh
spin on family, inertia and relatable weirdness. Jeff (Jason Segel) and
Pat (Ed Helms) are brothers. Jeff still lives with his mother (Susan
Sarandon), and spends his days wearing track pants, smoking weed and
waiting for his destiny. Pat, meanwhile, has forged a proper adult life
for himself, complete with a job and a wife named Linda (Judy Greer).
However, he habitually ignores Linda, turning his attention to finer
things, like the new Porsche they can’t afford. One day Jeff sees both a
television commercial and a wrong number that feature the name Kevin:
a sure sign from the universe. Following this cryptic message, he is
led to a crisis-stricken Pat, who suspects Linda is having an affair. Pat
convinces Jeff to help him spy on Linda, and their pursuit results in all
manner of unintended consequences and revelations. Segel and Helms
alternate between enthusiastic support and sibling antagonism, ably
matched by Greer, who gives an earnest performance as a neglected
woman pushed to the brink. And Sarandon proves that her sense of
adventure and play hasn’t abated one bit — she is a feisty addition to
a film that relays its universality through endearing idiosyncrasies.
Jane Schoettle, Toronto International Film Festival
16 – 26 FEB 2012
58
AL PACINO
59
mon 20 FEB
VOLTA AWARD
JDIFF 2012 is delighted to welcome Al Pacino to Dublin for the Irish
premiere of Wilde Salome, accompanied by two films celebrating his
career to date.
Named after the first dedicated cinema in Ireland, opened in
1909 by James Joyce, the Volta Awards are presented throughout
the Jameson Dublin International Film Festival to specially-selected
individuals who have made an outstanding contribution to the world
of cinema.
Previous recipients of the award include: Kristin Scott Thomas,
Daniel Day Lewis, Gabriel Byrne, Brendan Gleeson, Thierry Frémaux,
Patricia Clarkson, Paolo Sorrentino, Ciaran Hinds, George Morrison,
Martin Scorsese, François Ozon and Kevin Brownlow.
AL PACINO
Al Pacino established himself during one of film’s greatest decades,
the 1970s, and has become an enduring and iconic figure in the world
of American movies.
Born on April 25, 1940 in the Bronx, New York, Pacino started his
career on the stage and later joined the prestigious Actors Studio,
studying under legendary acting coach Lee Strasberg, creator of the
‘Method Approach’.
After appearing in a string of plays in supporting roles, he finally
hit it big with The Indian Wants the Bronx, winning an Obie award.
That was followed by a Tony Award for Does the Tiger wear a Necktie?
After his film debut in Me, Natalie he played a junkie in The Panic in
Needle Park (see p. 93). What came next would change his life forever.
The role of Michael Corleone in The Godfather was one of the most
sought-after of the time, but director Francis Ford Coppola had his
heart set on Pacino. The film earned him his first Academy Award®
nomination for Best Supporting Actor. Pacino threw his support behind
what he considered tough but important films, such as Serpico and
Dog Day Afternoon. He opened eyes around the film world for his brave
choice of roles, and he was nominated in three consecutive years for
the Best Actor Academy Award®.
Pacino lifted a self-imposed exile from cinema with the striking
Sea of Love. Returning to the Corleones, he made The Godfather:
Part III and earned another Academy Award® nomination for Best
Supporting Actor for Dick Tracy. Two years later he was nominated
for Glengarry Glen Ross. In 1992 he finally won the Academy Award®
for Best Actor for his performance in Scent of a Woman.
The next few years saw Pacino turning out great roles in great
films. Carlito’s Way proved another gangster classic, as did the epic
crime drama Heat, co-starring Robert De Niro. He returned to the
director’s chair for the highly acclaimed and quirky Shakespeare
adaptation Looking for Richard (see p. 17). Reteaming with Mann and
then Oliver Stone, he gave two commanding performances in The
Insider and Any Given Sunday.
With his intense and gritty performances, Pacino is an original
in the acting profession. His Method approach became popular
with many actors, and his unbeatable number of classic roles has
established him as one of the movies’ true legends.
Al Pacino at JDIFF 2012
Looking for Richard
FRI 17 FEB / LIGHT HOUSE / 3PM
Wilde Salome (Gala):
MON 20 FEB / SAVOY / 7.30PM
The Panic in Needle Park
WED 22 FEB / LIGHT HOUSE 1 / 5.30PM
wilde salomé
special presentation
mon 20 feb / savoy / 7.30pm
Al Pacino and producer barry navidi
Drawing on the startlingly-original approach taken in his
acclaimed 1996 documentary, Looking for Richard (see p. 17),
Al Pacino explores myth, meaning and madness in Oscar Wilde’s
play Salomé.
Originally written in French in 1891, Salomé was subsequently
translated into English by Wilde’s lover Lord Alfred Douglas. Based
on the New Testament story of Salomé, the text is steeped in blood,
incest and lust, hypnotically lingering on the destructive nature
of desire and the dangers of malignant love. At the time of its
publication the play caused huge controversy and was denounced
for its supposed immorality and blasphemous imagery. It was seen
as a radical challenge to the hypocritical Victorian mores of its time
and its tragedy was to prove sadly prophetic for Wilde himself.
Director: Al Pacino
Cast: Al Pacino, Jessica Chastain, Kevin Anderson, Roxanne Hart
The richness and lyrical beauty of Wilde’s play (which Pacino
first encountered in Steven Berkoff’s acclaimed staging for
Dublin’s Gate Theatre) has proved both an inspiration and indeed
an obsession for generations of artists. For Pacino there is at the
heart of the piece a mysterious power, a sort of hypnotic allure, that
the film seeks to unravel.
Wild Salomé is as multilayered as its source material, being both
a documentation of a reading of the text as well as a meditation on
the play’s dark themes. It is also a journey to try and understand
and contextualise Oscar Wilde in all his reckless, tragic glory.
But – perhaps most fascinating of all – it is an illuminating and
honest glimpse into the work and methods of Pacino himself as he
wrestles with the play’s complexities and the attendant pressures of
producing and directing a film.
Mark O’Halloran, Screenwriter and actor
61
Director: Andrzej Zulawski
1975 / France / Italy / West Germany / 109 minutes
Cast: Romy Schneider, Fabio Testi, Jacques Dutronc, Klaus Kinski
out of the past
tues 21 Feb / LIGHT HOUSE 1 / 4pm
INTO THE ABYSS
Though the films of Andrzej Zulawski are known for their boisterous
energy and feverish excesses of sex, violence and the bizarre, his
third film L’important c’est d’aimer (The Important Thing is to Love) is
tempered by a richly humanistic story and a shattering performance by
Romy Schneider.
She plays Nadine Chevalier, a once-promising actress reduced to
roles in pornographic films. Servais Mont (Fabio Testi), a handsome
ex-combat photographer, sneaks on set to take unauthorised shots
of Nadine, and in that moment they connect. Aware that she is out
of work and living on charity, Servais agrees to film a VIP sex orgy
for the mob to use as blackmail fodder, and uses his earnings to buy
Nadine the female lead in a new production of Richard III, directed by
the transvestite lover of wealthy stage actor Karl-Heinz Zimmer (Klaus
Kinski). Servais soon finds himself ensconced in a minefield of broken
hearts and corrupted dreams.
Based on a novel by Christopher Frank, Zulawski’s adaptation is
arguably his greatest film. It is certainly his most deeply affecting.
Schneider was never more beautiful onscreen, while Kinski is also
extraordinary. As always with Zulawski, the film is packed with
incidental characters who linger under the skin.
Tim Lucas, Sight & Sound
Director: Werner Herzog
TUES 21 Feb / cineworld 17 / 5.50pm
“Into the Abyss leaves you startled by life”
The Guardian
real to reel
tues
xxx
xx FEB
21
L’Important
C’est d’Aimer
tues 21 FEB
Forming part of Werner Herzog’s Death Row project (which also
includes a series of shorter TV films), Into the Abyss is an outstanding
exploration of violent crime and its consequences. Herzog focuses on
two main characters, Michael Perry and Jason Burkett, convicted of
a triple homicide committed in their home state of Texas. Perry was
interviewed on camera just days before his execution; Burkett did not
receive the death sentence, but was sentenced to life in prison after his
father, himself a convicted felon, pleaded for clemency. Alongside these
protagonists, Herzog talks to their families and those of the victims, as
well as to a chaplain and others intimately involved in administering
the death sentence. Much of the strength of the film lies in Herzog’s
interview style, which is respectful, but never precludes him asking
uncomfortable questions (‘destiny has dealt you a bad deck of cards,
which doesn’t exonerate you and which does not mean I have to like
you’). What emerges is a coruscating study of the senselessness of
violence, whether from individuals or state, and a particularly disturbing
picture of the society that breeds it.
Sandra Hebron, BFI London Film Festival
tues 21 FEB
62
MOURNING [SOOG]
tues 21 Feb / cineworld 9 / 6.10pm
Director: Morteza Farshbaf
2011 / Iran / 85 minutes
Cast: Kiomars Giti, Sharareh Pasha, Amir Hossein Maleki
63
The Far Side
of Revenge
tues 21 FEB
Director: Margo Harkin
tues 21 Feb / IFI / 6.30pm
Michael
tues 21 Feb / LIGHT HOUSE 1 / 6.15pm
margo harkin will attend the screening
Teya Sepinuck is the bomb disposal expert of troubled spirits. Her hybrid form
of drama puts marginalised people at the core of a new type of performance
in which they perform their own, often shocking, stories to the public. The
documentary The Far Side of Revenge explores her engagement in 2010/11
with a group of Northern Irish women from backgrounds and histories so
diverse that it would be impossible to imagine them sharing a space, let
alone creating a public, cultural event together. Kathleen, whose husband was
blown up by the IRA in 1990 along with five British soldiers, now performs on
stage with Anne, a former quartermaster in the IRA whose uncle was killed
by the British Army on Bloody Sunday in 1972. Under Teya’s guidance six
cast members allow themselves to reveal the deep emotions that can be
explored only now in post-conflict Northern Ireland. Her revolutionary ‘Theatre
of Witness’ is an adventure in human relations that surprises even the
performers of this most unusual form of public expression. Filmmaker Margo
Harkin delivers a penetrating insight into a process of creation where the
pain of individual stories is counterbalanced by the joyful bond that deepens
between the women over a nine-month period.
A frame filled with darkness. In the distance we hear the muffled voices
of a man and woman arguing violently over whether to leave their
countryside retreat to return to Tehran. As dawn breaks, light slowly fills
the screen, revealing a young boy lying alone in bed, the look on his face
betraying that this is not the first time he has overheard such a scene.
So begins Morteza Farshbaf’s debut feature film Mourning. A protegé
of Abbas Kiarostami – he has directed short films under the Iranian
master – Farshbaf proves himself wonderfully adept at cinematic
sleights of hand. Soon after being introduced to the young boy, we
discover that the couple fighting were in fact his parents. We next see
him in the back of the car of the deaf relatives with whom the trio
were staying. The man and woman communicate in sign language,
offering the viewer tantalising snippets of information: there has been
an accident; lives have been lost. Why would their guests leave in the
middle of the night, and why would they leave their son behind? From
here, Farshbaf fashions a consistently surprising and blackly comic road
trip that may herald the arrival of a major new Iranian talent.
Margo Harkin
Ali Jaafar, BFI London Film Festival
irish
spectrum
winner, New Currents Award, Busan International
Film Festival
Director: Markus Schleinzer
2011 / Austria / 96 minutes
Cast: Michael Fuith, David Rauchenberger, Christine Kain
Margaret
tues 21 Feb / cineworld 17 / 8pm
Winner, Telescope Award for Best New Talent from
the EU, Melbourne International Film Festival
first look
first look
Director: Kenneth Lonergan
2011 / US / 150 minutes
Cast: Anna Paquin, J Smith-Cameron, Jean Reno,
Mark Ruffalo, Matt Damon
“Paquin brings a firecracker intensity to her role” Screen
International
To all outward appearances Michael, 35, leads a normal, unremarkable
life. He works in insurance, has a sister he sees from time to time, goes
on the occasional trip with colleagues from work but largely keeps
himself to himself. Arriving home to his neat and tidy suburban house,
he prepares dinner. But what is different about Michael is that he will
be sharing the meal with Wolfgang, a ten-year-old boy he is keeping
captive in his cellar. Director Markus Schleinzer describes the film as
showing the last five months of Michael and Wolfgang’s ‘involuntary’ life
together. Schleinzer, who has worked extensively as a casting director in
Austria with filmmakers including Michael Haneke and Jessica Hausner,
approaches his incendiary subject with restraint, eschewing emotion
or judgement. Much of what he shows us is the familiarity and small
detail of Michael’s life, and that of two people who have lived in close
proximity for some time. Schleinzer’s low-key approach builds tension
and discomfort, and whilst Michael is far from being a sympathetic
character, his sheer mundanity makes his actions all the more chilling.
Sandra Hebron
BFI London Film Festival
Reel Art is an Arts Council scheme designed to provide film artists with a
unique opportunity to make highly creative, imaginative and experimental
documentaries on an artistic theme.
Since he made his mark with a tremendous debut, You Can Count on Me,
Kenneth Lonergan has been absent from the radar. The reason turns out
to have been years of acrimonious studio argument over his follow-up
project, a post-9/11 New York drama in a world of trauma, rage, blame,
overtalking and interrupting. But the resulting movie is stunning: provocative
and brilliant, a sprawling neurotic nightmare of urban catastrophe, rocketfuelled by a superbly thin-skinned performance by Anna Paquin. Paquin
plays Lisa: a mouthy, smart-but-not-that-smart teen at private school,
self-absorbed and hyper-articulate in the language of entitlement and
grievance. One day, Lisa takes it into her head to buy a cowboy hat. She
sees a bus driver wearing one she likes. With a teenager’s disregard for
the consequences, she flirtatiously runs alongside his bus, waving wildly,
asking where he got it. He smiles back at her, taking his eyes off the road
– with terrible results. Lisa is overwhelmed with ambiguous emotion at
having contributed to a disaster and then participated in a coverup, and,
compulsively driven to do something, draws everyone into a whirlpool of
painful and destructive confrontations. Paquin creates that rarest of things:
a profoundly unsympathetic character who is mysteriously, mesmerically,
operatically compelling to watch.
Peter Bradshaw, The Guardian
tues 21 FEB
64
ONCE UPON A
TIME IN ANATOLIA
Director: Nuri Bilge Ceylan
2011 / Turkey / Bosnia-Herzegovina / 150 minutes
Cast: Muhammet Uzuner, Yilmaz Erdogan, Taner Birsel
65
BONSÁI
tues 21 FEB
Director: Cristián Jiménez
2011 / Chile / France / Argentina / Portugal / 92 minutes
Cast: Gabriela Arancibia, Diego Noguera, Nathalia Galgani
Tues 21 Feb / light house 1 / 8.30pm
tues 21 Feb / LIGHT HOUSE 2 / 8.10pm
co-winner, Grand Prix, Cannes Film Festival
“one of the finest accomplishments from the freewheeling
new generation of Chilean filmmakers” Variety
Silver tongues
tues 21 Feb / cineworld 9 / 8.20pm
Deborah Young, The Hollywood Reporter
Based on the much-lauded novel by Alejandro Zambra, Bonsái is the
second feature from Chilean director Cristián Jiménez, whose debut Optical
Illusions screened to international acclaim.
The story centres on the lengthy love affair between two college
students – Julio (Diego Noguera) and Emilia (Nathalia Galgani). We’re
told from the beginning where their fate lies. To get to that point however,
Jimenez employs a flash forward/backward dynamic that softens the blow.
Julio is a young man obsessed with literature. He meets Emilia after a
class during which he’s lied about reading Proust. Skipping ahead 8 years
in the future, Julio now longs to be a writer himself. He applies for a job as
a typist to the famous novelist Gazmuri but when he loses out, he pretends
the job is his to impress his attractive neighbour, Blanca. The story he writes
instead is based on his own love affair with Emilia.
Hip, funny and moving, Bonsái features pitch perfect performances from a
very talented cast. Diego Noguera is both funny and touching while Nathalia
Galgani has a simmering Latin sensuality that, together with superlative
direction from one of Chile’s rising stars, make Bonsái a real cinematic treat.
discovery
first look
In the last decade, Turkish cinema has basked in the light of
filmmaker Nuri Bilge Ceylan. With Once Upon a Time in Anatolia, the
writer-director confirms his stature in a long, slow, hypnotic film
that explores the human condition through side glances and offhand
remarks. It is a deep and haunting work that lingers in the memory. Two men are being driven around a remote rural area. The squinting,
silent Kenan (Firat Tanis) has confessed to murdering Yasar and burying
him, apparently with the help of the other man. Now the police chief
Naci (Yilmaz Erdogan) has called prosecutor Nusret (Taner Birsel) all the
way from Ankara to witness the discovery of the corpse. The problem
is that, as the searchers drive along deserted roads in the dark, Kenan
fails to locate the grave.
As in a story by Chekhov, the first half of the film is filled with insignificant
conversations that turn out to be highly significant later on. Ceylan’s
background in still photography informs every shot, which rings with hidden
feeling and a sense of intimacy. Gokhan Tiryaki’s cinematography emphasizes
the stark, eerie beauty of the Anatolian landscape.
Suzanne Ballantyne, Raindance Film Festival
PL_half page_Layout 1 18/01/2012 14:16 Page 1
Director: Simon Arthur
Cast: Lee Tergesen, Enid Graham, Tate Ellington
Team head Jonathan Kelly has “extensive knowledge of the film and television
industry” while Brian Gormley is “extremely dedicated”- Legal 500
Simon Arthur will attend the screening
winner, Audience Award for Best
Narrative Feature, Slamdance Festival
discovery
“That Silver Tongues remains consistently engaging and
absorbing is due in no small part to Graham and Tergesen,
who make the most of roles that provide much scope for
challenging performances-within-performances”
Neil Young, The Hollywood Reporter
A multiple prize-winner on the international festival circuit, Simon
Arthur’s Silver Tongues is a savage screen essay on the nature of
performance. Gerry and Joan – Lee Tergesen and Enid Graham,
perfectly matched – travel the eastern United States adopting various
personas to mess with the people who cross their paths. Tough and
troubling but with a wit that’s as black as your hat, the piece builds
episodically, each encounter is a mini movie of diabolical design – the
lead characters’ and the Scottish-born director’s – that asks serious
questions about identity. If we reinvent ourselves for everyone we meet,
can any one self be called special? What can we possibly mean when
we talk about ‘us’? Derived from a well-regarded 2007 short, Silver
Tongues is a debut feature of fiendish cleverness and control, a horror
movie about the startling impulses in all of us, a movie that, as you
regard it, stares right back at you with a pitiless, unflinching gaze.
Tom Hall, Filmmaker and screenwriter
M E D I A A N D E N T E RTA I N M E N T
L AW S P E C I A L I S T S
Philip Le e’s ex pe rie nc ed and inno v ativ e la w y ers are
c o ns is te ntly hig hly rate d by Leg a l 500 a nd Cha mbe rs Europe.
PHILIP LEE
SOLICITORS
DUBLIN
BRUSSELS
Philip Lee Solicitors, 7/8 Wilton Terrace, Dublin 2.
Tel: 01 2373700 Email: [email protected] Web: www.philiplee.ie
16 – 26 FEB 2012
66
IRISH talent
spotlight
Photo: Hozkar
Anaya
10th Anniversary
Edition
PAT COLLINS
BRIAN BYRNE
Pat Collins has directed over 25 documentaries. His first film Michael
Hartnett, Necklace of Wrens won the Jury Award at the Celtic Film
Festival in 2000. Since then he has directed Talking to the Dead,
which centred on the Irish funeral tradition. This was followed by
Oiléan Thoraí which won Best Irish Documentary at the Irish Film and
Television Awards in 2003. Abbas Kiarostami: The Art of Living (codirected with Fergus Daly) was picked up for international distribution
in 2004 by the French company MK2. Rebel County used the shooting
of Ken Loach’s The Wind that Shakes the Barley to explore the War
of Independence in West Cork. He has directed documentaries on
the Irish writer Frank O’ Connor, the poet Nuala Ní Dhomhnaill and
the Connemara-based writer and cartographer Tim Robinson. His
film John McGahern: A Private World won Best Irish Documentary
at the Irish Film and Television Awards in 2005. In the same year
his documentary Marooned won the Best Irish Sports Documentary
award. The feature documentary Gabriel Byrne: Stories from Home
was completed in 2009 and the film essay What We Leave in Our Wake
in 2011. He has just completed the feature film Silence.
Award-winning composer Brian Byrne moved to Los Angeles from
Ireland in July 2003 to expand his career as a film and television
composer. Since then, Brian has consistently worked as a composer,
conductor, songwriter, arranger and pianist in the US and in Europe.
From huge orchestral scores to minimal ensemble compositions,
Brian has written music for films in many genres. He won the Irish
Film and Television Award for his original score for the Irish Sci-Fi
comedy Zonad, directed by John Carney. He then scored an indie
drama called The Good Doctor, starring Orlando Bloom (shown here
at JDIFF, see p. 87) and has just finished the score to Oscar hopeful
Albert Nobbs starring Glenn Close (see p. 35). Brian’s previous film
work includes conducting and arranging the scores to Jim Sheridan’s
Oscar-nominated In America and Kristen Sheridan’s drama, Disco Pigs.
His varied musical credits also include a score for a short film directed
by Eric Stoltz and the theme music to The Late Late Show.
tues 21 FEB
TUES
21 FEB
XXX XX
Reservoir Dogs
jameson cult film club
tues 21 Feb / savoy ??? / TIME ???????
Director: Quentin Tarantino
Cast: Harvey Keitel, Tim Roth, Michael Madsen
Mr. Blonde: you ever listen to k-billy’s ‘super sounds of
the
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of betrayal set in an urban wasteland that murders hope and
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1993
makesMalcolm,
redemption
impossible.
Albert Nobbs is screened on Sat 18 Feb (see p. 35).
Pat Collins’ Silence is screened on Thurs 23 Feb (see p. 86).
Michael Madsen will attend the screening
IAN FITZGIBBON
Ian was born in Dublin and raised in Brussels, Belgium. He is a
graduate of Trinity College, Dublin where he took a degree in French
and Spanish. He trained as an actor at the world famous Royal
Academy of Dramatic Arts in London. He has a long and extensive
acting career principally on English television where his credits range
from Prime Suspect to Father Ted.
He began to direct 10 years ago. Between Dreams, one of his first
short films was selected for competition at the Venice Film Festival.
He then went on to write and direct Paths To Freedom, a multi-awardwinning television series for RTÉ.
67
10th Anniversary
AnniversaryEdition
Edition
His first feature, the critically acclaimed A Film With Me In It
had its North American premiere at TIFF 2008. It was nominated for
numerous Irish film awards and went on to win the special jury prize
for best international film at the Istanbul International Film Festival.
Perrier’s Bounty, his second feature, starring Brendan Gleeson, Cillian
Murphy and Jim Broadbent, received its world premiere at the Toronto
Film Festival in 2010. Death Of A Superhero is his third feature. He
is currently shooting Threesome a new comedy series for Big Talk/
Comedy Central in London.
Ian Fitzgibbon’s Death of a Superhero is screened on Sun 26 Feb
(see p. 123).
This year, Jameson Irish Whiskey will again present the hugely
popular Jameson Cult Film Club. For the uninitiated, Jameson
Cult Film Club is all about watching your favourite cult films at
spectacular screenings in unusual locations, staged to transport
you into the film’s universe.
Kicking off the
the 2012
2012 series
seriesisisone
oneofofthe
themost
moststylish
stylishand
and
influential films
films of
of the
the 1990s:
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Tarantino’s
bloody and gripping
gripping heist
heistthriller
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featuresaastar
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castincluding
includingTim
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Buscemi
and Harvey
and Harvey
Keitel.Keitel.
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and Mr Pink.
be warned;
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it’s not
be for
warned;
the faint-hearted!
it’s not for the fainthearted!
We are delighted to welcome one of the stars of the film, Michael
Madsen,
We arewho
delighted
will discuss
to welcome
the filmone
after
of the
the screening.
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after thestyle.
screening.
Following the discussion, the party will continue in true Jameson
style.
Derek Malcolm, The Guardian, 1993
16 – 26 FEB 2012
68
stargazing
in dublin
3 – 26 February
Top Floor,
Stephen’s Green Shopping Centre,
Stephen’s Green West, Dublin 2
Opening Hours:
Mon – Weds: 9am – 7pm
Thurs: 9am – 9pm
Fri – Sat: 9am – 7pm
Sun: 11am – 6pm
Lensmen
PRESS & PUBLIC RELATIONS
PHOTOGRAPHIC AGENCY
From Cary Grant to Kevin Spacey, Dublin has played host to more than
its fair share of film talent over the years, and this year, to celebrate
the tenth anniversary of the Jameson Dublin International Film
Festival, we’re delighted to present Stargazing in Dublin, an exhibition
of over 100 photos celebrating sixty years of international film stars in
the city. Curated by Sheamus Smith, who was CEO of Ardmore Studios
(1975-1982) and Ireland’s Film Classifier (1986-2003), the exhibition is
located in the heart of the city, on the top floor of the Stephen’s Green
Shopping Centre and runs throughout February. Drawing on a wide
range of sources including the RTÉ Stills Library, Lensmen Press &
PR Agency, Maxwell Photography, The Irish Times, the Colman Doyle
Collection at the National Gallery and JDIFF itself, Stargazing in Dublin
celebrates the moments when a little bit of Hollywood stardust was
sprinkled over the capital.
“Since my earliest childhood memories of the cinema in my home
town of Ballaghaderreen, the big screen has played a major part in
my life and career. I was very pleased when Gráinne Humphreys, the
Director of the Jameson Dublin International Film Festival, invited
me to curate an exhibition showing photographs of movie stars who
visited the capital over the years. As a young press photographer
in 1950s Dublin, I had photographed important international stars
such as Danny Kaye, Maureen O’Hara, Cary Grant, Joan Crawford,
James Cagney and Rod Steiger. Assembling this exhibition from many
sources has been a challenging but enjoyable experience. My sincere
thanks to those who so generously assisted me with the undertaking.”
Sheamus Smith
69
www.jdiff.com
JDIFF would like to thank the following organisations from whose
archives the images were drawn:
RTÉ Stills Library
Lensmen Press and PR Agency
Pat Maxwell - Maxwell Photography
The Irish Times
The Colman Doyle Collection courtesy of the National Library of Ireland
VIP Ireland
Brendan McCaul
Eric Luke
Pat Redmond
Brian McEvoy
Brian Cusack
Special thanks to Sheamus Smith for permission to use images
from his private collection, to Hackett Reprographics for their
assistance, and to Stephen’s Green Shopping Centre for providing
the exhibition space.
XXX XX FEB
70
71
www.jdiff.com
PICTURE HOUSE
JDIFF’s outreach programme has long been an integral part of the
festival, bringing the magic of cinema to people who would otherwise
be unable to take part. Over the years we’ve organised screenings
in everything from hospitals to prisons and this year, throughout the
festival, we’re taking film to residents of ten care centres around
Dublin. Each care centre will screen a handful of classic films
(including On the Waterfront and Singin’ in the Rain) alongside a
handpicked selection of Irish short films from the last ten years of the
festival, introduced by the filmmakers themselves. Each screening
comes with a side order of ice cream, courtesy of HB.
Academy Award®-winning actress Brenda Fricker is the patron of
‘Picture House’.
Dates: 14 – 29 February
Venues:
Orwell House, Rathgar
St Mary’s, Phoenix Park
Leopardstown Park Hospital, Leopardstown
Ashford House, Dun Laoghaire
Cairdeas Day Care Centre, Cork St
St Clare’s Home, Griffith Avenue
Dalkey Community Unit, Dalkey
The Marlay, Rathfarnham
Claremont (Seanchara Community Unit
and Clarehaven Home), Glasnevin
Thanks to all the participating
venues and to Age & Opportunity
XXX XX FEB
72
wed
xxx
xx FEB
22
Just launched, Ireland’s first
dedicated video on demand site.
Independent Film Online
wed 22 FEB
74
the Panic in
Needle Park
Director: Jerry Schatzberg
1971 / US / 110 minutes
Cast: Al Pacino, Kitty Winn, Alan Vint
75
YOUR SISTER’S SISTER
wed 22 Feb / cineworld 17 / 6pm
wed 22 FEB
Director: Lynn Shelton
Cast: Emily Blunt, Rosemarie DeWitt, Mark Duplass, Mike Birbiglia
BUCK
In the original release 20th Century-Fox decided to play up the sensational
elements in The Panic in Needle Park, and to overlook the qualities that
make this a special and sometimes extraordinary movie. This film is a love
story, and a carefully observed portrait of two human beings.
Helen is a student from Indiana who falls in with a group of young
addicts. She is a girl both vulnerable and very tough, innocent and cynical,
filled with two drives that shouldn’t ever conflict, but sometimes do: love
and self-preservation. Helen falls in love with Bobby (Al Pacino, in his
first major role), a street-wise kid who was busted the first time when he
was nine and who has been hustling drugs, stolen groceries, wayward TV
sets and whatnot for a long time. Helen is played by Kitty Winn, who won
the best actress award at Cannes, and whose eyes tell us everything we
need to know about her feeling for Bobby. She admires his cockiness, his
outlaw spirit, his differentness from Fort Wayne, Ind.
The movie is not filled with quick cutting or gimmicky editing, but
Jerry Schatzberg’s direction is so confident that we cover the ground
effortlessly. We meet the characters, we get to know the world.
Especially, we get to know this relationship between Bobby and Helen.
Roger Ebert, Chicago Sun-Times
Director: Cindy Meehl
wed 22 Feb / cineworld 9 / 6pm
Emily Blunt also stars in Salmon Fishing in the Yemen
(see p. 39)
first look
out of the past
wed 22 Feb / LIGHT HOUSE 1 / 5.30pm
DREAMTIME, REVISITED
Jane Schoettle, Toronto International Film Festival
Directors: Julius Ziz, Dónal Ó Céilleachair
wed 22 Feb / ifi / 6.30pm
Winner, Audience Award for Documentary, Sundance Film Festival
Winner, Best Documentary Feature, Rockport Film Festival
Winner, International Documentary Competition, Bergen
International Film Festival
Dreamtime, Revisited is a “walkabout in dreamtime Ireland” inspired by
the works of writer, poet and philosopher, John Moriarty.
“It being Dreamtime then, the land was appropriated more effectively
with myths than it was with weapons. Without myths going before
them, weapons were useless. It being Dreamtime then, the land and
everything in it was dreaming. Well might a person in those days say;
there is a Dream that dreams us…” (from Dreamtime, 1996)
The film weaves together contemporary and archive material,
with excerpts from some of Moriarty’s key talks, in a labyrinthine
invocation of his “dream-vision” of Ireland. Dreamtime, Revisited
is an observational film mirroring Moriarty’s gaze upon the face of
contemporary and historical Ireland. It is an impressionistic film
retracing the spiritual and poetic dimensions of Ireland across the folds
of its landscape. And an abstract film, following Moriarty’s mythological
lead into the depths of the nation’s Dreamtime.
A warmly engaging documentary about Buck Brannaman, also known
as the real life “Horse Whisperer.” Drawing from his own nightmarish
childhood experiences – his father beat him severely when he didn’t
perform rope tricks to perfection – Buck tames wild horses by using
gentleness and respect, rather than the more archaic method of
breaking them with beatings and lashes. This visually stunning film
makes it clear early on that Brannaman’s title is not an exaggeration;
his skill with these majestic animals is truly the stuff of legend. More
surprisingly, this likable down-to-earth cowboy and raconteur has a way
of working with horse and owner as one unit, helping to “fix” the people
as well as the animals in order to develop a closer kinship between the
two. Director Cindy Meehl has assembled an impressive feature-length
debut, bringing outsiders into Buck’s world, and teaching the viewer the
magic of relating to horses on a compassionate, human level.
Julius Ziz and Dónal Ó Céilleachair
Reel Art is an Arts Council scheme designed to provide film artists
with a unique opportunity to make highly creative, imaginative and
experimental documentaries on an artistic theme.
Seattle International Film Festival
irish
real to reel
Iris is both Jack’s best friend and his dead brother’s ex – which makes
them almost like siblings. A year after his brother’s death, Jack (Mark
Duplass) still see-saws between emotionally wobbly and outright volatile.
When he makes a scene at a memorial party, Iris (Emily Blunt) intervenes
with a plan: Jack must oil up his old bike and trek to her father’s cabin on
an island on Puget Sound, where isolation will give his brain a chance to
detangle. When Jack gets to the woods, however, he finds not solitude but
Iris’ sister Hannah (Rosemarie DeWitt), herself nursing a wounded heart
and a bottle of tequila. Their hangover descends in the form of Iris, who
pulls up with a bag of groceries the next morning.
Though ripe for love-triangle trappings, Your Sister’s Sister offers an
uncontrived navigation of romantic and sibling relationships. Its humour
may swing from understated to raunchy, but Your Sister’s Sister is always
smart. Duplass is both an endearing goof and poignantly unhinged as
a man grappling with the aftermath of grief, while DeWitt and Blunt are
thoroughly believable as two very loving, very different sisters.
76
TARGET [MISHIN]
spectrum
A QUIET LIFE
[UNA VITA TRANQUILLA]
77
wed 22 FEB
Director: Alexander Zeldovich
Cast: Maksim Sukhanov, Danila Kozlovskiy, Vitaly Kishchenko
Best Intentions
[Din dragoste cu
cele mai bune intentii]
Director: Adrian Sitaru
2011 / Romania / Hungary / France / 105 minutes
Cast: Bogdan Dumitrache, Natasa Raab, Marian Ralea
“An astonishing piece of visionary futurism”
The New York Times
winner, Best Director and Best Actor, Locarno International
Film Festival
A boldly conceived dystopian epic, Target is set in Russia in 2020 –
a nation now massively influenced by China, but still divided between
the poor and the outrageously wealthy. Viktor (Maksim Sukhanov) and
Zoya (Justine Waddell) are members of the gilded elite, and seekers
after eternal youth – available at a price at an abandoned astrophysics
facility bombarded with cosmic rays.
Vast in conception, Target is at once an audacious exercise in
futurology, a philosophical contemplation of the human condition, and
a satirical vision of the oligarchs’ Russia of today. All this is wrapped up
in stylishly conceived and often spectacular imagery, with some bold
motorway action thrown into the mix. Co-written by cult novelist Vladimir
Sorokin (The Ice Trilogy), Target belongs in the great Russian philosophical
science-fiction tradition of writers like Zamyatin and the Strugatsky
brothers – not to mention of Tarkovsky. But its confidence and elegant
production values also carry echoes of Minority Report, The Matrix and
even Fellini. Right up to its apocalyptic finale, Target has to be seen to be
believed – visionary cinema at its most playful and provocative.
Director: Claudio Cupellini
2010 / Italy / Germany / France / 105 minutes
Cast: Toni Servillo, Marco D’Amore, Francesco Di Leva,
Juliane Köhler, Leonardo Sprengler
spectrum
wed 22 FEB
SILENT HOUSE
wed 22 Feb / cineworld 9 / 8.30pm
A mother’s mild stroke brings out the control freak lurking inside many an
Everyman frightened by the vulnerability of loved ones in Adrian Sitaru’s
sophomore feature, Best Intentions. Alex (Bogdan Dumitrache) is a real
guy’s guy, the kind who hangs on to tattered underwear and gets annoyed
when g.f. Delia (Alina Grigore) throws it out. When his father (Marian
Ralea) calls to say his mom (Natasa Raab) is in the hospital following a
stroke, Alex hightails it to the train station with a head full of anxieties.
The ensuing days are filled with helpful strangers and friends whose
unsolicited advice about where best to have her treated, accompanied
by horror stories of similar cases, further unsettles Alex. Constantly
second-guessing his parents’ choices, Alex is sucked into a nightmare
world of his own creation: he’s desperate to make the right decisions, yet
his limited medical knowledge means worry is offset by a very masculine
need for domination. The style suits the tense atmosphere, carefully
contained so as to remain consistently real; the choice of widescreen
allows the hospital room to feel at once like its own vast world and a
constricted place where neuroses can breed unchecked.
Jay Weissberg, Variety
Director: Chris Kentis, Laura Lau
Cast: Elizabeth Olsen, Adam Trese, Eric Sheffer Stevens
WED 22 Feb / LIGHT HOUSE 2 / 8.10PM
claudio cupellini will attend the screening
Silent House is a psychological thriller set in a decaying lakeside
summerhouse. Directed by duo Chris Kentis and Laura Lau, who made
the tense Open Water, Silent House also plays with constraints of
location and time to give an intimate experience of fear. It is the English
language remake of the Uruguayan film La Casa Muda (JDIFF 2011).
Sarah, her father and her uncle Peter are getting their summerhouse
ready to sell. There’s a sense of victim about Sarah and enough
predators present early on to offer a suitable choice of perps. The
dysfunctional chill that pervades the house soon begins to settle
into them and pull them back towards the secrets of its darker past
(the house is indeed dark with boarded up windows and an unpaid
electricity bill). The genre possibilities are kept open long enough to
draw you in and the technical challenges and choreography are handled
impressively (enough to allow for a few creaky storyboards here and
there). The lead role is impressively played by Elizabeth Olsen (currently
seen in Martha Marcy May Marlene), younger sister of the more famous
twins. The film very much rests on her shoulders and she takes on the
challenge of the “real time” performance with great skill, coming out
with reputation enhanced. Joel Hoglund, Tribeca Film Festival
first look
discovery
Two decades after faking his death and disappearing from Naples,
onetime hit man Rosario has earned all the rewards of a simple life in
rural Germany. He has a lovely young wife, a new son, and a gratifying
job as the proprietor of a restaurant and hotel. Then a young Italian man
arrives in town on a mysterious mission with his hot-headed buddy in
tow. When they’re in need of a place to stay, it’s not long before they
arrive at Rosario’s doorstep, and quickly the past comes flooding back.
A richly textured performance from the great Toni Servillo (Il Divo,
Gomorrah) anchors this slow-burn dramatic thriller, a brilliant addition
to the new school of sophisticated Italian crime films that focus more
on character than action. Behind Rosario’s mild-mannered façade,
glimpses of an ingrained, inescapable violence seep out even before the
Napolitani show up. Director Claudio Cupellini – never once resorting
to hysterical “mob movie” clichés – orchestrates a subtle, accelerating
suspense around Servillo’s role as a conflicted family man whose
attempts to protect those he loves the most invite only more pain.
Paddy Breathnach, Film director
10th Anniversary
AnniversaryEdition
Edition
79
XXX XX
WED
22 FEB
IN DARKNESS
polish special presentation
wed 22 feb / cineworld 17 / 8.10pm
Screen Training Ireland wish the 10th
continued success.
Agnieszka Holland will attend the screening
Robert Wieckiewicz also stars in Courage (see p. 117)
Agnieszka Holland, one of Poland’s pre-eminent directors, has
made a work that stands as one of her supreme achievements. In
Darkness deals with something that has been difficult to reconcile
within the war experience for many people: the Catholic-Jewish
tension that cuts like a knife through Polish society. Conventional
wisdom has it that, under Nazi rule, the natural anti-Semitism of
Catholic Poland rose to the fore. Holland sets out to emphatically
and majestically explore and undermine this particular view.
During the war, numerous Jews hid in the underground sewer
systems of the major cities. Based on a true story, In Darkness
portrays this subterranean life through the experiences of Lvov
sewer worker Leopold Socha (Robert Wieckiewicz) and the people
Director: Agnieszka Holland
2010 / Canada / Germany / Poland / 145 minutes
Cast: Robert Wieckiewicz, Benno Fürmann,
Agnieszka Grochowska
he meets on his rounds. What gives the film grit, urgency and
complexity is the fact that Leopold is Catholic, and initially as antiSemitic as they come. He also knows that any contact with Jews,
let alone the help that he gives them, jeopardizes his life and that of
his wife and child.
What makes this film so remarkable is the manner in which he
is confounded by his own prejudices, and the equally complex way
that Holland portrays the Jewish characters. This is a self-portrait
of mankind, magisterial and Shakespearean in its grasp of what we
are capable of doing to – and for – each other.
Thurs
xxx
xx FEB
23
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thurs 23 FEB
82
Calvet
Director: Dominic Allan
2011 / UK / 84 minutes
thurs 23 Feb / cineworld 9 / 4pm
83
A Man’s Story
Director: Varon Bonicos
thurs 23 Feb / cineworld 9 / 6.10pm
A Man’s Story is a fly-on-the-wall documentary about the British-born
designer Ozwald Boateng who at 23 was the youngest and first black
tailor to open a shop on London’s Savile Row. Known for his flamboyant
take on traditional British bespoke tailoring, Boateng’s star-studded
clientele includes Gabriel Byrne, Jude Law, Richard Branson and Spike
Lee, who make cameo appearances in the movie. Tall, loose-limbed and
always impeccably dressed, Boateng is his own best advertisement for
the sharp suits he designs – and knows it.
Directed by Varon Bonicos, who also created the TV series House of
Boateng, the documentary covers the ups and downs of the past twelve
years of the designer’s career from his first show in Paris in 1999 to
his blockbuster presentation in Leicester Square that closed London
Fashion Week in 2010.
Narrated in his own words, it follows Boateng’s promotional forays
into Russia, China, and the US, his appointment as creative director
of Givenchy in Paris and his return to his native Ghana to stage a
mammoth African Union fashion show in 2007. It also provides glimpses
into his private life, revealing how the pressures and demands of
international fashion success take its toll on fatherhood and family
relationships.
Co-Executive Producer Brendan Byrne
thurs 23 Feb / LIGHT HOUSE 2 / 6pm
“I was the perfect example of a total bastard,” admits Jean Marc Calvet.
From inside his art studio in Granada, Nicaragua, he is the model of a
successful artist, selling paintings for tens of thousands of dollars. But
as he invites the viewer on a tour of his seedy past, it soon becomes
clear he speaks of what he knows. Via a troubled childhood and violent
adolescence, Calvet was doing heavy drugs in France, working as a
bodyguard after a stint as a vice cop, trying to support his young son.
When a rich, mysterious American offered him the chance to abandon
his life and move to America, he grabbed it, abruptly leaving his son
behind. He soon found himself on the run in Central America and on a
course of extreme self-destruction, his son’s abandonment haunting
his every waking moment. In this stylish, vibrantly edited film, he takes
us with him on his search for redemption. His articulacy and selfawareness as he looks back on a harrowing life make this a masterfully
told story.
Sheffield International Documentary Festival
Director: Tim Burton
1989 / US / 126 minutes
Cast: Michael Keaton, Jack Nicholson, Kim Basinger
out of the past
Simon Trezise of trinity college dublin will give
a talk on the music of Batman before the film
After the cult hit Beetlejuice, director Tim Burton’s second collaboration
with Danny Elfman and Michael Keaton catapulted him into the
major league of Hollywood director’s with Batman, one of the biggest
blockbusters of 1989 and a film that grossed over $400 million
worldwide.
Eschewing the camp cartoonery of the 1960s television series,
Burton took the franchise back to its comic book roots with adult
themes and a set straight out of film noir. Michael Keaton is suitably
austere as the brooding crusader, while Jack Nicholson steals the show
as the Joker, a “masterpiece of sinister comic acting” (Variety) that set
the bar for Heath Ledger’s turn two decades later.
Batman was the first film to release not one soundtrack but
two – one by Prince, and the other by Danny Elfman, whose work is
celebrated this year at JDIFF (see p. 109 for details). Both were hits, and
three years later Elfman reprised his role for Batman Returns.
By then, The Simpsons was already on the way to making him a
household name.
real to reel
real to reel
“as searing as one of his subject’s phantasmagoric canvases”
Time Out New York
BATMAN
thurs 23 FEb
Deirdre McQuillan, Fashion Editor, The Irish Times
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thurs 23 FEB
84
SLEEPLESS NIGHT
(NUIT BLANCHE)
85
thurs 23 FEB
Director: Frédéric Jardin
2011 / France / Belgium / Luxembourg / 89 minutes
Cast: Tomer Sisley, Joey Starr, Julien Boisselier, Laurent Stocker,
Birol Ünel
thurs 23 Feb / LIGHT HOUSE 1 / 6.15pm
A gunshot shatters the early-morning silence on the streets of Paris as
two men in balaclavas intercept a car on a drug run. In the rushed heist
that follows, one of the drug carriers in the vehicle is shot. The next day,
one of the thieves, Vincent (Tomer Sisley), is addressed as lieutenant in
the bathroom at work. This reveal – that the robbers are really cops – is
the first of many in Frédéric Jardin’s Sleepless Night.
Vincent’s bag of coke belongs to a nightclub owner named Jose
Marciano (Serge Riaboukine). When Jose learns he’s been doublecrossed by the police, he kidnaps Vincent’s son. He tells Vincent the
stash must be returned to his club by the end of the night. No drugs,
and the cop will never see his son again.
Sleepless Night is a lean, mean action film that moves at breakneck
speed. Sharply choreographed chase sequences careen through the
tight crowds in Jose’s extravagant club. This is an all-nighter of action:
pop some caffeine and run headfirst into Jardin’s gritty world of good
cops, bad cops and vicious drug dealers, all flashing under strobe lights
and set to a throbbing techno beat.
first look
Colin Geddes, Toronto International Film Festival
Wonder House
STELLA DAYS
Director: Oonagh Kearney
thurs 23 Feb / ifi / 6.30pm
Oonagh Kearney will attend the screening
Wonder House explores the creative process by inviting scientists to
recall those childhood memories that sparked their imaginations. Using
these recollections as a starting point, it celebrates the role of play in
the early development of a love for science and art. Depicting a young
girl’s journey of discovery through an old house, it illustrates how a
child’s sense of wonder is sparked by an object or an experience.
Moving from room to room, the young girl, Sive, encounters endless
possibilities for play, wonder, magic and discovery. In tandem with her
visual journey, the scientists’ voices describe personal moments
of inspiration, from the impact of objects and toys to the influence of
teachers and the great outdoors, from Lego, clocks and spinning tops to
sheer wonderment at the sky above. What emerges is not just a sense of
the imaginative impulses behind scientific enquiry, but a feeling for how a
child’s curiosity relates to iconic moments in the history of science.
Funded as an experimental arts documentary, Wonder House offers a
fictional synthesis of fantasy and fact, science and art, imagination and reality.
“If you look into the fire, you will see a house…”
irish
Oonagh Kearney
Reel Art is an Arts Council scheme designed to provide film artists
with a unique opportunity to make highly creative, imaginative and
experimental documentaries on an artistic theme.
cineworld special presentation
thurs 23 / cineworld 17 / 6.30pm
Martin Sheen will attend the screening
A heady mix of faith and passion, Rome and Hollywood, and
one man and his conscience collide in Thaddeus O’Sullivan’s
magnificent Stella Days, starring Martin Sheen as a forwardthinking parish priest in the rural Ireland of the 1950s.
Fr Daniel Barry, stationed in Borrisokane, Co. Tipperary, feels like
the wrong man in the wrong place at the wrong time. Despite
working hard to fulfill his duty, he has little in common with his
parishioners and is privately troubled by his vocation. The things
that make his life worthwhile – music, his daily swims in the lake
and, especially, the cinema – he enjoys alone. When forced by his
bishop to start a fund-raising campaign, he attempts to reconcile
his passion for film with his duty to the Church through the creation
of the Stella Cinema.
Director: Thaddeus O’Sullivan
Cast: Martin Sheen, Marcella Plunkett,
Amy Huberman, Stephen Rea, Tom Hickey
In Ireland in the mid-1950s rural electrification is underway,
emigration is rife, and the bishops are becoming worried about the
position and power of the Church in this changing world. Bishop
Hegerty wants to build bigger, new churches across the diocese
that will be the focus of community life. Father Barry is in favour
of modernisation, but doesn’t see the need for a new church.
Encouraged by the dynamic new schoolteacher, Tim McCarthy,
he decides to follow his passion and establish a local cinema in
Borrisokane, bringing light and joy to the town and, at the same
time, raising funds for the new church. But he faces plenty of
opposition: from the bishop and a number of influential parishioners,
led by Brendan McSweeny, who see film as a source of moral
corruption; from locals who doubt they can transform a church hall
into a proper cinema in a few weeks; and ultimately from his own
crisis of conscience when he discovers that Tim has fallen in love
with Molly Phelan, a married woman.
For details of the Stella Days film tour, see p. 124.
thurs 23 FEB
86
Santa Sangre
Director: Alejandro Jodorowsky
1989 / Italy / Mexico / 123 minutes
Cast: Axel Jodorowsky, Blanca Guerra, Guy Stockwell
87
THE DAY I WAS NOT BORN
[DAS LIED IN MIR]
thurs 23 FEb
FEB
Director: Florian Micoud Cossen
Cast: Jessica Schwarz, Michael Gwisdek, Rafael Ferro
Silence
Winner, Best Film, Santiago de Chile International Film Festival
The Day I Was Not Born is one of those quiet movies that comes out
of nowhere and leaves you breathless. The story of a young German
woman who discovers that she was adopted by the people she thought
were her birth parents, this devastating, masterfully calibrated film
marks a stellar directorial debut from Florian Cossen.
The film opens as Maria (rising German star Jessica Schwarz), a
30-year-old competitive swimmer, says goodbye to her father (Michael
Gwisdek) before boarding a plane for Argentina. The event that sets
the film in motion comes when Maria is in Buenos Aires airport and
overhears a woman singing a Spanish lullaby. In an extraordinary,
shivery moment, Cossen films his leading lady up close as she mouths
the words, a mix of horror and wonder playing out across her face as
she seems to remember a song she doesn’t consciously know.
The film chronicles the fragmentation of Maria’s identity upon learning
of her adoption, and the reconstruction of an identity as she tracks down
blood relatives in Argentina. The Day I Was Not Born examines hefty themes
– betrayal, family, forgiveness – without making a wrong step. And it signals
the arrival of what could be a major new voice in European cinema.
“Alejandro Jodorowsky makes a triumphant return to cinema with the
exotic Santa Sangre, a film inspired by the true story of a psychotic
circus performer. Fenix is a magician and mime artiste at the Mexican
Circo del Gringo run by his father, a womanising alcoholic. Fenix’s
mother is a religious fanatic who discovers her husband in the arms
of the circus’ tattooed lady. She is incensed and pours acid on their
genitalia, but loses both her arms in the ensuing struggle.
After twelve years in a mental asylum, Fenix escapes and is reunited
with his mother with whom he develops a bizarre cabaret act in which
his hands act as hers. Hopelessly dominated by a mother who now has
an intense hatred of other women, the passive son also uses his hands
to carry out her instructions to murder every woman he meets.
This extraordinary story is told in a bravura series of flamboyant and
surreal images. Jodorowsky remains wholly in control of the provocative
material, confidently exerting his vivid imagination and bold cinematic
flair as the movie builds in power. It is a truly stunning experience.”
Michael Dwyer
Please note: this is an English language film with French subtitles
Director: Pat Collins
Cast: Eoghan Mac Giolla Bhríde
german
out of the past
This cult classic was first shown at the 1990 Dublin Film Festival.
Here’s what Michael Dwyer had to say:
John Frosch, Associated Press
The Good Doctor
Director: Lance Daly
Cast: Orlando Bloom, Riley Keough, Rob Morrow, Michael Peña
Award-winning director Pat Collins collaborates with Donegal
film-maker and writer Eoghan Mac Giolla Bhríde on the wonderfully
enigmatic Silence, a haunting meditation on those unseen aspects of
the Irish landscape, free from the turbulent onslaught of modernity, and
their effect on the human self.
The story follows Eoghan O’Suilleabháin (Mac Giolla Bhríde), an
Irishman living in Berlin. He has been commissioned to undertake an
unusual project: to travel to the most remote areas in Ireland to record
silence – as it may have existed before man’s impact on the local
geography. These locations are places where outsiders don’t visit,
places inaccessible by public transport and often not documented by
cartography. These are places that strict notions of time subside and
past and present appear to merge into one.
As well as a tangible journey, Silence is also an odyssey through
languages – beginning in German and then moving into English, then
Irish as Eoghan continues on his psychogeographical quest, reaching
Connemara and eventually his native Donegal, where he finally speaks
in his own dialect. An elegant and poetic experience, Silence is a
profoundly moving, lyrical evocation of our physical environment.
Irish composer Brian Byrne composed the score for The
Good Doctor and Albert Nobbs (see page 35). See Irish Talent
Spotlight (page. 66).
spectrum
irish
Pat Collins (see Irish talent spotlight, p. 66)
presented in co-operation with the goethe-institut irland
Orlando Bloom stars as an English doctor newly arrived in California
in Lance Daly’s highly un-Hippocratic psychological thriller The Good
Doctor. Black comedy lurks just below the suspenseful surface, with
more than a hint of Lolita-esque absurdity as the doc falls under the
kittenish spell of a nubile blonde high-school patient.
Irish helmer Daly, whose Kisses set a couple of innocent kids
wandering alone through the murky, uncertain byways of Dublin, here
looses a morally compromised doctor amid the gleaming sterility of
Southern California. Ploeck concentrates his attentions upon curing
the kidney infection of statuesque teenage Diane (a pitch-perfect
Riley Keough) and resorts to unethical behaviour to keep her in his
kingdom, tampering with her medication to draw out her recovery.
When an insolent orderly (Michael Pena) happens upon evidence of his
transgression, Ploeck ventures more deeply into medical malfeasance.
Sardonically, the further Ploeck slides down the slippery slope of
malpractice, the more warmly he finds himself accepted into a health
care fraternity that previously viewed him askance.
Ronnie Scheib, Variety
fri
24 FEB
LOST IN OUR WORLD, FOUND IN ANOTHER
IN IRISH CINEMAS MARCH 9
CERT TBC
CERT TBC
disney.ie/johncarter
twitter.com/disneymoviesirl
disney.ie/johncarter
FRI 24 FEB
90
THE VANISHING OF PATÓ
(LA SCOMPARSA DI PATÓ)
Director: Rocco Mortelliti
Italy / 2010 / 98 min
Cast: Maurizio Casagrande, Nino Frassica, Neri Maroré,
Alessandra Mortelliti
fri 24 Feb / light house 2 / 6.10pm
spectrum
Rocco Mortelliti’s adaptation of Andrea Camilleri’s Sicily set novel starts
as a simple detective story, but becomes much more; with sharp social
commentary on Italy’s class system, political interference and the true
nature of power.
Inspector Ernesto Bellavia (Casagrande) has a mystery on his
hands. Local Banker Antonio Pato (Maroré) disappeared after his mock
hanging in the Good Friday production of The Passion. Not only is Pato
viewed as above reproach by the entire community, he is exceedingly
well connected, with those in high places decreeing that this is to be
solved instantly. At the same time, local Carabineer Marshal Giummàro
(Frassica) feels as though his toes are being stepped on by a Neapolitan
who doesn’t even understand the area. Add a religious serial killer, an
inconsolable wife and some unruly peasants and you begin to see the
intricate tapestry Mortelliti has woven.
The performances all are top drawer, with the growing respect
between Bellavia and Giummàro wonderfully played by both actors.
The Sicilian countryside is beautifully captured and there are more than
a few hilarious scene stealers. Combining elements of Italian farce,
detective story and buddy cop movie, The Vanishing of Pato is by turns
funny, touching, and joyously entertaining.
Rory Bonass, Jameson Dublin International Film
Director: Emile Dinneen
emile dinneen, nicky gogan and paul rowley
irish
jdiff shorts
fri 24 FEB
From documentaries to animation,
JDIFF presents another hand-picked
selection of the best new Irish shorts.
Rocco Mortelliti will attend the screening
Nightdancers
91
The award-winning Still Films, fresh from the successful Build Something
Modern (which screened at last year’s JDIFF), return with another unique
and striking look at cross-cultural ambitions, encompassing their now
hallmark visual and storytelling flair. Nightdancers, directed by IrishUgandan filmmaker Emile Dinneen, is a story about a group of African
b-boys taking a show based upon semi-mythological fire-breathing
human-flesh eaters to London’s biggest hip-hop dance theatre festival,
Breakin’ Convention, in May 2011. Dinneen charts Africa’s hottest new
dance talent (the Tabu-Flo dance crew) creating their show based on a
contemporary belief in Uganda in abasezzi or nightdancers. These are
humans who become zombies after dark and are said to strip themselves
naked and dance feverishly in the slums or at the edges of the villages, their
mouths filled with fire while they feast on the flesh of the recently buried
dead. As the breakdancers research the background story to their show,
they discover that nightdancers are not just myth; that in fact, these gravedigging cannibals actually exist and convene on certain days of the year to
dig up decomposing corpses from graveyards on the outskirts of the city.
As the stories get darker and they are introduced to a real nightdancer,
things start getting remarkably strange for the b-boy collective.
Directors: Various
CENTRE OF THE UNIVERSE
FRONTIERSMAN
Director: Brian Dunster
Director: Derek O’Connor
A young girl, Aisling, with special abilities,
applies for an extraordinary job but her
application arrives 20 years late. All grown
up, a mysterious stranger, sent by the
Centre of the Universe, must set her doubts
aside if she is to save space/time from
being devoured by an increasing threat.
Donegal: The Final Frontier…
An affectionate documentary portrait
of unique individuals, all sole traders
residing in the Wild North-West of Ireland.
SWITCH
RHINOS
Director: Thomas Hefferon
Director: Shimmy Marcus
Two years after a traumatic car accident
has left a young girl in a catatonic
vegetative state, the man who put her
there seeks out her mother to atone for his
crimes. However, he soon discovers that
righting his wrongs may take more than
he’s prepared to give.
Rhinos is the story of young couple
Ingrid and Thomas, thrown together by
circumstance, who despite a language
barrier, learn more about each other than
they thought possible over the course of a
few eventful hours.
RATS ISLAND
PAIRS AND SPARES
Director: Mike Hannon
Director: Philip Kelly
Eddie was unemployed and homeless when
he found refuge on a small island in a river
estuary. Rats Island is spare and measured.
It offers an observational account of how,
in the face of personal and economic
adversity, a father has made a home for
himself and his son. A late night bowler has his regular
game interrupted by the arrival of
a mystery girl.
FRI 24 FEB
92
Chicken with Plums
[POULET AUX PRUNES]
Directors: Marjane Satrapi, Vincent Parronnaud
2011 / France / Germany / Belgium / 93 minutes
Cast: Mathieu Amalric, Edouard Baer, Maria de Medeiros,
Isabella Rossellini, Chiara Mastroianni
TWILIGHT PORTRAIT
[PORTRET V SUMERKAKH]
Based on the graphic novel by Marjane Satrapi, Chicken with Plums
marks the second instalment of a trilogy that began with Persepolis.
Like that Academy Award®–nominated film, Chicken with Plums is
co-directed by Vincent Paronnaud and Satrapi herself, whose transition
from comics to movies is accompanied by a refreshing and imaginative
approach to storytelling.
The year is 1958, the city Tehran. Celebrated violinist Nasser Ali Khan
(Mathieu Amalric) has an unexpected encounter with a long-lost love.
He returns home, has an argument with his wife and, most troublingly,
discovers that his prized violin has been broken. He’s unable to replace
it, can’t conceive of life without music, and soon finds that he can’t
get out of bed, where he lies locked in dreams. His reveries quickly
assemble into a kind of thriller, riddled with flashbacks and flashforwards, that illuminates the source of his despair.
Paronnaud and Satrapi’s bold visual design and adventurous
structure are matched by the performances, not only from Amalric (star
of The Diving Bell and the Butterfly), but also from Isabella Rossellini,
Maria de Medeiros and Chiara Mastroianni.
There will be a second screening on Sunday 26 February
at 4.30pm in Cineworld 9.
Director: Baltasar Kormákur
2012 / US / 110 minutes
Cast: Mark Wahlberg, Kate Beckinsale, Ben Foster, Giovanni Ribisi,
Caleb Landry Jones, Diego Luna
Trishna
The multi-talented Mark Wahlberg leads an all-star cast in this devilishly
twisty tale, one of the best heist films in recent memory and surely one
of the films of the year.
Director Baltasar Kormákur (Jar City) sets up the triangle at the core
of the film: former freight ship worker Chris (Wahlberg), his wife Iris
(Kate Beckinsale) and his best friend Sebastian (Ben Foster), who used
to be involved with Iris.
In debt and on probation after serving time for smuggling, Chris
works hard to stay out of trouble, but when Iris’ screw-up of a younger
brother lands in trouble for a botched drug run for his ruthless boss
Briggs (Giovanni Ribisi), Chris is sucked back into the world he
hoped he’d left behind. Against his instincts, Chris decides to make a
contraband run to Panama; one last job which will both pay off Briggs
and set up Chris and his family once and for all.
Wahlberg is electrifying as the family man turned criminal
mastermind, backed by standout performances from Giovanni Ribisi
and Diego Luna. A tanker with no brakes is the only thing that’s out of
control in one of the smartest action films of the year.
Marina (Olga Dihovichnaya), a social worker who specialises in cases
of family abuse, is married to the ultra-conventional and caring Ilya
(Roman Merinov), while engaging in routine adultery with their friend
Valery (Sergei Golyudov). One night, she is picked up and raped by a
group of police, who seem to enjoy this as a fairly regular occurrence.
Intent on revenge, she tracks down the lead policeman Andrei (Sergei
Borisov) to his apartment, but instead begins an unexpected relationship
with him. But this controversial subject hides deeper realities. The
film is less a portrait of institutional corruption than a social and
psychological study of the new Russia, the haves and the have-nots,
those confined to an empty middle-class world, and an apparently
unreformable ‘underworld’ (the world of Marina’s clients), of which the
police themselves seem to be part. Beautifully paced and directed, the
performances by Dihovichnaya (who co-wrote the script) and Borisov
exhibit an unusual degree of identification and insight.
Peter Hames, BFI London Film Festival
Director: Michael Winterbottom
2011 / UK / 117 minutes
Cast: Freida Pinto, Riz Ahmed,
Roshan Seth
in association with
“a seductive, allegorical study of male-female
relationships” The Guardian ****
first look
first look
Director: Angelina Nikonova
Cast: Sergei Borisov, Olga Dihovichnaya, Sergei Golyudov
Winner, Golden Alexander for Best Film, Thessaloniki
international film festival
Winner, Crystal Arrow for Best Film, Les Arcs European Film
Festival
spectrum
spectrum
fri 24 feb / savoy / 7.30pm
FRI 24 FEB
Marjane Satrapi and stéphane roche will attend the screening
contraband
93
Freida Pinto first found fame in Slumdog Millionaire and quickly became
an auteur favourite. But no role has demanded more of her than Trishna.
Complex, spontaneous, pure-hearted and tragic, her character in
Michael Winterbottom’s new film is a signature Indian woman. She is
also Thomas Hardy’s Tess of the d’Urbervilles.
Setting Hardy’s novel against the backdrop of today’s India was a
masterstroke that allows Winterbottom to revitalize a groundbreaking
work of Victorian fiction. Trishna (Pinto) lives with her family in a village
in Rajasthan. As the eldest daughter, she works in a nearby resort to
help pay the bills. Jay (Riz Ahmed) is the wealthy son of a property
developer. When he takes up managing a resort at his father’s request,
he meets Trishna at a dance. Jay finds every opportunity to win
Trishna’s affection. But when the two move to Mumbai and become a
couple, Jay’s deep family bonds threaten the young lovers’ bliss.
Shot in the picturesque expanse of Jaipur and the modern bustle
of Mumbai, Trishna is a powerful look at the tension between ancient
privilege and modern equality, between the codes of urban and rural
life, and ultimately between men and women.
ALL IN GOOD TIME
95
FRI 24 FEB
Director: Nigel Cole
Cast: Amara Karan, Reece Ritchie, Meera Syal, Harish Patel
first look
“Me dad is watching Top Gear,” Atul tells his virgin bride. “That gives
us 45 minutes!” Romance, in All in Good Time, is alive and well and
living in Bolton, Lancashire, where young lovers Atul (Reece Ritchie)
and Vina (Amara Karan) are just embarking on their life together. A
dream honeymoon awaits them, but when the travel agent does a
runner with their cash, they’re forced to spend their wedding night, and
every other night, at Atul’s crowded family home, where their attempts
to consummate their marriage are thwarted by the interference of his
father, the boisterous and overbearing Eeshwar (Harish Patel).
Eeshwar doesn’t think much of his son and doesn’t try to hide it,
despite the mediation of his wise and long-suffering wife Lopa (Meera
Syal, in a stand-out performance), and as the young couple’s efforts to
kick start their married life become increasingly fraught, the tensions
between bride and groom, and between father and son, threaten to
spiral out of control.
Adapted from Ayub Khan-Din’s critically-acclaimed play Rafta Rafta,
and stylishly directed by Nigel Cole (Calendar Girls, Made in Dagenham),
All in Good Time is a sensitive and nuanced portrait of young love, and
of two generations struggling to understand each other.
HARD LABOUR
[TRABALHAR CANSA]
Director: Juliana Rojas, Marco Dutra
2011 / Brazil / 99 minutes
Cast: Helena Albergaria, Marat Descartes, Naloana Lima
“award-winning shorts helmers Juliana Rojas and Marco
Dutra know how to create atmosphere” Variety
“emotionally perceptive, refreshing in its lack of selfimportance” Screen International
IN CINEMAS JANUARY 20
discovery
12A
Helena (Helena Albergaria) is planning to open a small local grocery
shop, but her husband Otavio (Marat Descartes) has just lost his job
in insurance, and isn’t best pleased at the implications of his wife
becoming the family breadwinner. Helena hires Paula (Naloana Lima) a
nanny-cum-housekeeper for their daughter and two new assistants for
the shop, but nothing appears to be as straightforward as she’d hoped.
And then there’s the mysterious markings on the wall of the shop, the
sewage seeping through the floor, the strange noises that appear to
come from nowhere and the howling dog on the street outside that
further threaten the stability of their middle-class lives.
In their assured first feature, Juliana Rojas and Marco Dutra craft an
impeccably performed drama of the secrets that lie beneath the veneer
of bourgeois respectability. Juggling elements of horror with a sharp
eye for social observation, Hard Labour presents a blistering dissection
of the class structures of Brazilian society in a precarious economic
climate where past privileges offer no guarantee of future security.
Maria Delgado, BFI London International Film Festival
FRI 24 FEB
sat
25 FEB
96
season of discovery…
WIN a 15 day trip in India for 2
The joy of a film festival is finding something you didn’t expect; a film that delights,
intrigues and leaves you a different person…a lot like travel really.
To celebrate the start of the Jameson Dublin International Film Festival, Intrepid Travel is giving you and a friend the
chance to star in your own season of discovery.
Immerse your senses in the spice markets of Delhi, be inspired by the beauty of the Taj Mahal, shop for colourful
fabrics in Jaipur, search for the elusive Bengal tiger in Ranthambore National Park, explore the enchanting alleyways
of Bundi, discover the white marble palaces of Udaipur and follow in the footsteps of pilgrims and sadhus in spiritual
Pushkar on Intrepid’s 15-day Classic Rajasthan adventure.
For your chance to WIN enter online at
www.intrepidtravel.com/jdiff before 29 February 2012.
Intrepid Travel is a proud supporter of the Jameson
Dublin International Film Festival.
99
10th Anniversary
AnniversaryEdition
Edition
sat 25 FEB
the raid
first look
sat 25 Feb / savoy / 11am
Gareth Evans will attend the screening
Audiences will be scrambling to find enough compound adjectives
to describe Gareth Huw Evans’ hard-driving, butt-kicking, pulsepounding, bone-crunching, skull-smashing, blood-curdling martial
arts siege movie, The Raid. Welsh-born Evans turned heads
with his 2009 feature, Merantau. He teams again here with the
same breakout action star, Iko Uwais, marrying Western genre
conventions with the traditional Indonesian kickboxing discipline
of silat. Rookie cop Rama (Uwais) heads out with a SWAT team on
an ill-planned mission to bring down sadistic underworld kingpin
Tama (Ray Sahetapy), who rules over a seedy population of thugs,
criminals and junkies from his headquarters in a fortress-like
Director: Gareth Evans
2011 / Indonesia / 100 minutes
Cast: Iko Uwais, Doni Alamsyah, Ananda George
Jakarta tenement block. Most of the 20-member SWAT team are
pulped before they know what hits them, leaving only a handful
of men to weigh the choice of survival or the near-certain suicide
of proceeding to the 15th floor to get the man they came for.
Full of dynamic physical stunts and imaginative death blows, the
movie balances moments of intense quiet with fresh crescendos
of visceral violence. This kind of relentless noise and carnage can
be numbing in less skilled hands, but Evans, who also handled
the rapid-fire editing, brings elegance and imagination to the
outrageously charged action, as well as unflagging energy.
David Rooney, The Hollywood Reporter
sat 25 FEB
100
Baraka
Director: Ron Fricke
1992 / USA / 96min
Flanagan’s WakE
Director: Peter Bach
The world-renowned and shamanistic artist Barry Flanagan, Welsh-born
but an Irish citizen, was one of the world’s foremost figurative sculptors,
with his work exhibited in streetscapes such as Park Avenue in New
York, the Champs Elysées in Paris and O’Connell Street in Dublin. His
trademark hare sculptures marked him out as an innovator, as he
described himself as an ‘English-speaking itinerant European sculptor’.
In the moving and invigorating Flanagan’s Wake, the filmmaker Peter
Bach embarks on a personal journey making a vow to Flanagan – who
at the time was wrestling with motor neurone disease on the island of
Ibiza – that he will travel the world and bring back footage of strangers
by his public works and film the artist watching this as he wrestles with
his disease.
This journey of discovery across Europe and the United States is
a celebration and homage to Flanagan’s work as Bach captures the
artist’s responses to his travelogue, offering a unique and fresh look at
his work. Sadly, Flanagan died in 2009 before the film was completed
yet this remains a picaresque tribute to the work of a true individual.
Words can’t do justice to the visual masterpiece that is “Baraka,”
a smashingly edited, superbly scored, wild world tour that speaks
volumes about the planet without uttering a word.
Journeying through urban jungles and civilised savagery in 24
countries, director Ron Fricke offers us a “breath of life,” or baraka (an
ancient Middle Eastern Sufi word that translates as a blessing or as the
breath/essence of life).
Real-life snippets filmed in far-flung places (like Tanzania, Kuwait,
Iran and Nepal) are seamlessly interwoven, from intriguing “monkey
chant” ceremonies in Bali to confining “sleep capsules” in Tokyo.
Most are images you have never seen before. The images stun the
viewer with the planet’s vast diversity. A time-lapse subway sequence
is an ideal example of the filmmakers’ imaginative manipulation, as is a
camera that occasionally lingers on curious or hard-boiled faces.
Fricke (a cinematographer on Godfrey Reggio’s incredible
Koyaanisqatsi)’s lightning fast editing also slips in tough images, such
as fluffy baby chicks in a poultry factory, without moralizing.
Without a conventional narrative but with stunning images that speak
for themselves, Baraka is an educational trip.
Suzan Ayscough, Variety
Director: Michael Powell, Emeric Pressburger
1943 / UK / 163 minutes
Cast: Roger Livesey, Deborah Kerr, Anton Walbrook
irish
out of the past
sat 25 FEB
20TH ANNIVERSARY RELEASE
THE LIFE AND DEATH
OF COLONEL BLIMP
101
BREATHING (ATMEN)
Director: Karl Marcovics
2011 / Austria / 90 minutes
Cast: Thomas Schubert, Georg Friedrich, Karin Lischka
The directorial debut of Austrian actor Karl Markovics, Breathing is an
assured, intelligent work that has deservedly picked up a number of
prizes in Europe since it premiered at Cannes. It concerns Roman, an
institutionalised young offender in Vienna, serving time for a violent
crime with a surly, uncommunicative attitude, blankly accepting of the
solitary conditions. Parole is a prospect, though, without any family
or connections, Roman doesn’t appear to be a prime candidate for
reintegration into the community. Given the option of a work-release
programme, he takes up a job in a mortuary, shifting dead bodies. The
work is physically and emotionally draining, and his co-workers are
unfriendly, though he finds reason to be there when he comes across a
body bag holding a woman who shares his surname. It occurs to Roman
that this may be the mother who gave him up for adoption, and he
begins to explore his past.
The restrained observational direction and the emotional intensity of
the performances, particularly non-actor Thomas Schubert in the lead
role, are the marks of a notable film with integrity and weight.
“Maybe the most wonderfully British movie ever made”
Time Out New York ****
The ravishingly restored full-length version of The Life and Death of
Colonel Blimp captures the epic sweep of Britain from the Blitz to the Boer
War, as Powell and Pressburger’s intricate flashback structure looks back
wistfully upon the nation’s fading glory and its seemingly old-fashioned
virtues of honour, chivalry, and romantic idealism. The film’s exquisitely
subtle Technicolor palette has been rendered with the same delicate care
as the celebrated 2009 restoration of The Red Shoes.
This version deepens Roger Livesey’s career-defining portrayal of
World War II Home Front Commander Clive Wynne-Candy, an incorrigibly
likable, poignant, yet ultimately ambivalent homage to cartoonist David
Low’s beloved caricature of reactionary bluster. It amplifies Candy’s
rivalry-turned-lifelong friendship with a Prussian lieutenant of the old
guard (played by a gallant Anton Walbrook) – for which an outraged
Winston Churchill tried to have the film banned – and the elusive loves
of his life (all played with radiant intelligence by a young Deborah Kerr).
MoMA
Michael Hayden, BFI London Film Festival
discovery
out of the past
“In the history of British Cinema there is nothing to touch it”
Time Out London
sat 25 FEB
102
IFA & jdiff collaboration
GALLIVANT
Director: Andrew Kötting
1996 / UK / 100 minutes
IFA & jdiff collaboration
THIS OUR STILL LIFE
Mark Cousins, Edinburgh Film Festival Programme, 1996
Director: Marc Evans
2010 / UK / 107 minutes
Cast: Minnie Driver, Aneurin Barnard, Danielle Branch,
Robert Pugh, Haydn Gwynne
real to reel
Andrew Kötting’s feature debut, Gallivant, combines the theme of family
adventure and the sea into perhaps the most inspiring film of the year.
The story is simple. Kötting, his grandmother and his daughter Eden set
out together to travel their way round the coastline of mainland Britain,
starting and finishing on the south coast.
Eden has learning difficulties and speaks in sign language, so
some of the film is subtitled. Granny gets sore feet. Together they have
adventures, meet lots of characters, explore fishing villages and get to
know each other. Much of the dialogue floats about this epic imagery of
the sea and sky, bringing a majesty and a poetry to both.
It is difficult to describe the quiet humanism of this film. It’s about
good times, low key times. It’s as if the grand racing imagery is yelling
how wonderful it is to be alive, while the travellers are quietly living
away. Gallivant is an epic, a road movie, a family poem about where the
land meets the ocean.
out of the past
Director: Andrew Kötting
Andrew KÖtting will take part in a Q&A after the screening
INTRODUCED BY ANDREW KÖTTING
sat 25 FEB
sat 25 Feb / ifi / 4pm
sat 25 Feb / ifi / 2pm
HUNKY DORY
103
SLEEPING SICKNESS
[SCHLAFKRANKHEIT]
The experimental British filmmaker Andrew Kötting is an artist constantly
finding new ways to expand his canvas, whether that’s via the more
traditional feature, multimedia projects involving films, performances,
books and exhibitions, or cruising up a canal with Iain Sinclair. This Our
Still Life is a nod to Kötting’s first feature, Gallivant (also shown here,
see p. 102), in that it’s a documentary (of sorts – don’t expect story,
voiceover and talking heads) and is fascinated by place and family.
Since 1989, Kötting, his wife Leila and daughter Eden, whose sight and
communication are restricted by Joubert Syndrome, have spent part of
their lives in Louyre, their remote home in the Pyrenees.
This Our Still Life is Kötting’s attempt to make sense of their life and
the footage he has shot in this bolthole on various cameras and formats
over the years. The film moves through the four seasons, but mostly it’s
a flickering and wilful impression of family life, characterised by found
footage edited together with Kötting’s archive, indistinct voices, stark
captions and a moody score by Scanner. There’s a sadness running
through the film’s reflection on time passing but there’s also joy at
familial love and, above all, the bond between a father and daughter.
Dave Calhoun, Time Out London
Director: Ulrich Köhler
2011 / Germany / France / Netherlands / 91 minutes
Cast: Pierre Bokma, Jean-Christophe Folly, Jenny Schily,
Hippolyte Girardot
Michael Hayden, BFI London Film Festival
Winner, Silver Bear, Berlin Film Festival
“We all get sick here, at times,” says Ebbo Velten in Sleeping Sickness,
and it certainly seems that way with him. Velten is a charismatic German
doctor who has spent years fighting the titular disease in Cameroon
but now, with the epidemic finally under control, he finds himself torn
between staying on and returning to his wife and daughter in Germany.
The opening scenes show Velten in all his complexity: irascible and
arrogant but also passionate and principled, but by the time Alex Nzila –
a young French doctor sent by the WHO to report on the programme –
arrives, something has got under his skin. Turning up at Velten’s remote
rural hospital, Nzila finds more than a touch of Kurtz about the doctor, and
he becomes increasingly troubled by Velten’s strange behaviour.
From the opening scene at a border checkpoint to the climactic
night hunt, writer-director Ulrich Köhler explores every kind of postcolonial malaise in a film rife with simmering tension and creeping
unease. Pierre Bokma is outstanding as the ambiguous Velten, while
Jean-Christophe Folly (seen in Claire Denis’s 35 Shots of Rum) is utterly
convincing as the callow doctor lost in Velten’s jungle.
german
first look
It’s the start of the sweltering summer of 1976, and the end of term
is approaching at a secondary school in Swansea. Idealistic drama
teacher Vivienne (Minnie Driver) is holding rehearsals for an ambitious
musical production, a take on The Tempest that incorporates the
contemporary songs of her pupils’ pop heroes, a version of the play that
‘both Shakespeare and David Bowie could be proud of’. She faces an
uphill battle. Her cynical colleagues aren’t shy about voicing philistine
opinions on the project, there are concerns from parents, and the
kids are distracted by the business of being teenagers; arguing with
adults, playing in bands, cooling off at the lido, worrying about their
post-school futures and falling in and out of love. Vivienne ploughs on
doggedly, inspired by the kids’ talent and the deeply-held belief that
music and the arts matter.
Marc Evans’ latest feature is a sweet and sincere paean to the
1970s, an invigorating blend of genres, neither a traditional social
realist film nor a straight musical. With a refreshing lack of cynicism,
its soundtrack celebrates pre-punk pop, and features stirring versions
of songs made famous by Bowie, Nick Drake, ELO and The Beach Boys,
among others.
105
El Gusto
sat 25 FEB
Director: Safinez Bousbia
2011 / Ireland / United Arab Emirates / Algeria / 88 minutes
irish
Safinez Bousbia will attend the screening
NUALA:
A life and death
Ticketing in your hands
Director: Patrick Farrelly, Kate O’Callaghan
Whenever your event takes place, Ticketsolve provides the best
value and most complete ticketing solution in the market by
giving you the tools to get closer to your audience.
Marian Finucane will attend the screening
BEST
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Tel. 01 410 0647
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irish
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Film Festival
Memory and music intermingle in El Gusto, the charming and revealing
tale of Chaâbi, a revered form of Algerian popular music which
flourished in the mid-20th century only to enigmatically vanish as the
decades wore on.
Algerian-Irish documentary maker Safinez Bousbia crafts a heartwarming and emotional tribute to her native Algerian musical traditions
as she tells this wonderful story about the re-weaving of history and
the re-emergence of a lost musical craft. It was in 2003 that Bousbia
encountered an 83-year-old man who related to her his own remarkable
tale as a Chaâbi musician, opening up a world where this was not merely
another genre but an invite to an atmosphere where Arabs and Jews
met as one, trading stories and songs, living and playing together in
pitch-perfect harmony. Upon hearing the story, Bousbia tracked down
similar original Chaâbi players, scattered throughout France and Algeria,
eventually assembling a 42-piece band called ‘El Gusto’ (Spanish for ‘the
thrill’). This band soon became an international phenomenon, playing
Marseille, Paris and the London Barbican, breathing new air, new life
and new hope into both the music and the lives of the musicians. A truly
wondrous tale and a must-see for music buffs.
Nuala O’Faoláin came of age when Ireland was an insular, churchdominated society where women’s views and concerns mattered hardly
at all. Despite that she lived a rich, intellectual life, working variously
as a documentary film-maker, literature professor, novelist, columnist
and memoirist. In Nuala O’Faoláin – A Life and Death her story is told by her friend
Marian Finucane, the RTÉ radio presenter to whom Nuala turned when
she was dying of cancer. That interview transfixed the Irish public with
its frank and unorthodox approach to facing death. In this feature documentary Finucane goes behind the dramatic
episodes of O’Faoláin’s life to paint a personal picture of a woman
struggling without a roadmap and with only her own fierce intelligence
to guide her. She was a woman of many contradictions: the enthusiastic
heterosexual whose most lasting relationship was with another woman;
the feminist who adored a father who abandoned his family and publicly
betrayed his wife. This raw and honest film is a return to Finucane’s documentary
roots – she won the prestigious Prix Italia for documentary in the late
70s. This is a story that she is uniquely equipped to tell and one that
illustrates the enduring power of friendship.
Patrick Farrelly, Director
sat 25 FEB
106
KAWASAKI’S ROSE
[KAWASKIHO RUZE]
Director: Jan Hrebejk
2009 / Czech Republic / 100 minutes
Cast: Lenka Vlasáková, Milan Mikulcík, Martin Huba
107
Blackthorn
sat 25 FEB
Director: Mateo Gil
2011 / France / Spain / US / 98 minutes
Cast: Sam Shepard, Eduardo Noriega, Magaly Solier,
Stephen Rea, Dominique McElligott
Prolific Czech helmer Jan Hrebejk (Divided We Fall) reunites with
regular scripter Petr Jarchovský for one of the duo’s most resonant
and serious undertakings in Kawasaki’s Rose. Tackling the weighty
subject of Czechs coming to terms with their collaborationist past under
communism, Hrebejk and Jarchovský never let politics take precedence
over characterization, producing an emotionally meaty family drama.
Pavel Josek (Martin Huba), a respected university prof famous
for standing up to the communist regime, is the subject of a TV
docu, though he quietly insists that he doesn’t want to be put on a
pedestal. He has a loving, supportive wife, Jana (Daniela Kolárová),
and a grown daughter, Lucie (Lenka Vlasáková). But when the TV crew
comes across an undoctored file on Pavel’s past, Pavel’s reputation
threatens to unravel.
Performances are top notch, from Huba and Kolárová as the husband
and wife who retain their dignity even as their past becomes media
property, to Anna Simonová as Bara, Lucie’s restless daughter.
spectrum
first look
Derek Elley, Variety
A ROYAL AFFAIR
[EN KONGELIG AFFÆRE]
Director: Nikolaj Arcel
2011 / Denmark / 128 minutes
Cast: Mads Mikkelsen, Alicia Vikander, Mikkel Boe Følsgaard
Beauty
[SKOONHEID]
Director: Oliver Hermanus
2011 / South Africa / 98 minutes
Cast: Roeline Daneel, Sue Diepeveen, Charlie Keegan
Beauty opens with a tracking shot through a wedding reception until the
camera eventually stops to linger on a good-looking young man. The
point of view is that of the father of the bride, François (Deon Lotz). The
young man is Christian, the son of François’ oldest friend.
Typical of a sub-section of men who came of age during Apartheid,
François is internally angry and overtly racist and homophobic, holding
on to his power as a white South African male through the success of
his business. But he has a secret. He regularly attends orgies with a
group of similarly closeted middle-aged guys.
The voyeurism of the opening scene evolves as François begins
to stalk Christian, gazing in on his relatively carefree life, unshackled
by South Africa’s past. With a minimal script and long shots, director
Hermanus enters François’ quiet desperation as it slowly turns to
frustration, finally unshackling the rage at the heart of his alienation.
Much of the film focuses on François’ unchanging expression,
which doesn’t give Lotz a lot to play with as an actor. Still he turns in a
powerhouse performance, at once tense, heart-rending and repulsive in
a devastating film that uses sexuality as a metaphor for South Africa’s
fractured dysfunction.
Alicia Vikander also features in Jo Nesbø’s Headhunters (p. 113)
Rory Bonass, Jameson Dublin International Film Festival
first look
Centred on the love triangle that developed between the increasingly
unbalanced King Kristián VII of Denmark (Følsgaard), his doctor
Johann Struensee (Mikkelsen) and the young Queen Karolina Matylda
(Vikander), Bafta nominated writer-director Nikolaj Arcel’s new film is a
sweeping historical epic about love, loyalty and revolution.
Johann Struensee was a German-born physician who insinuated
himself into Christian VII’s good graces, becoming his favourite and
earning his trust, eventually becoming his private physician and a state
counsellor. From this position of power, and against the backdrop of
the King’s increased suffering from schizophrenia he began an affair
with the young but strong queen, fathering her child and eventually
becoming the de facto ruler of the kingdom.
The drama is the gripping tale of a brave idealist who believed in a free
press and education for all who risks everything in pursuit of freedom
for the people. Above all it is the story of a passionate and forbidden
romance that changed an entire nation.
first look
That classic freeze-frame at the end of Butch Cassidy and the Sundance
Kid notwithstanding, the famous outlaw apparently did not die in a
shootout with the Bolivian army in 1908. That, at least, is the conceit
of Blackthorn, which imagines Butch quietly living as a rancher twenty
years later. Sam Shepard stars as the iconic character in this elegiac
western that is less a sequel to George Roy Hill’s film than a meditation
on age and a lost way of life. The film, directed by Spanish screenwriter/director Mateo Gil (Open
Your Eyes), presents Butch living under the assumed name of James
Blackthorn and enjoying the occasional dalliance with a local woman
(Magaly Solier). But the peacefulness of his twilight years is marred by
a desire to return to the US and be reunited with his son. He winds up
pairing off with a Spanish thief, Eduardo (Eduardo Noriega), in a scheme
to rob the local mine. But things don’t turn out quite as planned. A lawman
(wonderfully played by Stephen Rea) has been pursuing him for decades.
Blackthorn is less interested in narrative than in displaying gorgeous vistas
of the vast Bolivian countryside and showcasing Shepard’s grizzled, laconic
presence. The actor delivers a beautifully understated, world-weary turn. Frank Scheck, The Hollywood Reporter
Brian Finnegan, Editor of GCN
sat 25 FEB
108
IF NOT US, WHO?
[WeR WENN NICHT WIR?]
Director: Andreas Veiel
Cast: August Diehl, Lena Lauzemis, Alexander Fehling
109
sat 25 FEB
sat 25 Feb / light house 2 / 8.30pm
Andres Veiel’s historical drama If Not Us, Who? charts the explosive
love-hate relationship between left-wing German intellectuals Bernward
Vesper and Gudrun Ensslin. Vesper, the son of a writer celebrated by
the Nazis and the provocative Ensslin become part of the revolutionary
movement that in the late 1960s brought their parents’ generation to
task for Nazi war crimes and the Holocaust. Whereas Vesper confines
himself to changing the outside world from within his small publishing
house, Ensslin grows convinced that radical action is the only answer.
The central drama of the film is her journey from intellectual activist
(and mother) to terrorist member of Andreas Baader’s gang.
If Not Us, Who? is replete with explosive themes, characters and
situations and serves as a deeply psychological account of the political
and moral dilemmas surrounding the transition from youthful politicism
to outright terrorism. Director Veiel’s debut offering is a heady mix of
historical accounts and incendiary drama, particularly bringing to light
the electric on-screen chemistry of starring couple August Diehl and
Lena Lauzemis.
german
Elena
Director: Andrei Zvyagintsev
2010/ Russia/ 109 minutes
Cast: Yelena Lyadova, Nadezhda Markina, Aleksey Rozin
winner, Special Jury Prize, Cannes film festival
spectrum
“a tight domestic drama that grips at every step” Variety
Sixtyish, uneducated Elena (Nadezhda Markina, who resembles an older,
doughier Frances McDormand) shares a luxurious city-centre apartment – but
not a bed – with her older husband, Vladmir (Andrei Smirnov). The pair met a
decade before when Elena was a nurse and wealthy Vladimir her patient. Now
she’s as much caretaker as spouse, the daily grind visible on her wrinkled
face and shoulder-slumped frame.
Elena only comes alive when she treks cross-city to visit her son
Sergei (Alexsey Rozin) and his family in their cramped, crumbling quarters.
Unemployed, slobbish Sergei relies on Elena for cash handouts, which
Vladimir grudgingly tolerates. But when extra money is needed to ensure
Sergei’s son Sasha (Igor Ogurtsov) dodges the army draft, Vladimir refuses,
compelling Elena towards drastic action.
Andrey Dergachev’s sound-design is one of numerous superb behindthe-camera aspects here, along with Mikhail Krichman’s precise widescreen
cinematography and Philip Glass’s score. These stylish touches are firmly
at the service of a story which reminds us that blood is usually thicker than
water and that (Russian) crime doesn’t always lead to punishment.
Neil Young, The Hollywood Reporter
SAT 25 feb / national concert hall / 8pm
RTÉ Concert Orchestra
new dublin voices
David Brophy, conductor
Danny Elfman is well known throughout the world for his awardwinning scores for Batman, Spider-Man, The Nightmare Before
Christmas, Mission Impossible, and the theme for The Simpsons,
among many other memorable scores. Don’t miss this rare opportunity
to hear the prolific composer’s works performed live!
The RTÉ Concert Orchestra presents a selection of Elfman’s scores
including Tim Burton’s Batman, Sleepy Hollow, Spider-Man, Beetlejuice
and many more. The concert will also feature music by composers
who influenced Elfman, first and foremost Bernard Herrmann, as well
as Philip Glass and Erich Wolfgang Korngold.
Born in LA in 1953, Danny Elfman spent much of his youth in
his local movie theatre adoring the music of such great film music
composers as Bernard Herrmann and Franz Waxman. Starting out
as an actor, he went on to become lead singer and songwriter with
American new wave band Oingo Boingo until 1995. He turned his
hand to film scoring in 1985 when Tim Burton and Paul Reubens
invited Elfman to write the score for their first feature film, Peewee’s Big Adventure.
Elfman has written some of the most instantly recognisable film
music of our time. He has won four Academy Awards® and a Grammy
Award for Tim Burton’s Batman as well as being honoured with the
prestigious Richard Kirk Award at the 2002 BMI Film and TV Awards,
an award given annually to a composer who has made significant
contributions to film and television music.
Presented by the National Concert Hall and the RTÉ Concert Orchestra
in association with Jameson Dublin International Film Festival.
XXX 25
sat
XX FEB
FEB
110
Curling king
[KONG CURLING]
Director: Ole Endresen
Cast: Atle Antonsen, Linn Skåber, Ane Dahl Torp
111
Dollhouse
sat 25 Feb / the factory / 12am (midnight)
XXX
sat XX
25 FEB
Director: Kirsten Sheridan
Cast: Seana Kerslake, Jonny Ward, Ciaran McCabe,
Kate Brennan, Shane Curry, Jack Reynor
“a hilarious take on the mock-heroic sporting-underdog
genre…The ensemble is uniformly excellent” Variety
Truls Paulsen was a fanatical middle-aged curling champion but he’s
been diagnosed with Obsessive-Compulsive Disorder and banned from
the sport. When he learns that his old friend and coach Gordon is on
his deathbed and in vital need of an expensive operation, the once
razor-sharp but now heavily-medicated Truls decides to reform his
curling team and compete again, in the hope of winning the national
championship prize-money for Gordon. Director Ole Endresen puts
a bizarre spin on a classic comic premise to produce a pastel-bright
comedy that delivers laughs in spades. Truls and his friends are
unashamedly uncool, far from beautiful and afford plenty of visual gags,
including a hilarious dance-off to MC Hammer’s ‘U Can’t Touch This’.
With nods to the deadpan humour and absurdity of Bent Hamer and Roy
Andersson’s comedies, Endresen creates a unique knockabout story
with a host of amusing observations on middle age, sports obsessives
and growing old disgracefully.
Kirsten Sheridan’s third feature film is her finest to date, taking the
viewer on a wild ride as a quartet of teenage miscreants break into a
palatial Dublin chateau (the picture was lensed in Dalkey) and proceed
to gleefully trash the gaff in a wanton orgy of childish abandon and
hedonistic excess. Safe to say, all is most certainly not as it seems, and
matters take a turn for the curiouser as playtime is disturbed by the
arrival of the mysterious boy next door.
From the outset, this fractured fairytale remains both indefinable
and audaciously unpredictable, given a kinetic, improvisational energy
by its young cast (take note of future star Kate Brennan, for starters),
and an eclectic, immersive soundscape that perfectly underscores its
twists and turns. In the wake of her underappreciated Hollywood debut
August Rush, this whip-smart chamber piece marks a vivid back-tobasics exercise of sorts for Sheridan. Dollhouse was produced under
the auspices of The Factory, a new filmmaking collective driven by
some of the most exciting filmmaking talent working in Ireland today. As
statements of intent go, it’s a pretty formidable one.
spectrum
Kirsten Sheridan will attend the screening
Sarah Lutton, BFI London Film Festival
Derek O’Connor, Writer and filmmaker
Up There
Director: Zam Salim
Cast: Burn Gorman, Jo Hartley, Warren Brown
irish
Derek O’Connor’s short film ‘Frontiersman’ is one of this year’s JDIFF
shorts (see p. 91)
Performance
Zam Salim will attend the screening
Arthur Cox is one of Ireland’s
largest law firms, with a leading
media and entertainment practice.
The firm’s media & entertainment team
advises on all areas of film and television
finance and production and, in particular:
tax based and other incentives;
production finance; international and
local distribution; licensing and talent.
Part traditional mismatched buddy movie, part Charlie Kaufman-esque
comic fable, Zam Salim’s Up There is possessed of a wit that is as
dry as last year’s firewood. A bravura opening reel sets up a richly
imagined afterlife – more spirit sapping purgatory than paradise – into
which our protagonist Martin (Burn Gorman – possessor of one of the
world’s great upside-down smiles) has just been cast. Tasked with
helping other recently deceased adjust to life after death in hopes
of graduating ‘Up There’, he is bewildered to be teamed with Rash
(Aymen Hamdouchi), who proves as chipper as he is deadpan. When
they lose a new arrival the film becomes a kind of slow motion road
movie as the pair end up in the gloomiest seaside resort in Scotland.
Cut from the same cloth as Nick Whitfield’s similarly inventive
Skeletons, Up There mines a strain of peculiarly British whimsy in the
face of some awful truths about existence and finds a sort of sweet
solace in the most unexpected places.
For further information please contact:
Colin Kavanagh, Partner
+353 (0)1 618 0548
[email protected]
discovery
Tom Hall, Filmmaker and screenwriter
www.arthurcox.com
IFTA Programme, 2011 - advert.indd 1
20/01/2011 12:11:51
113
sun 26 FEB
sun
xxx
xx FEB
26
Jo Nesbø’s HEADHUNTERS
[HODEJEGERNE]
first look
sun 26 feb / savoy / 11am
Director: Morten Tyldum
Cast: Aksel Hennie, Synnøve Macody Lund, Nicolaj Coster-Waldau
“Pure joy”
Time Out London ****
scams on the side to keep himself solvent. When his wife introduces
him to the handsome and urbane Clas Greve, this seems fortuitous
indeed, for Greve is not only the perfect candidate for a job Roger is
recruiting for, he also owns a very valuable painting. Roger sees a
once-in-a-lifetime opportunity, but needless to say, things don’t go
quite according to plan...
Director Morten Tyldum contrasts a cool aesthetic with pacy plot
twists, bursts of stomach-churning viscerality and the odd dash
of mordant humour, making for an irresistible combination, and an
assured and intelligent rollercoaster of a movie.
Award-winning Scandinavian thriller writer Jo Nesbø has resisted
film adaptations of his work until now, but this satisfyingly
suspenseful and handsome film version of his best-selling
Headhunters should do much to allay any nervousness he might
have felt.
A glossy but gritty and very modern story, it centres on Roger,
Norway’s most successful headhunter. Married to a beautiful and
stylish wife and the owner of a stunning home, he seems to have it
all. But Roger is anxiously living beyond his means, and running art
Sandra Hebron, BFI London Film Festival
sun 26 FEB
114
Dreileben
sun 26 Feb / light house 1 / 1pm – 6.30PM
The Goethe-Institut is delighted that all three films will
be screened at this year’s JDIFF on one afternoon. Light
refreshments will be provided for the audience during the
intervals, which will give the opportunity to discuss this film
experiment and exchange ideas about it.
Leading German film directors Christian Petzold, Dominik Graf and
Christoph Hochhäusler have each made a feature-length film on
an identical core story – the escape of a convicted murderer in a
small German town, Dreileben – but told from completely different
perspectives and in radically contrasting filmmaking styles: one is
an offbeat youth romance, one is a relationship drama, and one is
a suspenseful police investigation. Taken together, these films are
a fascinating exercise in the possibilities of storytelling.
115
Dreileben: Don’t
Follow Me Around
sun 26 FEB
Director: Dominik Graf
Cast: Jeanette Hain, Susanne Wolff, Misel Maticevic
“Unexpected connections between strangers and friends,
and the past and present, are the motor of Dreileben: Don’t
Follow Me Around.”
Variety
Police psychologist Jo is brought to the town of Dreileben to help hunt
down a dangerous sex offender hiding in a nearby forest, but when she
unexpectedly finds herself staying with a friend from her university days
old secrets and new perspectives on the past come to light.
The second stand-alone feature in the Dreileben series, Don’t Follow
Me Around is Dominik Graf’s (A Map of the Heart, The Red Cockatoo)
probing look at how closely our personal histories can intertwine with
each other without our knowledge.
Rolf Stehle, Director, Goethe-Institut Irland
german
Melbourne International Film Festival
Dreileben: Beats
Being Dead
Director: Christian Petzold
Cast: Jacob Matschenz, Vijessna Ferkic, Rainer Bock,
Stefan Kurt, Luna Mijovic
Dreileben: One
Minute of Darkness
Director: Christoph Hochhäusler
Cast: Stefan Kurt, Eberhard Kirchberg, Imogen Kogge
Lackadaisical twenty-something Johannes (Jacob Matschenz) is doing
an internship at Dreileben’s country hospital (where he is vaguely
preoccupied with the head physician’s daughter) when he meets Ana
(Luna Zimic Mijovic), a hotel maid with a violent biker boyfriend. While
their relationship haltingly develops, a deranged sex offender and
murderer named Frank Molesch (Stefan Kurt plays the series’ single
constant character), escapes during a police-controlled visit to the
hospital to bid farewell his just-deceased mother. Christian Petzold
(Yella, Jerichow) immediately establishes his signature menacing
tone, utilising framing and measured pacing to create a sense of
voyeuristic unease. “Hochhäusler has quickly emerged as one of his nation’s
most promising younger directors. One Minute of Darkness
amply confirms and consolidates that reputation, wrapping up
Dreileben on a triumphant and haunting note. Indeed, the closing
seconds are perhaps the finest in the whole project – beautiful,
chilling and tragically ironic.” Neil Young, The Hollywood Reporter
Frank Molesch, the sex offender and murderer who has been hiding
out in the forest surrounding Dreileben (and voyeuristically lingering
outside the frame) in the previous two installments, becomes central in
this final episode. Middle-aged police inspector Marcus Kreil (Eberhard
Kirchberg) may be losing his health, but his sense of ethics is firmly
intact and his investigation simultaneously closes in on Molesch
and leads him to a new discovery. Christoph Hochhäusler’s (The City
Below, I Am Guilty) series contribution reveals the rot at the core of this
sleepy town and, by extension, the Heimat films (1940s-1970s) whose
sentimental, pastoral aesthetics provide its visual reference points.
Sydney Film Festival
german
german
Sydney Film Festival
117
french films
at jdiff 2012
Aurora
Director: Cristi Puiu
2010 / Romania / France / Switzerland / Germany / 181 minutes
Cast: Cristi Puiu, Clara Voda, Catrinel Dumitrescu
Viorel negotiates daily life in bleak wintertime Bucharest with dispassion
and an obscure anger. But when it becomes apparent he is planning
a shooting, his stale and predictable world gets recast in a new and
mysterious light.
Romanian filmmaker Cristi Puiu destroys all notions of crime as
entertainment in this painstakingly realistic anatomy of a murder,
delivering a chilling character study of an ordinary person driven to
kill. At the heart of Viorel’s discontent lie a failed marriage and his
increasingly distant relationship with his two daughters. Playing Viorel
himself, Puiu presents an intelligent, literate and penetrating reinvention
of the traditional murder drama. Meanwhile, as in his acclaimed The
Death of Mr. Lazarescu (2005), black comedy creeps into unlikely
places: Intending to clean and test his gun, Viorel instead weathers
a crew of redecorators, a neighbouring dysfunctional family and the
unannounced intrusion of his own mother and her new partner, a man
Viorel despises. A onetime student of classic film noir, Puiu’s realist noir
subtracts the romance and keeps the doom. The result is an unflinching
and haunting investigation of what compels a person to commit the
ultimate act.
first look
with the support of the French Embassy in Ireland
Courage [WYMYK]
Gustavus Kundahl, San Francisco International Film Festival
Director: Greg Zglinski
2011 / Poland / 85 minutes
Cast: Robert Wieckiewicz, Lukasz Simlat, Gabriela Muskala
special jury prize and best actor award,
Warsaw Film Festival
A sibling rivalry and a random act of savagery provide the backdrop for
Polish director Greg Zglinski to explore primal themes of cowardice, guilt
and redemption in Courage, a modern-day take on the story of Cain and
Abel employing two of Polish cinema’s hardest-working male stars.
Robert Wieckiewicz is Fred, a rough, unschooled sort who manages his
ailing father’s internet empire in a quiet suburb of Lodz and resents his
college-educated younger brother, Jurek (Lukasz Simlat). Feeling that he
has pulled more than his fair share of parental-care duty, Fred also feels
bitter about Jurek’s two hyperactive kids, since he hasn’t been able to
have a child with his hairdresser wife, Viola (Gabriela Muskala).
As the antagonistic siblings take the train to town, a gang of hooligans
boards and harasses a young woman (Karolina Kominek). Although Fred
tells Jurek not to get involved, the younger man tries to intervene and
is beaten for his troubles. Slow to react and hesitant in the face of the
youths’ violence, Fred fails to save his brother from an even worse fate.
spectrum
Elles
Le Havre
Café de Flore
OrphÉe
My Little Princess
Sleepless Night
Chicken with Plums
Goodbye First Love
sun 26 FEB
Alissa Simon, Variety
sun 26 FEB
118
Sing Your Song
CAFÉ DE FLORE
Director: Susanne Rostock
Wonderfully archived, and told with a remarkable sense of intimacy,
visual style, and musical panache, Susanne Rostock’s inspiring
biographical documentary, Sing Your Song, surveys the life and times of
singer/actor/activist Harry Belafonte. From his rise to fame as a singer,
inspired by Paul Robeson, and his experiences touring a segregated
country, to his provocative crossover into Hollywood, Belafonte’s
groundbreaking career personifies the American civil rights movement
and impacted many other social-justice movements. Rostock reveals
Belafonte as a tenacious hands-on activist, who worked intimately
with Dr. Martin Luther King Jr., mobilized celebrities for social justice,
participated in the struggle against apartheid in South Africa, and took
action to counter gang violence, prisons, and the incarceration of youth.
Because of his beliefs, Belafonte drew unwarranted invasions by the
FBI into both his personal life and career, which led to years of struggle.
But an indomitable sense of optimism motivates his path even today as
he continues to ask, at 82, “What do we do now?”
TERENCE McDONALD
sun 26 Feb / ifi / 2pm
spectrum
real to reel
Sundance Film Festival
The IFI Irish Film Archive in collaboration with
JDIFF presents a programme of films made
by pioneering film-maker Terence McDonald
out of the past
Terence McDonald (1926–2001) was a teacher, film historian, film
collector and a most accomplished and prolific amateur film-maker.
He made some 35 films over four decades, covering a wide range of
themes such as mental health, travelling theatre, and portraits of his
home town, Derry. His playful fiction films often pay homage to classic
cinema moments from Peyton Place to Potemkin, from Chaplin to
Jacques Tati. A true innovator, he undertook all aspects of production –
filming, sound recording and editing – to produce a body of remarkably
sophisticated work. His films received widespread recognition and won
many awards.
A City Solitary 1963 (30 mins) – John Hume’s
reflection on Derry
The Fugitive 1966 (5 mins) – a runaway pram
on the hills of Derry
The Man From Aunt
1965 (5 mins) – a slapstick
homage to early screen
comedians.
The Portable Theatre 1968 (25 mins) – the last fit-up
travelling show in Ulster
Nebelung
1978 (11 mins) –
an “experimental” film
WWW.
JDIFF.
COM
119
sun 26 FEB
Director: Jean-Marc Vallée
2011 / Canada / 120 minutes
Cast: Vanessa Paradis, Kevin Parent, Hélène Florent,
Evelyne Brochu
Following his British period drama The Young Victoria, Jean-Marc Vallée
returns to French-language filmmaking with this unconventional love
story in which two narratives are rhythmically woven together to create
a tale of emotion and destiny.
Set in present-day Montreal, the first story centres on Antoine (Kevin
Parent), a successful DJ and divorced father of two girls who is wildly
infatuated with his girlfriend Rose (Evelyne Brochu). However, he still
has strong ties to his ex, Carole (Hélène Florent), and it’s evident they
are not entirely over one another. The second story takes place in Paris
in 1969. Jacqueline (Vanessa Paradis) is the fiercely devoted single
mother of Laurent, a young boy with Down syndrome. When a young girl
who also has Down syndrome joins Laurent’s class, Jacqueline’s tightly
woven world begins to fray. It seems initially that music is the only link
between the two stories, but as Carole’s nightmares and sleepwalking
intensify, we begin to sense that she is connected to Jacqueline in a
much deeper way.
Vallée has crafted a mysterious and at times devastating portrait of
the mystic forces controlling his characters’ destinies. Café de Flore
possesses an undeniable musicality: its layered, rhythmic beat mixing
together two powerful tales of love and loss.
Agata Smoluch Del Sorbo, Toronto International Film Festival
All information in this brochure
is correct at time of publication.
Programme is subject to change.
Please check our website
for screening times to avoid
disappointment.
XXX XX
SUN
26 FEB
120
120
10th
10thAnniversary
AnniversaryEdition
Edition
121
SUN 26 FEB
SURPRISE FILMS
BAMBI
out of the past
sun 26 feb / savoy / 2.30pm
Director: James Algar, Samuel Armstrong, David Hand,
Graham Heid, Bill Roberts, Paul Satterfield, Norman Wright
Voices: Hardie Albright, Stan Alexander, Bobette Audrey
Buy your inner child a front-row seat and don’t be embarrassed to
wallow in the unashamed sentimentality of one of Disney’s bestloved and most finely drawn animations. Using the cycle of the
seasons to tell the story of a fawn’s adventures from birth to fullgrown deerhood, it pulls no punches in telling young children how
life is. Birth, death and man’s inhumanity to animals - it’s all here.
Walt himself was said to be more fond of Bambi - which took six
years to make - than any other Disney release. Along with Fantasia,
it represents the peak of the company’s golden age. The animation
is beautifully realised in warm, watery shades and there’s a
graceful fluidity to the animals’ movements. The characters, by
contrast, are sharply defined, their dialogue warmly witty and
the film’s message - cherish life because it doesn’t go on forever
- is delivered without condescension or excessive piety. It’s the
sincerity of tone that makes this so effective.
The rawest nerve is touched by the tender relationship
between the young Bambi (voiced by Stewart and Sutherland)
and his mother (voiced by Winslowe). Predictably, the scene after
the forest fire where she dies is the hardest to bear not just for
children, but for the adults who have to explain why the mummy
deer isn’t coming back.
Enlivening these stark realities are sweet moments involving
stinky skunks, thumping rabbits and that gorgeous scene where the
newly mobile Bambi strikes out on his own on the ice.
Film4
Sun 19 Feb / Cineworld 17 / 6.40pm
Sun 26 Feb / savoy / 5pm
Director: ????
Year ??? / Country ???? / Duration ????
Cast: ????
List of previous surprise films
2011
Cedar Rapids
2010Greenberg
2009
Hamlet 2
2008
The Escapist
2007300
2006
The Jacket
2005
The Squid and the Whale
2004
Starsky and Hutch
2003
Buffalo Soldiers
he and fellow founder Myles Dungan discover that they were one
film short. With characteristic flair, Michael Dwyer turned this
potential mishap into one of the most beloved slots in the festival:
the Surprise Film.
In the 27 years since the first Surprise Film, the structure of
the festival has changed only slightly. Each year, the Surprise
Film is shown amid great speculation and no one – not even the
projectionist – knows the film’s title until the first few frames on
screen slowly reveal its true identity.
So, as usual, no clues for this year’s title but join the
discussion on Twitter. Follow us at @dublinfilmfest and tag your
suggestions #JDIFFsurprise
In 1985, the late Michael Dwyer launched the first Dublin Film
Festival. The inaugural festival had a diverse programme that
contained such future classics as Heimat, Insignificance and The
Official Version. Only after the programme had gone to press did
Gráinne Humphreys
123
SUN 26 FEB
DEATH OF A SUPERHERO
closing gala
sun 26 feb / savoy / 7.30pm
ian fitzgibbon, thomas brodie-sangster
and michael mcelhatton will attend the screening
“Serkis is something of a revelation ....
FitzGibbon has achieved something special”
Variety
After several cycles of chemotherapy, fourteen-year-old Donald
(Thomas Brodie-Sangster) feels he has little left to hope for.
Worst of all, he might die a virgin. Director Ian FitzGibbon’s film,
adapted by Anthony McCarten from his novel of the same name,
is a poignant coming-of-age story addressing the most painful of
circumstances alongside a rich and often humorous treatment of
classic teen preoccupations.
Director: Ian Fitzgibbon
2011 / Germany / Ireland / 98 minutes
Cast: Andy Serkis, Thomas Brodie-Sangster,
Michael McElhatton, Sharon Horgan
When Donald’s parents urge him to confront his feelings, he
retreats further into his own head, channelling his thoughts into
sinister and eerily-beautiful comic book drawings. In the universe
of his sketches, Donald is no longer a skinny teen with leukaemia.
Instead, he becomes a brawny superhero dedicated to fighting his
archenemy: a mad scientist called The Glove, who wields syringes
for fingers.
With his lanky frame and awkward, hesitant charm, BrodieSangster captures both the anger and vulnerability of a teen
struggling with school, dorky parents and hormones – on top
of trials no young person should ever have to face. His sharp
emotional performance is enhanced by animated sequences
involving his graphic alter ego and The Glove, which emphasize
just how far Donald has come from the rosy world of children’s
cartoons.
Michèle Maheux
Toronto International Film Festival
16 – 26 FEB 2012
124
SPECIAL
EVENTS
125
film tour
As part of our 10th anniversary celebrations, the festival is delighted
to expand its programme to include a number of presentations across
the country. This exciting development will create greater access to
both the new films and our special presentation of Sherlock Jr. We
would like to acknowledge the key support for this programme of the
Arts Council, Access Cinema, film societies across the country and the
Eye Cinema in Galway.
Stella Days
Sat 25 Feb - Riverbank Arts Centre, Newbridge, Co. Kildare
(www.riverbank.ie)
Sat 25 Feb - Belltable Arts Centre, Limerick
(www.belltable.ie)
www.jdiff.com
WORKSHOPS
AND
EVENTS
Sherlock Jr.
Sun 19 Feb - Light House, Dublin
Sat 25 Feb - Garter Lane Arts Centre,
Waterford (www.garterlane.ie)
Sun 26 Feb - Athy Film Club, Athy
(WWW.ATHYFILMCLUB.COM)
Sat 3 Mar - The Seamus Ennis Cultural Centre,
Naul, Co. Dublin (www.seamusenniscentre.com)
Sun 4 Mar - Friars Gate Theatre,
Kilmallock, Co. Limerick
(www.friarsgate.ie)
Second Look
Dublin Film
Critics Circle
Sat 25 Feb / IFI Mezzanine / 5.30-6.30pm
Join the Dublin Film Critics Circle as they ponder JDIFF 2012 and
name their final selections for Best Film, Best Director, Best Irish Film,
Best Documentary and Best Performance from the festival programme.
This year, a jury that includes Donald Clarke (Irish Times), Brogen
Hayes (Movies Plus), Roe McDermott (Hot Press), Gavin Burke
(Entertainment.ie), David O’Mahony (Access Cinema) and DFCC
President Tara Brady (Irish Times) will also announce the recipient of
the third Michael Dwyer Discovery Award, named for our late friend
and colleague.
The JDIFF Touring Programme in association
with Eye Cinema Galway (www.eyecinema.ie)
Wed 22 Feb – The Mole
Fri 24 Feb – Apartment in Athens Sat 25 Feb – A Quiet Life Tues 28 Feb – The Jewel
Wed 29 Feb – Kawasaki’s Rose
Thurs 1 Mar – Superclásico screen test
FRI 24 FEB / LIGHT HOUSE / 10AM - 3.30PMi
For admission prices see our website,
www.jdiff.com
Screen Test is a day long series of workshops, interviews and
seminars. Structured around practical workshops and discussions
with film and television professionals, it will be held as part of the
festival at the Light House, Smithfield on Friday February 24th. The day
will be aimed at students and members of the general public who are
interested in taking film courses or alternate paths into the cinema
industry. We will also have a number of film courses from around the
country who will attend the event with relevant material.
Already confirmed to take part are Brown Bag Films, editor Tony
Cranstoun (Death of a Superhero), Irish director Kristen Sheridan
(Dollhouse) and Hardy Bucks director, Liz Gill and Gavin Burke
(Phantom FM). Screen Test will also feature a panel discussion on
music videos with the award-winning company Tidal, as well as panel
discussions with the Irish Society of Cinematographers. For updates
and additional information please check jdiff.com
For updates and additional information please check jdiff.com
Colleges attending:
Dundalk Institute of Technology
New Media Technology College
The Lir – NationAL Academy of Dramatic Art
Filmbase
UCD Film Studies
IT Tallaght – Creative Digital Media
Sponsored by BAI
16 – 26 FEB 2012
126
UNTITLED
SAT 25 FEB / LIGHT HOUSE / 12PM
Admission is free but please book your place
in advance (see website for details)
The Jameson Dublin International Film Festival in partnership with
Bord Scannán na hÉireann / the Irish Film Board (IFB) are delighted to
present UNTITLED: a unique screenwriting competition where writers
can win €12,000 (or €16,000 for a writing partnership) towards the
development of their film.
Last year’s inaugural competition saw over 340 comedy
submissions, with writing team Enda Loughman and Mike Ahern
taking home a €16,000 prize for their comic screenplay, The Bogman
King. This year’s competition invited writers to submit an idea for a
feature film with the theme of ‘1916’. Nearly 200 entries were received,
and a final shortlist of five writers/writing partnerships were invited
to write the first few scenes of their script. They will then take part
in a public interview at the Light House Cinema, presenting their
screenplay to an independent panel of industry professionals. The
panel will select the winning project, which will be announced at the
Closing Gala of the festival on Sunday 26 February.
The winning project will receive a First Draft Development Loan of
€12,000 (€16,000 for a writing partnership) from the IFB. The four
runners-up will win a season pass to Jameson Dublin International
Film Festival 2013.
Animation has come a long way from Saturday morning cartoons for
kids. It is now widely acknowledged that animation can connect with
all ages and can deal with the most serious of issues. The audience
and the technology may be constantly changing, but no matter where
and how animation is made, or who it is made for, story is still the
key ingredient. Story can bring us together, it can help us make sense
of the world we live in and, most importantly, a good story keeps us
watching and keeps us thinking.
But how do writers and directors decide what stories are worth
telling? How do they find the right subject matter for the right
audience? The guest panel will draw on their own unique and varied
experiences of creating stories worth telling to discuss these and other
story-related issues, such as the writing process, deciding on tone
and style, and balancing the artistic collaborative nature of animation
with writing and directing. Among the speakers confirmed are Brenda
Chapman, Louise Ridgeway and Sydney Padua.
STORY CAMPUS
Led by filmmaker David Pope and director and screenwriter David
Keating, Story Campus is an all-day event for screenwriters exploring
the nature (and future) of storytelling for the screen. Through a series
of workshops, interviews and panel sessions with industry insiders,
including producers David Collins (Once) and Brendan McCarthy
(Breakfast on Pluto, Wake Wood), and writer-directors Margaret Corkery
(Eamon) and Marian Quinn (32A), Story Campus will help you develop
key storytelling techniques, and provide invaluable advice on writing
everything from project pitches to story outlines and screenplays.
David Pope is a filmmaker, consultant and training provider at
international level. Credits include the award-winning feature film
Miles From Nowhere and training clients have included Rotterdam Lab
CineMart, Cannes Cinefondation, the BBC and the BFI.
www.jdiff.com
Stories Worth Telling
Fri 24 feb / light house / 4.30pm
SAT 18 FEB / LIGHT HOUSE / 10AM – 4PM
For admission prices see our website,
www.jdiff.com
127
Panel Guests
Brenda Chapman
Brenda Chapman was the first woman to direct an animated feature
from a major studio, when she directed The Prince of Egypt in 1998.
Brenda is also the original writer and director of Pixar’s upcoming
animated feature Brave. Brenda’s other film credits include Who
Framed Roger Rabbit?, Beauty and the Beast, The Lion King, WALL-E
and Up.
Sydney Padua
Sydney Padua is an animator, a graphic artist and author of the web
comic The Thrilling Adventures of Lovelace and Babbage. She was a
story development artist at Warner Brothers Feature Animation, and
wrote and directed the multi-award winning short Agricultural Report
for the Irish Film Board. Sydney’s film credits as a character animator
include The Golden Compass, Open Season and The Iron Giant.
Louise Ridgeway
Louise Ridgeway has worked as an animator in the games industry for
over 12 years. She is currently Animation Director at Rare Ltd and has
been responsible for setting the direction for recent award-winning
projects Kinect Sports 1 and Kinect Sports Season 2. She has worked
on a wide variety of projects over the years including Conker’s Bad Fur
Day, Viva Piñata, Banjo Kazooie and Kameo. She is currently working
on a new and exciting project and feels very lucky to still be animating
and doing what she loves after all these years.
Panel Chair
Barry O’Donoghue
David Keating is a film and theatre director and screenwriter. His
first feature, The Last of the High Kings, earned him a nomination for
Best Newcomer at the Evening Standard Awards. His latest film, Wake
Wood, is a critically acclaimed award-winning horror film. David is
also involved in running screenwriting labs, and acting and directing
workshops.
Other festival guests and participants to be announced.
Activities will include:
Scaling Panel: writing projects for low budget production.
Discussing the key narrative elements that can be useful to consider
when writing for low budget production.
Context and Concept Workshop: exploring techniques to help present
yourself and your projects to the industry.
Notes and Drafts Panel: exploring the relationship between producers,
development executives and screenwriters.
JDIFF presents Story Campus in partnership with Screen
Training Ireland and the support of Media Desk.
Barry O’Donoghue is the founder of the award-winning animation
studio Barley Films.
Organisers
This JDIFF event has been organised in conjunction with Gareth Lee,
Irish School of Animation at BCFE; Donald Taylor Black, National Film
School at IADT; and the Irish Film Board.
16 – 26 FEB 2012
128
INDUSTRY MASTERCLASSES
129
board & staff
staff
Board of directors
Chief Executive Officer - Joanne O’Hagan
Paddy Breathnach
Festival Director - GrÁinne Humphreys
Sue Bruce-Smith
Accounts Manager - Miriam McLoughlin
Clare Duignan
Administration and Marketing Assistant - Kevin O’Farrell
Festival development and Administrator - Ailise James
Marketing & Sales Manager - Kamil Chechlacz
Advertising Consultant - Sarah Smyth
Jonathan Kelly
Hugh Linehan
Arthur Lappin, Chairman
David McLoughlin
Press Manager - Jenny Sharif
James Morris
Press Officer - Breffni O’Dwyer
Gaby Smyth
Hospitality Manager - Aideen Darcy
Screenwriting with Kenneth Lonergan
Wed 22 FEB / Light House / 11am – 1pm
Hospitality Co-ordinator - Kate Clark
A graduate of the NYU Playwriting Program, Kenneth Lonergan started
by penning stories that reflected situations he had experienced that
affected his life. He was inspired early on to write This is Your Youth,
which found great success off-Broadway. His film career began with
his screenplay for the gangland comedy Analyze This. Lonergan’s
debut as a film director, You Can Count On Me, earned him the Grand
Jury Prize at Sundance and an Oscar nomination. You Can Count On
Me was produced in part by Martin Scorsese, for whom Lonergan
rewrote the screenplay for Gangs of New York, a task for which he
found himself Oscar nominated for a second time.
Ticketing Manager - Joey Kavanagh
Assistant Ticketing Manager - Karl Watson
Events Manager - Frances O’Reilly
Production Assistant - Gillian Temple
Volunteers Manager - Liam Ryan
Volunteers Co-Ordinator - Paul Halpin
Jason Buchanan, Rovi
Kenneth Lonergan presents his sophomore directorial effort at JDIFF
2012, Margaret (p. 63).
Supported by Screen Training Ireland
Producing masterclass with Marin Karmitz
SAT 18 FEB / LIGHT HOUSE 4 / 12PM
Marin Karmitz, the producer, distributor and exhibitor, has produced
over 100 films and distributed close to 350 films, including works
by Jean-Luc Godard, Alain Resnais, Claude Chabrol, Gus Van Sant,
Ken Loach, Michael Haneke and Olivier Assayas. The films under his
banner have been graced with an impressive list of awards: three
Golden Palms at Cannes, three Golden Lions from the Venice Film
Festival, a Golden Bear from the Berlin Film Festival, three Oscar
nominations, 25 César Awards and over one hundred international film
festival awards.
Marin Karmitz is co-producer of The Fairy (see p. 31).
Catalogue Editor - Alistair Daniel
Staff Writer - Colm McAuliffe
Print Transport & EXhibition co-ordinator - Andy Beecroft
Programming Assistant - Rory Bonass
Festival Intern - Aoife Cooper
Festival Intern - Ciara Halpin
www.jdiff.com
16 – 26 FEB 2012
130
131
www.jdiff.com
ten years of thank yous
You can never say thank you enough. Quite honestly this festival would
not be possible without the support that we have received over the
last ten years. Support comes in every shape and size, and thanks
is due to every single one of you who have bought a ticket, attended
the festival, participated in our events, joined us at one of our parties,
and given us the privilege of showing your films. We also thank every
funder, agency, cultural institute, embassy, company, corporate and
private sponsor and festival partner who has worked with the Dublin
International Film Festival organisation over the last ten years. It’s
impossible to mention everyone individually, but we have developed
great relationships and friendships with all our supporters.
Huge thanks is also due to:
–Our Title Sponsor: Jameson Irish Whiskey
–Our Funding Partners and Supporters: the Arts Council, the Irish
Film Board, Failte Ireland, Dublin City Council, Broadcasting
Authority of Ireland, Culture Ireland, Screen Training Ireland,
Screen Producers Ireland, Media Desk
–Our Corporate Partners: Cineworld, The Merrion Hotel,
Entertainment.ie, The Irish Times, Renault Ireland, Windmill Lane
Productions, Wells Cargo, Aer Lingus and every single company that
has supported the festival either with sponsorship or promotion of
our festival.
–Our Embassy & Cultural Partners: Goethe Institute, Alliance
Français, Instituto Cervantes, Cultural Institute of Italy.
– All the staff and volunteers who’ve worked with the festival over
the last ten years – we couldn’t have done it without you!
It is impossible to remember everyone we need to say thank you to for
making JDIFF what it is today, but if you’re reading this, we thank you!
We are sincerely grateful for all your support over the last ten years,
and here’s to the next ten!
Joanne O’Hagan, CEO
Eoin Murphy - Needmorespace.
com
David Bryan, Sarah Murphy Entertainment.ie
Eoin Wrixon - Carlton Screen
Advertising
Julie Knight - Lyric FM
Pascale Ramonda - Festivals
Strategies
Julien Lelorrain, Eimear Walshe Renault Ireland
Pat Collins, Tina Moran – Harvest
Films
Kahloon Loke - Peccadillo
Pictures
Pat Maxwell – Maxwell
Photography
Karen Howley, Phillipe Brodeur
– Aertv
Pat Redmond – Patrick Redmond
Photography
Kate Bowe PR
Patrick Farrelly – Accidental
Pictures
Eugene Downes, Christine Sisk Culture Ireland
Fionnuala Sweeney, Katie
O’Donell, Joe Stuart - The Arts
Council
Frank O’Grady – Click Media
Gareth Lee – Ballyfermot College
of Further Education
Alan Fitzpatrick – Filmbase
Alan Maloney, Zek Lawless –
Parallel Films
Anna Malmhake, Pat McGee,
Gavin O’Doherty, Jane Chmara,
Catherine O’Grady, Lorcan
Bannon, Stuart Moffett, Jane
Murphy - Irish Distillers
Pernod Ricard
Antoine Ferrasson - Tamasa
Distribution
Brid Dooley, Lucy Campbell,
Sarah Woods, Emma Keogh -RTÉ
Stills Library
Antonella Palmieri
Arnaud Belangeon Bouaziz –
Urban Distribution International
Allison Gardner - Glasgow Film
Festival
Barbara Galavan, Catherine
Tiernan – Screen Producers
Ireland
Andrew Lowe, Audrey Shiels, Nell
Roddy, Robert Finn - Element
Pictures
Barry Navidi -Navidi-Wilde
Productions
Andy Waller, Anne Gartside, Mark
Jones- Momentum Pictures
Barrie Dowdell – Telwell
Productions
Angela Tangianu, Naoise
MacFheorais - Instituto Italiano
di Cultura
Barbara Murphy - Sony Pictures
Ania Trzebiatowska - Off Plus
Camera
Ann Leahy, Marianna Cullen –
Age & Opportunity
Annalise Davis – Wilder Films
Anne Marie McNaughton – Park
Films
Ben Luxford, Claire Gascoyne,
Jon Rushton, Jake GarriockArtifical Eye
Ben Murray – The Room
Bettina Seitz - Kenny Gallery
Bob Gray, Keith McGuinness,
Richard Weld-Moore, Lorna
Melody - Red&Grey Design
Brendan Byrne - Hotshot Films
Brian Furey, Patricia Kelly – BAI
Catherine Kirby, Katie Wink,
Caroline Feehily – National
Concert Hall
Catia Rossi – RAI
Caroline Beiersdorf - Sounding
Images
Paul Richer - Pyramide
International
Laura Talsma – Fortissimo Films
Peter Bach – Flanagan’s Wake
Stephen Rooke – Tile Films
Leo Ward, Paul Ward, Linda
Dagge, Sandra O’Donoghue
,Sandra Rowe - IMC Group
Ray Senior – VIP Ireland.com
Steve Hills – Eureka
Entertainment Ltd
Christine Whitehouse, Andrew
Youdell – BFI
Hadrien Laroch, Elisabetta
Sabbatini - French Embassy
Dave and Drostan from Odessa
Helen McMahon, Criona Sexton FÁS Screen Training Ireland
David Shear – Revolver
Entertainment
Declan Kearney, Gillian Cuhane,
Yvonne McCahill – Aer Lingus
Clare Duignan, Joe Hoban,
Sheena Madden, Angela Rohan,
Sandra Byrne, Lorelei Harris -RTÉ
Deirdre McQuillan – The Irish
Times
Claire Bourgeois, Christine Weld Alliance Francaise
Des Bell – Glass Machine
Productions
Colin Burch, Elliot Binns - Verve
Pictures
Donald Taylor Black – DLIADT
Colman Doyle – National Library
of Ireland
Colum McNally – Hacketts
Reprographics
Delphine Eon – Beta Cinema
Doug Pettigrew, Thom Fitzgerald,
Ruth Vollick Emotion Pictures
Eddie Wong - Volunteer
Efrat Cohen
Sophie Governey – HB
Lara Lucchetta – Indigo Films
Coralie Faucher – Wide
Management
David Gregory – Opera films
Simon Trezise - TCD
Gisela Wiltschek – Bavaria Film
International
Gunner Almar , Jon Wengstrom Swedish Film Institute
David Burke, Maryse Fitzpatrick,
Fiona Breslin - Universal Pictures
Simon Arthur – Sidetrack Films
Kevin O’Brien – Survey Coordinator
Conor Anderson, Deirdre
Johnston - GFD
Dave Leahy – Warrior Films
Sheamus Smith
Geraldine Higgins – Hollywood
Classics
Greg Devitt, Ruth Traynor –
Stephen’s Green Shopping Centre
Brian Finnegan - GCN
Sharon McGarry, Janice Kearney,
Jennifer Finnegan, Kevin Barrett,
Schawn belston - Twentieth
Century Fox
Geoffrey Bonjean – Rezo Films
Grainne Kelly, Veronica Beausang
– Dublin City Council Events
Anthony Long, Seamus Crimmins,
David Brophy, Angela Rohan
RTÉ Concert Orchestra
Sarah Glennie, Pete Walsh, Ross
Keane, Deirdre O’Reilly - Irish
Film Institute
Katie Malony, Anthea
MctiernanShane Hegarty, Hugh
Linehan, - The Irish Times
Gillian Leaning, Jennifer Butler –
Intrepid Travel
THank you
Orla Ormond – Phantom FM
Jackie Larkin – Newgrange
Pictures
James Hickey, Louise Ryan,
Teresa McGrane, Alan Maher,
Andrew Meehan, Suzanne
Murray, Emma Scott - Irish Film
Board
Jezz Vernon, Chris LawranceMetrodome Group
John Wallace – Black Sheep
Productions
Jonathan Webb – High Fliers
John Griffen, Locky Butler - Slate
John Trafford Owen, Suzanne
Noble, Adam Hotchkiss, Lesley
Grieve – Studio Canal
Jon Perry, John Travers, Clare
McCollum, Jane O’Callaghan,
Ed Coleman, Simon EdwardsCineworld
Julian Douglas, Catherine Egan,
Maeve Cooke, David O’Mahony Access Cinema
Magda Stroe - The Romanian
Cultural Institute, London
Malene Vincent, Lizette Gram
Mygind – Danish Film Institute
Paul Smith and all at Lillies
Paul Faddon, Paul Hanly, Seán
Hanly - Ticketsolve
Ray Yeates, Sinead Connolly –
Dublin City Council Arts Office
Rebecca Burrell, Rebecca
Lawless - Burrell PR
Richard Cook, Jonathan Shankey
- Lisa Richards Agency
Rita Kirwan – Largo Foods
Marine Rechard – Films Boutique
Rob O’Toole - Robot Display
Mark O’Halloran
Robert Beeson – New Wave
Mary Weir – Dublin City Council
Robin Andrews – Westend Films
Matt Smith, Rachel Koczan Lionsgate
Robin Grbich, Joshua Newiss Trinity Filmed Entertainment
Michal Aviad – Invisible
Rolf Stehle, Heidi Rotke - Goethe
Institut
Michael Garland - Grand
Pictures
Monika Chmielarz, Nikola
Sekowska - Embassy of the
Republic of Poland
Rory McCarthy, Gillian Binchy,
Antoinette Reilly - Fáilte Ireland
Rosemary Garth, Catherine Darcy
– IBEC
Natsu Furuichi – Magnolia
Pictures
Ross Whitaker and all at Film
Ireland
Neasa Glynn – The Eye Cinema
Ruggero Di Paola – Apartment
in Athens
Neil Menemesha – Menemesha
Pictures
Niamh McCaul, Anna Lavery Paramount Pictures
Nick Varley, Mark Truesdale Park Circus
Nicky Gogan – Still Films
Rudolph Sanze – Imagina
Salma Abdalla – Autlook Films
Sanam Madjedi - Films
Distribution
Sarah Glavey, Katie Farrell - The
Merrion Hotel
Soumya Sriraman – Tartan
Palisades
Siobhán Farrell, Claire Dunlop Eclipse Pictures
Stephanie Hozlhuber - Autlook
Stine Oppegaard - Norweigan
Film Institute
Susan Kennedy – Lensmen
Tara Brady, Donald Clarke,
Brogen Hayes, Roe McDermott,
Gavin Burke, David O’MahonyDublin Film Critics Circle
Terry Molloy, Pat Boylan, Nick
Costello -Warner Bros
Theresa Roberts - Eone Films
Thierry Wase-Bailey- Celsius
Entertainment
Tim Beddows, Luciano Chelotti,
Lisa Chamberlain - Network
Releasing
Tim Morris, Peter Brady, David
O’Brien, Owen Derby, Emma Ellis,
Diego Solarzano, Carly Butler Windmill Lane
Tom Stewart - Arrow Films
Tom Thornton, Pearl Cumiskey,
Owen Rowley - Wells Cargo
Trish Long, Richard Carolan,
Martin O’Grady, Maureen Ryan
- Walt Disney Motion Pictures,
Ireland
Van Papadoulos – Unzero Films
All staff in our festival venues
and care centres.
133
www.jdiff.com
VOLUNTEERS
“Volunteering, for me was an amazing way to experience the festival.
Just to see how the event was put together, but equally it turned out
to be the first steps on getting my career moving in film and event
management.”
Liam Ryan – JDIFF Volunteers Manager (first volunteered 2003)
www.screenwest.ie
Your Complete Online Resource For Filming In the West of Ireland
FILM GALWAY PARTNERSHIP
Logistical Support For Productions on Location in Galway
Contact Galway Film Centre for more information
Email: [email protected]
Tel: 091 770 748
www.galwayfilmcentre.ie
“I first got involved in JDIFF in 2004, had one of the best experiences
of my life, and I have been back every year since.”
Kevin O’Brien – JDIFF Market Research Coordinator
(first volunteered 2004)
“I have had some of my best nights out during the film festival
and I have had some of my best working days at it too.”
Mags Lehane - Volunteer (first volunteered 2005)
“JDIFF is the mistress you don’t tell your day job about.”
Eric Cooper – Volunteer (first volunteered 2006)
“When I was 18 I signed up to volunteer at JDIFF. It opened many
doors and I met wonderful people and made great connections.”
Brian Dunster – Director: The Centre of The Universe – JDIFF Shorts
(first volunteered 2007)
“Volunteering for JDIFF is a highly enjoyable and rewarding
experience. Every day brings something different.”
Eddie Wong – Volunteer photographer (first volunteered 2008)
‘’JDIFF is a great experience. Films, friends, and a free t-shirt!’’
Ali Deegan – Volunteer (first volunteered 2009)
the way
life above all
snap
honey/bal
“It’s always the highlight of my year.” Edward Bolton – Volunteer (first volunteered 2010)
“Volunteering: what you put in, you get back – something money
cannot buy.”
Geoff Brennan – Volunteer (first volunteered 2011)
point blanK
poetRy
the poRtUGUese nUn
the RUnway
Cell 211
oUtsiDe the law
lovely, still
MeeK’s CUtoff
access›cinema works with arts centres, local groups and
arts festivals to expand cultural film exhibition regionally.
if you want to know more about how you can develop film
activity in your area then contact…
e: [email protected] t: +353 1 679 4420
www.accesscinema.ie f: +353 1 679 4166
festival club
The Jameson Dublin International Film Festival is delighted to continue
its partnership with Odessa Club for the 2012 season. When not making
the most of the jam-packed schedule of film and industry events,
we encourage you to come soak up the festival atmosphere in the
stylish surrounds of Odessa Club. This unique venue will play host to
top entertainment each evening from 9.30pm, as well as offering an
opportunity to mingle with filmmakers, festival-goers and the JDIFF
team. So, please consider yourself invited to come and discuss your
festival highlights over a glass of Jameson or two. Please check online for more details of the nightly entertainment,
special deals and promotions.
We look forward to seeing you there! All information in this brochure is correct at time of publication.
Programme is subject to change. Please check www.jdiff.com for
screening times to avoid disappointment.
16 – 26 FEB 2012
134
film index
A Man’s Story A Quiet Life A Royal Affair
83
Family Instinct 31
Silver Tongues 64
76
Faust56
Sing Your Song 118
Finding Joy
Sleeping Sickness
103
106
54
Albert Nobbs 35
Flanagan’s Wake
101
All in Good Time
95
Footnote 45
Stella Days Amador 48
Fort McCoy 21
Superclásico 33
Apartment in Athens
20
Gallivant102
Surprise Film 121
Apples of the Golan 33
Sleepless Night 84
85
Goodbye, First Love 36
Target 76
Aurora117
Hard Labour
95
Terence McDonald
11
Avé32
Häxan 37
Terraferma 38
Bambi Hill Street
47
Baraka100
Hunky Dory 102
The Best Exotic
Marigold Hotel
32
Batman If Not Us, Who The City Below 29
The Day I was Not Born 87
The Enigma of Frank Ryan 36
The Fairy 31
The Far Side of Revenge
63
The Good Doctor 87
The Jewel 46
120
82
110
Beauty107
In Darkness Bel Ami 51
Into the Abyss
Best Intentions 77
Invisible 46
Black Gold 43
Jeff, Who Lives at Home 57
Blackthorn107
Jo Nesbø’s Headhunters
Blame34
Kawasaki’s Rose
Blow-Up17
Khodorkovsky54
Bonsái65
L’Important c’est d’aimer 61
Breathing101
Le Havre
49
Buck Looking for Richard 17
Margaret 63
Café de Flore
74
119
79
61
113
106
Calvet 82
Michael 62
Chicken with Plums 92
Monsieur Lazhar
28
Cloudburst 15
Mourning 62
Contraband 92
My Little Princess 55
Nightdancers 90
Courage Crulic – the Path to Beyond
117
34
Nuala105
Once Upon a Time in Anatolia 64
Orphée 44
Play 49
Dollhouse111
Puzzle of a Downfall Child 30
Dreamtime, Revisited Reservoir Dogs
67
Return 57
Salmon Fishing in the Yemen 39
Samsara 29
Santa Sangre 86
Curling King Damsels in Distress Death of a Superhero Dreileben:
Beats Being Dead
110
24
123
75
114
Dreileben:
One Minute of Darkness
115
Dreileben:
Don’t Follow Me Around
115
Saving the Titanic 20
El Gusto 105
Sherlock Jr.
43
Elena108
Silence 86
Elles Silent House 77
19
The Life and Death
of Colonel Blimp
100
The Mole
44
The Monk 38
The Panic in Needle Park 74
The Raid 99
The Vanishing of Pato 90
The Yellow Sea 42
This is Not a Film
47
This Our Still Life
103
Three56
Tin Can Man
48
Trishna 93
Turn Me on, Goddammit 45
Twilight Portrait 92
Unfinished Spaces Up there
21
110
Where do we Go Now? 55
Wilde Salomé 59
Womb19
Wonder House 84
Yellow 30
Your Sister’s Sister
75
11AM
12PM
1PM
2PM
3PM
4PM
5PM
6PM
7PM
thurs 16 FEB
8PM
9PM
Looking for Richard light house 1 / 3pm
blow up light house 2 / 2.30pm
sat 18 FEB
The Fairy light house 1 / 2.30pm
The City Below light house 2 / 2pm
Monsieur Lazhar savoy / 11am
Family Instinct light 3 / 2.30pm
yellow Light House 4 / 2pm
Puzzle of A Downfall Child Cineworld 9 / 2pm
Samsara cineworld 17 / 1.15pm
sun 19 FEB
Sherlock Jr. light house 1 / 2pm
The Mole cineworld 9 / 2pm
black gold cineworld 17 / 1.30pm
The Yellow Sea savoy / 11am
ifB shorts light house 1 / 6pm
elles cineworld 9 / 6.15pm
Saving the Titanic cineworld 17 / 6.15pm
Womb Light House 2 / 6.10pm
Unfinished Spaces light house 1 / 8.45pm
apartment in athens light house 2 / 8.40pm
fort mccoy cineworld 9 / 8.45pm
Damsels in Distress cineworld 17 / 9pm
Superclassico light house 1 / 5pm
crulic light house 2 / 6.10pm
The Enigma of Frank Ryan light house 3 / 6.30pm
Blame cineworld 9 / 6.15pm
Goodbye first Love cineworld 17 / 6.30pm
Apples of the Golan Cineworld 9 / 4.15pm
haxan light house 1 / 8.15pm
Terraferma light house 2 / 8.30pm
Salmon Fishing in the Yemen cineworld 17 / 9pm
the monk cineworld 9 / 8 .30pm
Orphée light house 1 / 3.45pm
Turn me on Goddamit cine 9 / 4.15pm
The Jewel light house 1 / 6pm
Invisible light house 2 / 6pm
This is not a Film light house 3 / 6pm
Le Havre light house 1 / 8.30pm
Amador light house 2 / 8pm
Tin Can Man light house 3 / 8pm
Hill Street cineworld 9 / 6.45pm
Footnote cineworld 17 / 4.15pm
mon 20 FEB
My Little Princess light house 1 / 6.10pm
Finding Joy light house 3 / 6pm
Khodorovsky cineworld 9 / 6.10pm
Where Do We Go Now? cineworld 17 / 6.15pm
SCHEDULE
L’important C’est d’aimer light house 1 / 4pm
Michael light house 1 / 6.15pm
Mourning cineworld 9 / 6.10pm
Each film fits into a section which is colour coded
thurs 23 FEB
Into The Abyss Cineworld 17 / 5.50pm
the Panic in Needle Park light house 1 / 5.30pm
Buck CINEWORLD 9 / 6pm
Your Sister’s Sister CINEWORLD 17 / 6pm
Dreamtime Revisited IFI / 6.30pm
Gala
German
Special Presentation
Irish
Discovery
Real to Reel
First Look
Out of the Past
Spectrum
other presentations
Calvet CINEWORLD 9 / 4pm
Sleepless Night light house 1 / 6.15pm
Batman light house 2 / 6pm
A Man’s Story CINEWORLD 9 / 6.10pm
Stella Days CINEWORLD 17 / 6.30pm
Wonder House IFI / 6.30pm
fri 24 FEB
JDIFF Shorts light house 1 / 6.30pm
The Vanishing of Pato light house 2 / 6.10pm
NightDancers CINEWORLD 9 / 6.10pm
Chicken with Plums CINEWORLD 17 / 6.10pm
sat 25 FEB
The Raid SAVOY / 11Am
Flanagan’s Wake light house 3 / 2pm
Breathing CINEWORLD 9 / 2pm
Gallivant IFI / 2pm
The Life and Death of Colonel Blimp light house 1 / 1.30pm
Baraka CINEWORLD 17 / 1pm
Sleeping Sickness light house 2 / 4.10pm
Nuala light house 1 / 5pm
This Our Still Life IFI / 4pm
El Gusto CINEWORLD 9 / 4.15pm
Hunky Dory Cineworld 17 / 3.15pm
sun 26 FEB
Jo Nesbo’s Headhunters SAVOY / 11Am
Dreileben 1 light house 1 / 1pm
Aurora CINEWORLD 9 / 1pm
Bambi SAVOY / 2.30pm
Terence McDonald IFI / 2pm
Courage light house 2 / 2pm
Café De Flore cineworld 17 / 2pm
Sing Your Song Light House 3 / 2pm
SURPRISE FILM savoy / 5pm
Chicken with Plums CINEWORLD 9 / 4.30pm
sun 19 FEB
play cineworld 9 / 8.20pm
SURPRISE FILM Cineworld 17 / 6.40pm
wed 22 FEB
FRI 17 FEB
sat 18 FEB
Albert Nobbs savoy / 7.30pm
Avé light house 3 / 4pm
The Best Exotic Marigold Hotel cineworld 17 / 3.45pm
11PM
thurs 16 FEB
Cloudburst SAVOY / 7.30pm
FRI 17 FEB
tues 21 FEB
10PM
Bel Ami cineworld 17 / 8.50pm
Wilde Salome savoy / 7.30pm
Three light house 2 / 8pm
Faust light house 1 / 8.30pm
Return cineworld 9 / 8.30pm
jeff, who lives at home cineworld 17 / 8.30pm
Reservoir DogS
Bonsai light house 1 / 8.30pm
Once Upon a Time in Anatolia light house 2 / 8.10pm
The Far Side of Revenge ifi / 6.30pm
Silver Tongues cineworld 9 / 8.20pm
Margaret Cineworld 17 / 8pm
Target light house 1 / 8.10pm
A Quiet Life light house 2 / 8.10pm
Best Intentions light house 3 / 8.20pm
Silent House CINEWORLD 9 / 8.30pm
In Darkness CINEWORLD 17 / 8.10pm
Silence light house 1 / 8.45pm
The Day I was not Born light house 2 / 8.45pm
Santa Sangre CINEWORLD 9 / 8.10pm
The Good Doctor CINEWORLD 17 / 9.15pm
Contraband SAVOY / 7.30pm
Twilight Portrait light house 1 / 8.20pm
Hard Labour light house 2 / 8.50pm
All in Good Time CINEWORLD 9 / 8.45pm
Trishna CINEWORLD 17 / 8.40pm
Curling King Cineworld 9 / 9pm
mon 20 FEB
tues 21 FEB
wed 22 FEB
thurs 23 FEB
fri 24 FEB
sat 25 FEB
Beauty light house 1 / 7.30pm
Blackthorn CINEWORLD 9 / 6.30pm
A Royal Affair CINEWORLD 17 / 6.10pm
Kawasaki’s Rose light house 2 / 6.10pm
Up There light house 1 / 9.30pm
If not us, who? light house 2 / 8.30pm
DANNY Elfman NATIONAL CONCERT HALL / 8pm
Dollhouse Factory / 12AM
Elena CINEWORLD 17 / 8.45pm
Death of a Superhero SAVOY / 7.30pm
sun 26 FEB
16 – 26 FEB 2012
How to get the best
out of the festival
ELL
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SAVOY
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CHUR
C
TON
LING
WEL
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QUAY
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FILMBASE
ST
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ST
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DAME ST
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STEPHEN’S GREEN
SHOPPING CENTRE
STEPHEN’S
GREEN
Advice for intrepid festival-goers
Look out for our iPhone
and Android app
(available from 10 February)
Download the JDIFF app on your phone, available
the weekend before the festival begins. You’ll then
have the programme in your pocket!
Use the Dublin bikes, they’re very handy for getting
around. There are Dublin Bike stations near all the
cinemas. But if you fancy a walk, remember it takes
only 8 minutes to walk from Cineworld to the Light
House. Enjoy the city!
Remember, you can use all methods of payment
in the ticket office, buy tickets online or over the
phone. And you can collect your pre-booked tickets
in the venues at the JDIFF Ticket Office half an hour
before your film starts.
Why not take the odd snap and stick it on our
Facebook page? Or tell us what you thought
of a film on Twitter by using #jdiff?
Look out for special festival deals and offers in
restaurants and cafés around town. For an up to
date list, visit our website, jdiff.com, and follow us
on twitter.
Hang out at the Festival Club in Odessa, Dame
Court, D2, where we will have entertainment EVERY
night from 21.30pm. If you’re reading this, you’re
welcome, so why not join us for a drink?
Challenge yourself - pick a random film to go see!
It’s our tenth year, so come celebrate with us!
And for the latest updates keep an eye on our
website.
Ticket PRICES
Afternoon Screenings*
€8
Evening Screenings €10
NATIONAL
CONCERT 7HALL
Be sure to get to you seat on time. Seats are
unreserved, so it’s first come, first served. And
look out for q&as that might be on afterwards.
Don’t be shy, ask our lovely volunteers
or staff members for a film recommendation
3. swing by in person:
a.Filmbase
B.Cineworld
C.Light House
GRAFTO
DAME
GEORGES
SMITHF
IELD
L ST
LIGHT HOUSE
1.Go to jdiff.com
2. Call us on 01 687 7974
ST
O’CO
CINEWORLD
141
HOW TO BOOK
L ST
CAPE
To help you get the
make the most of JDIFF
2012, we’ve put together
a nifty little festival
guide. These pages
should serve as your
essential reference
for how to get
around, where to grab
a bite to eat, who to
have a drink with,
as well as the allimportant information
on buying tickets.
www.jdiff.com
Follow us on Facebook and
Twitter for daily promotions
and competitions to win tickets
Special Presentations
€15
Galas**€18
Full Season Ticket***
€235
(except National Concert Hall)
Ticket Office Details
Filmbase
Curved Street, Temple Bar, Dublin 2
Opening Hours:
10am – 7pm daily (3 – 26 February)
Cineworld
Parnell Street, Dublin 1
Opening Hours:
2pm – 8.30pm (6 – 15 February)
12pm – 8.30pm (16 – 26 February)
Light House Cinema
Blackhall Walk, Smithfield Market, Dublin 7
Opening Hours:
10am – 7pm (16 – 26 February)
For full details of our ticketing terms and conditions
and for further information, check our website www.jdiff.com
A fee of €1 per booking applies to phone and online orders.
(Tickets only available from National Concert Hall –
visit www.nch.ie or call 01 417 0000)
* For screenings before 6pm weekdays
** Opening Gala (Cloudburst), Closing Gala (Death of a
Superhero
*** Terms and conditions apply. For details, visit www.jdiff.com
DISCOUNTED TICKETS
Evening Pass
(for 10 evening screenings)
€80
Afternoon Pass
(for 10 afternoon screenings before 6pm)
€60
123 Happy Hour
Every day between 1pm and 3pm we will be publishing
a limited number of special offers on tickets for JDIFF
screenings. Check our website or join our social media
channels. Students, OAPs and Unwaged save 10%.
avengersuk
ie.marvel.com/avengers
CERT TBC
© 2011 MVLFFLLC. TM & © 2011 Marvel
Cineworld is proud to
support the Jameson
dublin international
Film Festival
See as many movies as you like, from just
Apply at Cineworld.com/unlimited or ask a
member of staff for details
*Minimum subscription of 12 months. See subscription form or visit cineworld.com/unlimited for
terms & conditions.

PDF - Jameson Dublin International Film Festival

Transcription

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