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Film Submissions are now open for the third Dublin Smartphone Film Festival. The festival will be returning for 2020 after two widely successful sold out events. As Irelands only Smartphone Film Festival, the DUBSMARTFF aims to inspire budding directors as well as celebrate National and International filmmakers using Smartphones exclusively to tell their stories.

Dublin Smartphone Film Festival, organised by Film In Dublin alum Robert Fitzhugh, is accepting submissions now for their next festival from both local and International Filmmakers. They are expanding the scope of the event to include and Under 16 Category, looking for younger budding Filmmakers to submit their films either as individuals or in groups. Other Categories include best Fiction, Music video, Documentary, Animation, and 360/VR film. The festival advises that all entries should be no longer than 15 minutes in length. In 2019, the festival received over 100 submissions from over 24 countries and regions, ultimately screening the best 26 of the submissions at the event with the moving The Missing Things (Australia) directed by Jason Van Genderen winning the Grand prize.

After the success of the first two years, the Dubsmartff team are expecting an even larger number of submissions for year three. The festival programmers are on the lookout for captivating stories that take full advantage of the technology.

The Dublin Smartphone Film Festival is set to take place in January 2020 with the venue being announced in
the coming weeks.

The festival is open for submissions for 2020. Submission fees apply.

Entries can be sent to festival organizers via the Film Freeway portal found below.
https://filmfreeway.com/festival/DublinSmartphoneFilmfestival

Visit the Dublin Smartphone Film Festival online at  or
on social @dubsmarff

This International Women’s Day, Women in Film Television Ireland and the Irish Film Institute will be presenting a programme of shorts, to highlight and celebrate some of the brightest women directors working in film and television in Ireland today. ‘Brief Encounters: Women in Film and TV Short Film Showcase’ takes place in the IFI this week.

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Director: Marie Monge Starring: Stacy Martin, Tahar Rahim Running Time: 105 minutes


It’s common practice for films in France to have very different titles in their native tongue than in the translated English. Marie Monge’s Treat Me Like Fire goes by the more straightforward Joueurs (“Players”) when shown at home, as it was during last year’s Cannes Film Festival. They seem like very different names at a glance but both ultimately have the same energy; Treat Me Like Fire a Lana Del Rey-ven cigarette exhale on the film’s story of burning, fleeting, dangerous romance, while “Players” is more Stevie Nicks to the ears, an indication not just of the film’s gambling content but of the general circumstances under which players will love you.

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Director: Wanuri Kahiu Starring: Samantha Mugatsia, Sheila Munyiva Running Time: 82 minutes


One of 2018’s more underseen and personable films in a collection of new romantic comedies was Love Simon , a queer teen romance that managed to jog where other films had once walked, allowing itself to focus funly, freely and  matter-of-factly on the romance of its gay lead in a setting where other obstacles where pointedly settled. Wanuri Kahiu’s story of queer African adolescence deserves plenty of props for following in that vein as much as it can, focusing on the falling stage of two young Kenyan girls’ romance in spite of and beyond the very real national contextRafiki is a delicate but vibrant love story, a smile that can’t help breaking out.

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The New Music is a new Irish film about a classical pianist with Young Onset Parkinson’s disease who joins a Dublin punk band. It aims to shine a light on this rare and little known condition which affects those under 50 years of age.
The film has the full support of Young Parkinson’s Ireland and is currently raising funds to complete post production for its completion deadline in March.  As the film closes in on its funding goals, they have announced a table quiz night in an effort to secure the final funds needed for release.

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The Virgin Media Dublin International Film Festival 2019 has begun! Already the year’s seminal celebration of cinema in the fair city of film has held numerous exciting events. Just this morning, Irish filmmaker Paddy Breathnach hosted a workshop with Sean Bailey of Walt Disney Studios Motion Picture Production, engaging Irish industry professionals with one of the most prominent players. Young minds got a chance to have an early look at The Kid Who Would Be King, Joe Cornish’s exciting family adventure film. There’s a lot to keep track of and the festival hasn’t even had it’s Opening Gala yet, formally launching tonight with the Irish premiere of John Butler’s latest film, Papi Chulo .To help our readers navigate through this fantastic fortnight of film, we’ve picked out a couple of highlights from this year’s programme. You can check out the full schedule here but before then, make sure to give our highlights a look:

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Ahead of the release of Irish horror The Hole in the Ground, Film In Dublin caught up with director Lee Cronin and star Séana Kerslake to chat about filming in the forest, working with young actor James Quinn Markey and more.

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Director: Barry Jenkins Starring: KiKi Layne, Stephan James, Regina King Running Time: 117 minutes


“I hope that nobody has ever had to look at anybody they love through glass.”

The words of James Baldwin, from a character that sadly knows that plenty have had to look at someone they love through glass, or through some restriction or another, few, if any, deserving to have their full hearts clutched by oppressive fists. As a writer who felt even harder than he thought and had too many of his own restrictions, it’s hard to blame the writer for his frustrations that ignored that pathos. Writing about the cinema of his time that aimed to show the black experience, socially active author Baldwin only ever found it inadequate. Their feel-good narratives rang false, tripping gracelessly over themselves to reassure and reframe for guiltily ignorant, or ignorantly guilty, white audiences. We can’t speak for Baldwin, but in adapting his novel If Beale Street Could Talk, Barry Jenkins has clearly and skillfully endeavoured to present a lived experience that is genuine, lives that feel real, and a lush love story that is all the more enriched by that effort to be genuine.

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Different sponsor, same great programming – DIFF, now the Virgin Media Dublin International Film Festival, is back. The programme for the Dublin International Film Festival 2019 was launched in the fair city of film yesterday afternoon and tickets are flying off the shelf for a trove of fantastic films now.

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