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The short film In Orbit is dedicated to “the daoine who loved and those who couldn’t”. It’s a sci-fi story, or at least, a story rooted in a future looking back, that provides an insightful perspective on recent events in Ireland’s changing society and the impact that has on the people who live in it.In Orbit former optician Maura recounts her life story in an interview with the Head Archivist of the Human Experience Records, going over her memories as she meets Amy, a bright academic with broken glasses. For the first time in forty years, Maura wants to share her life. The only catch is leaving behind the world as she knows it.

Following on from In Orbit winning Best Irish Short at the GAZE LGBT Film Festival for 2019, Film In Dublin spoke to writer and director Katie McNeice about her process in making the film, its focus and more.

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Screenwriter and director Sarah Ingersoll has got a fair bit of miles in while learning her craft. A graduate of The Glasgow School of Art, Sarah’s has a background in visual art and photography which informs her writing and filmmaking. After directing her first student film in 2016 through the Galway Film Centre, Sarah went on to study screenwriting at The New School in New York. In 2017 her feature script The Keeper was selected as a finalist for Best Inception and Best Overall Script at the Oaxaca Film Festival. Sarah’s short screenplay The Bridge was chosen for the 2018 GFC/RTE Short Film Commission and under the direction of Mark Smyth, the short premiered earlier this month at Galway Film Fleadh. The film tells the story of Cormac who after the sudden death of his parents must choose between returning to his home village in the west of Ireland to care for his estranged younger brother, and a bright future in Canada. She is a recipient of the New Writing Development Loan 2018 from Screen Ireland. Also in July, the iffy Short Film Festival screened Somebody, Somewhere, Who Looks After Critters,  Sarah’s debut documentary short which focuses on the life of Alex Scade runs a one man animal sanctuary from his self-built cabin on the edge of the Beara peninsula in the southwest of Ireland. Film In Dublin spoke with Sarah to talk screenwriting, directing and the Jurassic Park vibes of emus. Read more…

Since graduating from the MET Film School in 2015, Megan K. Fox has been a prolific figure on the directing scene in Ireland. She has picked up awards and accolades for her short films Slow Down (2015), GIRL (2016), Calling Home (2017) and The Shift (2018), with another set for release this year in Cailín Álainn, a bilingual coming-of-age film about a transgender teen, which secured the inaugural Kerry Film Bursary and was shot this year 2019. Since being selected for selected for the RTÉ/Screen Skills Ireland’s New Directors Multi-Camera Training programme for continuing drama, Megan has been working with RTÉ, including earning her first TV credit this year for directing on Fair CityThe Shift, a comedy about young Denise (Fiona Bergin) desperate to get the shift at a Gaeltacht disco, has had continued success at festivals in Ireland and abroad since its release, most recently picking up the ‘little iffy’ award for best short at the July edition of the iffy Short Film Festival.  Film In Dublin caught up with Megan to talk about that success, film festivals, and working with other creatives, including the next generation of aspiring Irish directors.

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On Saturday 29th June, pianist Máire Carroll will be bringing her piano along to the Light House Cinema for a one night only musical event, “Reimagining the Movies“. An extensive performer worldwide and a winner of  numerous awards including the 2018 RDS Collins Memorial Prize, 2015 Tilestyle Artist Bursary and the 2012 RDS Music Bursary, Carroll will be performing some of her iconic film scores by some of cinema’s most loved composers alongside a number of guests, along with the premiere of her latest composition specially composed for the evening.

Ahead of her performance on Saturday, Film In Dublin spoke with the musician about the power of music on screen, her work and influences and more.

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You may not have heard, but long-running television epic Game of Thrones finished up its final season recently. Something so popular is always going to be divisive, and indeed this season and its final episode have been fairly divisive, some declaring it a fitting finale, while others petitioning that the final season receive a do-over with a whole new writing team. Such is the hyperbolic nature of the Internet. And in that hyperbolic spirit, one GoT fan got a little caught up in their enthusiasm this week, over-praising one of those “one perfect shots” from the final episode and sparking off a glut of memes.

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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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In Direct Line, Film In Dublin cuts to the chase, asking 20 questions of Ireland’s directors to get a brief look into their outlooks, influences and inspirations.

Hazardous Materials is a short film that looks at anxiety completely visually, without spoken dialogue, in an effort to convey something of the main character’s perspective on the world. Nora has trouble talking to anyone, and is scraping by day to day avoiding contact with people, while Rachel, a well meaning co-worker, wants to bring her out of her shell. When Rachel invites Nora to a house party – how will Nora react? The short has had considerable success at screenings so far, including a UK Premiere for World Mental Health Day and showings at 5 festivals/competitions to date.

Galway-based director Brian O’Brien has directed a number of shorts, but Hazardous Materials marks an impressive step forward for the developing director. Film In Dublin spoke to Brian for the direct line on his work.

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A Quiet Place was a stunning debut from John Krasinski, showing that the horror genre has the scope to be emotionally-intelligent when handled properly. The film follows Lee Abbott (played by John Krasinski), Evelyn Abbott (Emily Blunt) and their children, who are struggling to navigate a world overrun by violent aliens who are attracted by any level of noise. The only way to stay safe is to stay silent. Not an easy feat with young children in tow.

For a film built around silence to have such masterful foley is truly impressive; the distinctive clicks the aliens emit send your skin crawling. In limiting shots of the aliens head-on and teasing with glimpses and low angles instead, Krasinski creates and maintains a strong sense of dread which carries the film during its less eventful moments.

But what earns A Quiet Place a space on the best of 2018 list is its successful suturing of the audience into the mindset of its characters. Our fear is borne from what’s at stake for them, not jump scares or gore. We’re on edge because Lee is scared for his little girl, who can’t hear and is therefore the most at risk of making noise. We’re on edge because Evelyn is pregnant and that baby is bound to cry when it’s born.

When a film becomes an award season juggernaut in the way that The Shape of Water did, racking up 87 wins from 243 nominations at a variety of ceremonies, the front-runner sweeping home on the way to Oscar wins that included Best Picture and Best Director, it’s becomes enveloped forever into that context, forever on a pedestal, conversations around it forever centered on which wins it did or didn’t deserve, if it being the most successful film from those who created it makes it the best one, and whether or not its that most useless word in film criticism, “overrated”. Discussing the merits of The Shape of Water is even more difficult than most examples of those discourse victims, as it’s not only the Homecoming King of 2017/2018 Awards Season, it’s also forever the Fish Fucking Movie.

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