Follow Me

Close

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.


Ross McDonnell is both a photographer and filmmaker, with credits in photography, cinematography and directing on several documentary films. Born in Dublin, Ireland in 1979. As a photographer, his work has been published in The New York Times, Art in America, The Observer, The Washington Post, The Irish Times, Fader magazine and more. A twp-time nominee for Irish Film and Television Awards, his films have screened at festivals around the world, including last year’s Elián, an official selection at the Tribeca Film Festival. A frequent collaborator with Alex Gibney, McDonnell worked on the director’s most recent film, No Stone Unturned – a documentary about a flare up of the violence of the Troubles in Co. Down in 1994, released last November.

 

Read more…

With a seemingly endless supply of big budget blockbusters, superhero flicks and glamorous award contenders on our screens, it can be hard to find the time for smaller, independent movies. Despite our endeavour to deliver you all things film, even we here at Film in Dublin have had some remarkable films fly under our radar throughout the past year. With this in mind, we have spent the holiday season looking back on this year’s greatest and most under-appreciated movies in an effort to prepare you for your annual office Oscar party. Now you can have bragging rights over the most obscure and brilliant films that your colleagues and friends may have missed in 2017!

Read more…

It has been a year. In 2017 there was a lot for film fans to contemplate, but in what they say on the screen and in the wider film business. Month after month, entertaining, challenging and interesting films found their way onto Irish screens, either from Hollywood or any number of our own talented Irish directors. It was a year where the sickeningly pervasive culture of abuse in cinema was thrust into the headlines by brave survivors no longer willing to suffer in silence. It was also a year in great filmmaking, where talented, diverse directors were given the opportunity to show their talent, several for the first time, where performances transported us just as believably to the far-off future, the underprivileged, overlooked present and even outside the fluid realm of time altogether. This is Film In Dublin’s list of the best films of 2017, the films that moved us, entertained us, opened our eyes and otherwise expressed everything that cinema is meant to be, in a year that showed that cinema doesn’t always achieve those lofty ideals behind the scenes.

Read more…

November 24 -26 will see the return of Dub Web Fest, Ireland’s celebration of online storytelling. Now in its third year, this film festival curated for online programming will have among its programme a MasterClass workshop in editing to be delivered by the experienced and renowned Irish editor Tony Kearns. From advertisements of the likes of Lynx, the Lotto and Playstation to acclaimed music videos including ‘Just’ by Radiohead and ‘Firestarter’ by The Prodigy, chances are high that you’ve seen his work, even if you haven’t realised it. More recently, Kearns has edited a number of feature films, including Cardboard Gangsters, the true crime drama set in the heart of Darndale. Film In Dublin spoke with Tony ahead of Dub Web Fest, to get his insights into the editing process.

Read more…

With the year that’s in it, it’s perhaps easy to imagine that we have reached gender parity in the film industry (or in Hollywood at least), what with Patty Jenkins behind the biggest blockbuster of the year and the success of female-driven stories like Atomic Blonde and The Beguiled. But considering Jenkins hadn’t directed a film for around 14 years since her debut, neither Marvel or DC had released a female-centric story in this decade of endless superhero movies and the percentage of films directed by women is the same as it was in 1998, we clearly have more steps to take. So we here at Film In Dublin have an announcement…

Read more…

70mm showings of Christopher Nolan’s Dunkirk have proven to be very popular at the Irish Film Institute, just one factor in making the historical epic a major hit at the Irish box office. As part of the IFI’s commitment to exhibit, preserve and educate, they’re no strangers to showing films in a variety of formats, with authentic prints of films like The Right Stuff being regular features of IFI programming. The most recently announced example is upcoming screenings of a new 70mm print of David Lean’s classic Lawrence of Arabia, which will be showing at the cinema from Oct 20 – 22. But what exactly is the difference between 70mm and the more modern digital? How do great films go from the booth behind you to the screen in front of you? It’s hardly just a matter of pushing play on a DVD, as the IFI’s projectionist Paul Markey explains. Film In Dublin spoke to Paul about the work that he does, different film formats and more.

Read more…

Dunkirk is one of those films that sets very high stakes for itself before the trailers are even released. Christopher Nolan took a risk tackling a subject that is still holds significance in the collective memory of so many. That said, the technical brilliance of the film is clear from poster to trailer to the film’s opening moments, so it’s to be expected that the Film In Dublin team would all end up watching Dunkirk on the big screen. We found that our opinions varied from Luke’s “all-out immersive assault on the senses” to “spectacle over emotion” and so we decided to collect some of our team’s reactions to one of the summer’s biggest films. Nolan has always been a divisive director and reactions to Dunkirk have been no different, so check out what our writers had to say.

Read more…

This Friday, the Irish documentary Revolutions opens in cinemas. Engaging and accessible, Revolutions offers a look into the rough and tumble world of the unconventional sport of roller derby, as well as a look into the lives of the women who play it. Beginning in 2011, the film follows the players and coaches of Dublin Roller Derby and the Cork City Firebirds, both competing separately and coming together to make up most of the Irish national team that travels to their first roller derby World Cup in Canada, competing against the likes of England and Argentina. Director Laura McGann has been promoting the film – her debut feature after numerous credits on TV shows and documentary shorts – ahead of a special Q&A to launch the film at the IFI on Friday. Film In Dublin spoke to Laura about the allure of roller derby, tension in the teams and the importance of keeping your distance when drinking coffee around athletes racing at high speed on skates.

 

Read more…

The summer season may not be delivering much thus far in terms of the big blockbusters, but thankfully as ever, anyone interested in supporting Irish cinema has plenty of options. Today sees the release of Darndale crime movie Cardboard Gangsters, but next week will deliver independent Irish cinema too, in the form of Twice Shy, a romantic drama by director Tom Ryan that has had success on the film festival circuit, including a screening at the Galway Film Fleadh, and a showing at the Irish Film Festival Australia that bagged Ryan an award for Best Young Director. Twice Shy tells the story of two young people falling in love, taking them from the debs in Tipperary to life attending college in the big smoke, interspersed with a car journey with a very important destination for them. Film In Dublin spoke to Tom Ryan about directing the film and the challenges of balancing its love story with more serious topics.

Read more…