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For the last few years the Bleeding Pig Film Festival has a passion for bringing independent film to the local community. The main focus is on Irish short film, with the odd international twist thrown in also. Since starting on 2016, the Bleeding Pig Film Festival has showcased some of the best talent in the local Fingal area to, as well as more well known and award winning films, sharing a diverse, creative voice with the audience. Through Q&As and the intimacy provided by its traditional setting of Keeling’s in Donabate, it aims to bridge the gap between filmmaker and film fan in the fair city of film. Next month, the festival returns, with a prominent Irish feature added to the ranks of its shorts.

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The full programme for the 17th edition of the Irish Film Institute’s  Documentary Festival has been announced. With fifteen features, including 10 Irish premieres, and the always insightful and keenly awaited Irish shorts programme, the IFI Documentary Festival 2019 looks set to continue a great year of  Irish and international documentary being showcased in the fair city of film.

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As if the attractions at the GAZE LGBT Film Festival this or any year could be limited to a mere five standouts! Still, as one of the standout annual events in the fair city of film, both as a consistently excellent programme of cinema and as one the country’s biggest LGBT gatherings outside of Dublin Pride, GAZE generates considerable excitement every summer and it’s worth looking at why. The mood of film fans is buzzing nicely ahead of GAZE 2019’s Opening Gala taking place tonight, a sold-out screening at the Light House Cinema of the documentary Deep In Vogue. You can get an overview of this year’s programme here, but with so much to choose from in the five days of film ahead, we look at five reasons why you must get yourselves into the screens for GAZE 2019.

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Last November saw the first edition of the iffy Short Film Festival, a bite-sized selection of shorts for Liffey-side lovers of film. The festival will be making its return early next month, with another batch of movie bouches. A festival that embraces and celebrates the potential and power of the short film on its own merits, iffy will be returning for its 3rd edition in the coming weeks, with 9 films to be shown in total.

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It’s easy to be cynical when it comes to movies for kids, especially during the summer. A succession of safe, loud, obnoxious films are nearly always lined up for the school break months, lingering at the box office until well into September. Even the quality ones with craft and ambition put into them can feel like IP-introductory exercises, maintaining brand awareness in the first two quadrants into infinity and beyond. But be cynical no more! (Maybe get a bit of lunch in and lighten up…)

The IFI Family Film Festival, the Irish Film Institute’s annual event of cinema catered to young viewers, returns in July with a programme of international treats to entertain film fans of all ages, whatever the weather.

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The China Ireland International Film Festival aims to introduce the best Chinese filmmakers and film works to Ireland, brings Chinese films to the Irish film audience, allowing a more direct experience of Chinese art. In the same vein, a number of Irish films will be screened during the festival, the better to share some of the best of Irish filmmaking in the 21st century.

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Cinemagic Film and Television Festival for Young People returns to Dublin this May and June with a programme jam packed full of diverse creative opportunities to inspire and motivate young people. This year will see a number of new exciting elements added to the programme and visits from representatives fromAardman Animations, Brown Bag Films and Cartoon Saloon! A new screening series entitled Talking Pictures will offer the chance to view Irish movies with talks from filmmakers and film professionals involved in the productions. Among the industry names who will take part will be Frank Berry, Carmel Winters, Lee Cronin, Aislinn Clarke, Paddy Breathnach and Andrew and Ryan Tohill. For an even more immersive experience, young people can be part of the first Cinemagic Talent Lab Boot Camp  for 16+yr olds and it will include masterclasses, seminars and Q&A’s with film professionals who will provide insight into the industry in a range of disciplines such as Production Management, Assistant Directing, Editing, Camera, Sound, Art Department & Costume, Hair and Makeup and Location Management.

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The 2019 edition of the Japanese Film Festival will feature as always a diverse and packed programme of films, including work from some of the most acclaimed filmmakers from contemporary Japanese cinema, and covers a variety of themes, genres and topics. Eagerly anticipated and already well-received films from Japan will be screened throughout. With this year 2019 marks the 11th year of The Embassy of Japan’s collaboration with access>cinema. With the help of various supporters, including the Ireland Japan Association and the Japan Foundation, JFF 2019 is set to bring the very best of Japanese cinema to Irish screens this April.

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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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