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It’s a summer of 70mm at the Irish Film Institute, as they announced yesterday afternoon a trio of classics to be shown on film over the next three months. Beloved hits all, tickets for these 70mm films are sure to sell out fast. Screenings of films in this classic format have traditionally been a hit with the IFI crowd and following on from last year’s successful showings of films old and new like Lawrence of Arabia and Dunkirk, this format returns for a season in the sun.

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A psychosexual season of cinema begins at the Irish Film Institute this evening titled ‘Killer Couples’. Classic films from across the history of the medium that mix love and criminality will screen at the IFI throughout June.

Mixing salacious genre-films with more fact-based stories, ‘Killer Couples’ has been curated to explore films featuring couples complicit together in the act of murder. From gold-standard noir like Double Indemnity to the subservice teen film Heathers (currently being controversially, wrong-headily reimagined), to films inspired by real-life cases such as Richard Flesicher’s Compulsion, IFI are aiming not to glamorise the connection, but rather to provide a snapshot view of the artist and the audience’s fascination with sex and death, and the connection between the two. The nine film collection includes a wide-range of creative talents, with the words of Dalton Trumbo and Quentin Tarantino, the cameras of Sam Peckinpah, Billy Wilder and Peter Jackson and much more on offer from an intriguing mix of noir.

Check out the full selection of films below. Tickets are available now from the IFI. (Film descriptions below are from the IFI)

Double Indemnity – Wednesday 6th June 2018, 6.20pm

Double Indemnity is considered to have set the template for film noir. Based on a novella by James M. Cain, whose work would also provide the source material for films such as Mildred Pierce (Michael Curtiz, 1945) and The Postman Always Rings Twice (Tay Garnett, 1946), it is the story of insurance salesman Walter Neff (Fred MacMurray), who begins an affair with Phyllis Dietrichson (Barbara Stanwyck), the wife of one of his clients. When her questions lead him to believe that she is considering murdering her husband, he resists at first before becoming a willing collaborator, leading to a maze of complications and double-crosses in this hardboiled classic.

 

Compulsion – Sunday 10th June 2018, 3.45pm

Richard Fleischer made a number of films throughout his career that focused on real life killers, including The Boston Strangler(1968) and 10 Rillington Place (1971). Compulsion is based on the infamous 1924 Leopold and Loeb case that also provided the inspiration Alfred Hitchcock’s Rope (1948) and Tom Kalin’s Swoon(1992).

Here, close friends Judd Steiner (Dean Stockwell) and Artie Strauss (Bradford Dillman) are the egotistical pair who murder a boy simply for the thrill, convinced that their preparations and intellectual superiority will obviate all consequences. When this assumption proves incorrect, their case is taken by famed attorney Jonathan Wilk (Orson Welles, in a part based on Clarence Darrow).

 

The Getaway – Wednesday 13th June 2018, 6.20pm

Jim Thompson’s crime fiction has been adapted by directors such as James Foley (After Dark, My Sweet, 1990), Stephen Frears (The Grifters, 1990), and Michael Winterbottom (The Killer Inside Me, 2010), while Thompson also co-wrote the screenplay for Stanley Kubrick’s The Killing (1956).

Sam Peckinpah’s take on his work stars Steve McQueen as ‘Doc’ McCoy, inmate of a Texas prison, who persuades his wife Carol (Ali McGraw) to use her wiles on a corrupt and influential businessman in order to secure his release. In return, Doc is forced to participate in a bank robbery that quickly goes wrong, forcing the troubled couple on the run in an entertaining thriller replete with Peckinpah’s trademark balletic violence.

 

Lift to the Scaffold – Sunday 17th June 2018, 3.30pm

Louis Malle’s debut feature gave the conventions of film noir a Gallic twist, incorporating stylistic elements such as photography and lighting that would soon become familiar to viewers as characteristic of the Nouvelle Vague, set to a score by the legendary Miles Davis. Florence (Jeanne Moreau) and Julien (Maurice Ronet) are lovers intent on killing her husband, who is also his boss. Immediately after the deed, Julien is trapped between floors in a lift.

Meanwhile, his car and identity are stolen by Louis (Georges Poujouly) and Véronique (Yori Bertin), a young couple whose own night is about to take a murderous turn, complicating matters for both lethal pairs.

 

Pretty Poison – Wednesday 20th June 2018, 6.30pm

The first film from director Noel Black is a jet-black comedy stars Anthony Perkins as Dennis Pitt, recently released from a mental institution. A compulsive fantasist, Dennis finds an eager listener in teenager Sue Ann (Tuesday Weld), who is entranced by his tales of life as a CIA operative.

When he brings her along on a supposed mission to foil a Communist plot, the truth of what lies behind Sue Ann’s innocent face is revealed when she murders a security guard without hesitation. As the body count grows, Dennis is reduced to the status of horrified bystander, subject to her manipulation and cold-blooded nature.

 

The Honeymoon Killers – Saturday 23rd June 2018, 3.30pm

This is one of the great American crime movies and deserves better than its reputation as a minor cult classic. Ray (Tony Lo Bianco) is a swindler who uses the lonely hearts columns to prey on women by promising love and marriage.

Martha (Shirley Stoler) could have been one of Ray’s victims but instead becomes his lover and associate in crime. The couple prove to be a lethal combination when they operate as a brother-sister team, with Ray’s philandering and Martha’s jealousy leading to a string of gruesome murders. Director Leonard Kastle’s take on this material is fascinating and his treatment never less than inspired, resolutely refusing to glamourise either the killers or their victims.

 

Natural Born Killers – Sunday 24th June 2018, 3.30pm

Arguably the most infamous of films featuring killer couples, and one of the most controversial films ever made, Oliver Stone’s social and cultural satire has grown in power in the years since its release.

Mickey and Mallory Knox (Woody Harrelson and Juliette Lewis), who meet when Mickey saves her from her abusive home, embark on a killing spree given such coverage by the media that they become folk heroes before their capture. However, imprisonment proves a mere stepping stone to even greater mayhem. Stone’s film is a visceral experience, its frenetic style of shooting and editing perfectly in tune with an era of media saturation and questionable celebrity.

 

Gun Crazy – Thursday 28th June 2018, 6.30pm

With a screenplay by the then-blacklisted Dalton Trumbo, Gun Crazy features John Dall as Bart Tare, a young man who, despite his gentle nature, is fascinated by guns, spending some time in reform school as a teenager for the theft of one. Following a spell in the army, he meets and marries carnival sharpshooter Annie Laurie Starr (the late Irish actress Peggy Cummins).

However, Laurie’s life is one of crime, one in which she forces her husband to become complicit. Featuring a bravura one-take sequence of a bank heist, the film is something of a precursor to Arthur Penn’s Bonnie and Clyde (1967) in its audacious blending of violence and sexuality.

 

Heavenly Creatures – Saturday 30th June 2018, 6.20pm

Something of an anomaly in a career that began with splatter comedy such as Bad Taste (1987) before moving on to Tolkien adaptations, Peter Jackson’s stylish and compelling Heavenly Creatures, based on real events, stars Kate Winslet and Melanie Lynskey in their screen debuts as Juliet Hulme (now better known as author Anne Perry) and Pauline Parker.

In 1950s New Zealand, the two teenagers, both outsiders, form an obsessive bond, creating their own elaborate fantasy world, over which they rule. Suspecting a sexual undercurrent to their relationship, Pauline’s mother Honora (Sarah Peirse) tries to keep the two apart, unleashing a desperation in the girls that leads to her murder.

 

The Irish Film Institute yesterday announced a pair of programmes that fit perfectly in our paranoid times. This May, the IFI will present ‘Trust No One’, a season of classic political thrillers from around the world. Running alongside that will be ‘Fake Views’, a combined effort with the Science Gallery at Trinity College Dublin.

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It’s a good month for festivals in the fair city of film. With the East Asia Film Festival opening last night at the IFI and the Japanese Film Festival kicking off throughout the country this weekend, the time is perfect to get out of the April showers and into a cinema. Also this month is the return of the Dublin Sci-Fi Film Festival, and last night the festival held a launch party in the Generator Hostel in Smithfield. With the launch complete and the full schedule of films now announced, the second year of one of Dublin’s top film festivals is ready to get underway at the end of the month.

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The 2018 Audi Dublin International Film Festival kicks off tomorrow evening, and among the many high-profile films on shows, the premieres and the long-awaited international success stories are a number of exciting programmes celebrating both the storied past and the exciting future of film. One example of the former will be taking place at the Irish Film Institute this February, showcasing the work of a man who might be Ireland’s most successful and influential export to Hollywood. Even if he’s a name you might not have heard of.

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Journalists. Intrepid crusaders for truth and justice, or cynical slingers of sensationalism and the now-dreaded ‘fake news’? It might be some combination of the two (except of course for self-appointed film critics, whose dedication and value are without question), but the world of journalism has always been of interest to filmmakers, with its capacity for high stakes, morality plays and occasionally, a quickly-escalating news team brawl. All through September into early October, the Light House Cinema will be screening an extensive selection of great films about journalists, news anchors, newspaper men and more in the media, with classics both cult and canonised from some of the biggest names in Western filmmaking. Exploring journalism in all its forms, ‘Hacks’ season is here and we have the full schedule for you to peruse.Read more…

Saturday, September the 16th sees the Irish Film Institute open their doors for one of the most anticipated events of the year in Dublin for cinema fans: The IFI Open Day. With the chance to see some fantastic films for free and the opportunity to see firsthand the work the IFI puts into their mission to ‘Exhibit, Preserve and Educate’ with tours of Paul Markey’s Projection Booth and the Digital Restoration Suite, it’s always something to look forward to and with 2017 being the 25th anniversary of the IFI’s landmark premises in Temple Bar, they’re celebrating with a lineup of films, announced yesterday, that has some real standout cinema.

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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.

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Happenings love of sharing cinema in the great outdoors has brought some great evenings to Dublin film fans in the past, including Sing Street and other Irish favourites around the county for this year’s St. Patrick’s Festival and last year’s Centenary Cinema events for the 1916 anniversary. The most recent edition of Happenings’ Open Air Cinema will offer a unique experience for cinephiles, as they’ll be showing a silent horror classic in Mount Merrion this Saturday.

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This coming Friday is already the last of the month (how on Earth are we already looking into July?) and that means that Grindhouse Dublin will once again be taking a cult classic straight out of a grimy picture house down a 70’s side street in New York and transporting it to the modern day, and the considerably nicer setting of the Light House Cinema. This month, Grindhouse Dublin will be showing one of the all time great martial arts movies, Bruce Lee’s beloved and innovative Enter the Dragon.

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