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Director: Joe Wright Starring: Gary Oldman, Kristen Scott Thomas, Lily James, Ben Mendelsohn, Stephen Dillane Running Time: 125 minutes


When the Bard gets boring, it’s increasingly appealing to distinguished actors to turn to Winston Churchill for their monologue jollies; “we shall fight them on the beaches” being as suitable for performance as anything Shakespeare ever did. Through various films, such noteworthy performers as Albert Finney, our own Brendan Gleeson, Brian Cox last year and um…Christian Slater, have donned the bowler hat, stuck up a V-sign and gotten down to speechifying, and now Gary Oldman picks up that mantle. Unrecognisable in impressive make up, Oldman’s turn in Darkest Hour is being put forth as a showcase for the veteran, a big Oscar-grabbing performance in a film that looks, as many do, back at Britain’s ‘darkest hour’ also in some ways as its finest. Let’s not forget, there was literally a film about this exact same time-period titled Their Finest released just last year. Rarely, if ever, do films of this type want to engage with Churchill the racist, the Churchill that sent soldiers into Tonypandy or helped starve India, or set up the Black and Tans and Darkest Hour is no exception, an effort to rouse and court applause and though it’s definitely well-made enough to receive that in some quarters, the film and Oldman’s central performance are both at their best when they tone down the bombast and openly admit just how close Britain came to ruin.

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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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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.

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Director: Christopher Nolan Starring: Fionn Whitehead, Mark Rylance, Tom Hardy, Harry Styles, Cillian Murphy, Aneurin Barnard, Barry Keoghan Running Time: 107 minutes


There is something perfect about Christopher Nolan directing a war film. Christopher Nolan, often brilliant, sometimes befuddling, always big. The man who turned superhero vs cartoon villains stories into post-9/11 think pieces and insisted that dreams have very strict rules. The man who directed Anne Hathaway monologuing among the stars about the meaning of love with all the tender feeling of an alien looking in at her through the window. Nolan has made his name with meticulous filmmaking and technical prowess rather than emotional depth and his 10th and possibly best film puts him at his greatest distance; he’s a general surveying a map moving tiny pieces across it, planning explosions not speeches. Nolan’s telling of the evacuation of British forces from Northern France after the disastrous battle of Dunkirk certainly has the emotions there if you want them – this actually happened, people actually lived or died as a consequence of what’s depicted here – but only Kenneth Branagh as a Commander overseeing the events, has much time for teary-eyed bluster for the homeland. Everyone else is too busy scrambling for survival.

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