ADIFF: Paul Schrader recieves Volta

Acclaimed director and screenwriter Paul Schrader tonight receives the Audi Dublin International Film Festival’s prestigious Volta Award at the Irish Premiere of First Reformed.

Paul Schrader, renowned director of films such as Blue Collar, Hardcore, American Gigolo, Mishima: A Life in Four Chapters, The Comfort of Strangers, Light Sleeper, Patty Hearst, and Affliction among many others, and screenwriter of Taxi Driver and Raging Bull, tonight receives the Audi Dublin International Film Festival’s highest honour, the Volta Award, at the Irish Premiere of his new film First Reformed. The Volta Award celebrates the careers of individuals who have made a significant contribution to the world of film. Paul Schrader’s visit to ADIFF will include an in-depth Public Interview in the O’Reilly Theatre, broadcast live as an RTÉ Radio 1 Arena Special, and will introduce a series of screenings of films that have inspired him. Tickets are available to book now at www.diff.ie.

Gráinne Humphreys, Festival Director, said “I’m thrilled that the Audi Dublin International Film Festival will tonight bestow our highest honour, the Volta Award, to one of the great writer-directors at the Irish Premiere of his new film First Reformed. Paul Schrader started his career as one of the talented young filmmakers who were at the centre of an extraordinary renaissance of American cinema in the 1970s. Schrader has also had a remarkable career as a director and, as a critic, he’s a passionate advocate and interrogator of film culture.”

In First Reformed, ex-military chaplain Toller (Ethan Hawke) is tortured by the loss of the son he encouraged to enlist and struggles with his faith. A faith that’s challenged by befriending a radical environmentalist, Michael, and upon learning of his church’s complicity with unscrupulous corporations.

Previous winners of Audi Dublin International Film Festival’s Volta Award include Al Pacino, Julie Andrews, Danny DeVito, Daniel Day-Lewis, Joss Whedon, Brendan Gleeson, Angela Lansbury, Stanley Tucci, Stellan Skarsgård, Kristin Scott Thomas and Ennio Morricone. The Volta Award is named after Ireland’s first dedicated cinema, the Volta Picture Theatre on Mary Street in Dublin, which was opened on the 20^th December 1909 by an enterprising young novelist named James Joyce.

Schrader will be this year’s ADIFF Guest Curator, selecting and introducing three films that have inspired his own work as a filmmaker including Robert Bresson’s Pickpocket (1959), Yasujirō Ozu’s An Autumn Afternoon (1962), and Donald Cammell & Nicolas Roeg’s Performance (1970).

Tickets for the Public Interview and the Paul Schrader season are available now via the ADIFF Box Office (www.diff.ie or 01 687 7974). 

SCHEDULE Paul Schrader – ADIFF 2018 Guest Curator 

Thursday 22^nd February
18.00 (Cineworld) First Reformed (Irish Premiere with Q&A and Volta Award Presentation)

Friday 23^rd February 
14.00 (Lighthouse Cinema)  – Pickpocket (1959), introduced by Paul Schrader
16.00 (Lighthouse Cinema) – Performance (1970), introduced by Paul Schrader
18.45 (O’Reilly Theatre) – Paul Schrader Public Talk 

Saturday 24^th February
14.00 (Lighthouse Cinema) – An Autumn Afternoon (1962), introduced by Paul Schrader

ADIFF 2018: Paul Schrader

Acclaimed director and screenwriter Paul Schrader will receive the prestigious Volta Award and present his new film First Reformed at the Audi Dublin International Film Festival 2018.

Ethan Hawke, Amanda Seyfried and Paul Schrader during the ‘First Reformed’ photocall at the 74th Venice International Film Festival at the Palazzo del Casino on August 31, 2017 in Venice, Italy

Paul Schrader, renowned director of Blue Collar, Hardcore, American Gigolo, Mishima: A Life in Four Chapters, The Comfort of Strangers, Light Sleeper, The Canyons and Affliction, and screenwriter of Taxi Driver and Raging Bull, will visit the Audi Dublin International Film Festival (21st Feb- 4th March) to receive a Volta Award at the Irish Premiere of his new film First Reformed on Thurs 22^nd February 2018 at 6pm, and will also curate a special season of screenings and events that includes an in-depth Public Interview.

Gráinne Humphreys, Festival Director, says “Paul Schrader started his career as one of the talented young filmmakers who were at the centre of an extraordinary renaissance of American cinema in the 1970s. Schrader has also had a remarkable career as a director and, as a critic, he’s a passionate advocate and interrogator of film culture. I know my excitement at his visit and the Irish Premiere of First Reformed will be shared by many of Dublin’s cinema fans and we’re delighted to be honouring him with ADIFF’s prestigious Volta Award”. Previous winners of ADIFF’s Volta Award include Al Pacino, Julie Andrews, Danny DeVito, Daniel Day-Lewis, Joss Whedon, Brendan Gleeson, Angela Lansbury, Stanley Tucci, Stellan Skarsgård, Kristin Scott Thomas, and Ennio Morricone. The Award is named after Ireland’s first dedicated cinema, the Volta Picture Theatre on Mary Street in Dublin, which was opened on the 20^th December 1909 by an enterprising young novelist named James Joyce.

In First Reformed, ex-military chaplain Toller (Ethan Hawke) is tortured by the loss of the son he encouraged to enlist and struggles with his faith. A faith that’s challenged by befriending a radical environmentalist, Michael, and upon learning of his church’s complicity with unscrupulous corporations.

Schrader will also be this year’s ADIFF Guest Curator, selecting and introducing three films that have inspired his own work as a filmmaker including Robert Bresson’s Pickpocket (1959), Yasujirō Ozu’s An Autumn Afternoon (1962), and Donald Cammell & Nicolas Roeg’s Performance (1970).

Tickets for the Irish Premiere of First Reformed and the Paul Schrader season are available now via the ADIFF Box Office (www.diff.ie or 01 687 7974). Discount packages are available for the full Paul Schrader season and for First Reformed + the Paul Schrader Public Talk.

SCHEDULE Paul Schrader – ADIFF 2018 Guest Curator

Thursday 22^nd February
18.00 (Cineworld) First Reformed (Irish Premiere with Q&A and Volta Award Presentation)

Friday 23^rd February
14.00 (Lighthouse Cinema)  – Pickpocket (1959), introduced by Paul Schrader
16.00 (Lighthouse Cinema) – Performance (1970), introduced by Paul Schrader
18.45 (O’Reilly Theatre) – Paul Schrader Public Interview 

Saturday 24^th February
14.00 (Lighthouse Cinema) – An Autumn Afternoon (1962), introduced by Paul Schrader

Tarzan swings in to Bloom

Warner Bros. have commissioned multiple Gold Medal Winners Liat & Oliver Schurmann to create The Legend of Tarzan Garden which will be unveiled as part of this year’s Bloom 2016 Festival on June 2^nd. Inspiration for the garden comes from the upcoming adventure film The Legend of Tarzan, starring Alexander Skarsgård as Tarzan and Margot Robbie as Jane, which swings into Irish cinemas on July 8^th 2016.

The garden invites visitors into a verdant African jungle, which incorporates an overhead canopy of foliage and a sparkling water feature, truly a magical place that will inspire the imaginations of children and adults alike. In the distance, an army of gorillas reflects the wildness of Tarzan’s tropical home. The hanging mist and mysterious sounds transport the visitor into the rain-forests of Africa, to experience in person the atmosphere of Edgar Rice Burroughs’ beloved creation. Liat & Oliver Schurmann run Mount Venus Nursery in Dublin, a specialist nursery for unusual perennials and grasses. They have supplied plants to Buckingham Palace, and have won many gold medals for floral displays and exhibits. They design gardens in the public sector as well as providing consultancy and giving talks, and have a reputation for extraordinary design, combining practicality with sustainability.

Bord Bia’s Bloom event will take place in the Phoenix Park, Dublin from Thursday 2^nd June – Monday 6^th June. This year marks its 10^th anniversary, and as Ireland’s largest gardening, food and family festival it is now a key feature of the June bank holiday weekend; with more than 100,000 visitors last year. The annual showcase for Ireland’s horticulture and food industry will feature a range of impressive show gardens, food features, and family entertainment. Tickets are on sale now on www.bloominthepark.com and kids go free. Visitors to the garden will have the opportunity enter a competition to win tickets to the European Premiere of The Legend of Tarzan in London on July 5^th.

The Legend of Tarzan finds Tarzan leading a gentrified life as Lord Greystoke with his beloved wife Jane at his side.  But, invited back to the Congo to serve as a trade emissary of Parliament, he becomes a pawn in a deadly game of greed and revenge masterminded by Belgian Captain Leon Rom (Christoph Waltz), who has no idea what primal fury he is about to unleash… The question of whether it’s wise to use the unimaginable horrors of the Belgian Congo as so much cod-historical backdrop for an action romp is probably not one that concerned screenwriters Adam Cozad and Craig Brewer. Harry Potter main-man David Yates is directing, not Nicolas Roeg or Francis Ford Coppolla, so such ahistoric set-dressing was never going to yield to an agonised cri de couer like Heart of Darkness.

9 Days of 90s Horror

Hallowe’en comes to the Lighthouse with 9 days of 90s horror films from 23^rd to 31^st October culminating in a Scream-themed party before a screening of the late Wes Craven’s third reinvention of horror cinema.

While the IFI’s Horrorthon unleashes a slew of new genre entries, the Lighthouse will hark back to the 1990s; the origin of the ‘ironic slasher’ sub-genre which was murdered by torture porn, and found-footage, which, like many a horror bogeyman, just won’t die. In association with the Bram Stoker Festival the 90s Vampire strand brings Francis Ford Coppola’s 1992 adaptation of Stoker’s text back to the big screen, placing it beside other 90s vampire movies Blade, From Dusk Till Dawn, and the original iteration of Buffy the Vampire Slayer. The most important film being screened, however, is Scream. Wes Craven redirected the current of horror cinema three times: Last House on the Left, A Nightmare on Elm Street, and Scream. Teamed with razor-sharp screenwriter Kevin Williamson he delivered a totemic movie well worthy of a Scream-themed Hallowe’en night costume party.

FROM DUSK ‘TILL DAWN

Friday 23^rd October 10:30pm

Quentin Tarantino and Robert Rodriguez’s first blood-soaked collaboration is presented in a digital restoration; that won’t make QT happy… A grimy, violent B-movie about a seedy Mexican bar that happens to be crawling with vampires this had its origins in VFX guys wanting a showcase script for their handiwork. So, after some quintessentially Tarantinoesque build-up, with fugitives George Clooney and Tarantino trading taunts and riffs with their hostages Harvey Keitel and Juliette Lewis, Rodriguez’s aesthetic takes over: Salma Hayek and energetic mayhem.

BLADE I & II – (Double Bill)

Saturday 24^th October 9:00pm

Never let a high concept get in the way of a good double bill! Guillermo Del Toro’s 2002 sequel sees humans and vampires form an uneasy alliance to defeat the mutated vampires known as ‘Reapers’, who threaten to infect and/or eat everyone. But first we have to see Wesley Snipes’ vampire superhero take down Stephen Dorff, with some help from Kris Kristofferson, in the 1998 debut of the ‘Daywalker’. All together now: “Some motherf****** are always trying to ice-skate uphill.”

BUFFY THE VAMPIRE SLAYER

Sunday 25^th October 10:30pm

Nothing bad is ever Joss Whedon’s fault. That trope began here. His script for this 1992 teen comedy was apparently neutered in production, leading Whedon to dream it all up again for TV; where, even as show-runner, season 4 was also somehow not his fault. Buffy’s cinematic origin story isn’t a patch on the TV development, and, while Donald Sutherland’s Watcher and Rutger Hauer’s Master Vampire add class to proceedings, this is more interesting as a time capsule (Look! It’s Luke Perry!).

BRAM STOKER’S DRACULA

Monday 26^th October 3:30pm

Director Francis Ford Coppola’s screenplay differs wildly from Stoker’s book. Coppola fixated on a ‘true love never dies’ doppelganger love story between Gary Oldman’s Count and Winona Ryder’s Mina Murray, that shaped Jonathan Rhys-Meyers’ recent steam-punk TV adaptation. Cast adrift amidst outré sets that bellow their obvious artifice, Anthony Hopkins as Van Helsing and Keanu Reeves as Jonathan Harker try to ground things, but the best verdict remains Winona Ryder’s acidic “I deserved an Oscar for the job I did promoting that movie…”

SILENCE OF THE LAMBS – (Cinema Book Club)

Tuesday 27^th October 8.00pm

The Halloween edition of the Lighthouse’s Cinema Book Club is Jonathan Demme’s film of Thomas Harris’ best-selling chiller. Harris’ universe has been thoroughly mined, most recently in Bryan Fuller’s hallucinatory series Hannibal, but this 1991 Oscar-winner was the breakthrough adaptation. Jodie Foster’s FBI rookie Clarice Starling and Anthony Hopkins’ imprisoned cannibal Hannibal Lecter are indelible performances. It’s become fashionable to disparage this in favour of Manhunter, but there’s a reason few people ever saw Brian Cox as Hannibal Lecter…

THE BLAIR WITCH PROJECT

Wednesday 28^th October 8.30pm

The greatest horror producer of the 21^st century Jason Blum passed on this at Sundance, and has been kicking himself ever since. Some people at early screenings in 1999 thought that this was real; giving its unnerving ending enough power to create a buzz that made it a sensation. It wasn’t real. It was, however, the moment where found-footage horror stomped into the multiplex and declared it would never leave, all because of an unsettling walk in the woods in Burkettsville, Maryland.

WES CRAVEN’S NEW NIGHTMARE

Thursday 29^th October 8.30pm

Wes Craven wrote and directed this late meta-instalment in the franchise he had kicked off with his original vision of Freddy Kreuger. Heather Langenkamp, Nancy in 1984’s Nightmare on Elm Street, plays herself; plagued by dreams of a Freddy Kreuger far darker than the one portrayed by her good friend Robert Englund. Featuring cameos from several of the original cast and crew Craven produces a postmodern musing on what happens when artists create fictions that take on a life of their own.

CANDYMAN

Friday 30^th October 8.30pm

Bernard Rose’s cult classic, an adaptation of genre legend Clive Barker’s The Forbidden, follows a thesis student who is researching urban legends. Unfortunately for him he discovers the terrifying world of ‘Candyman’, the ghost of a murdered artist who is summoned by anyone foolish to say his name out loud into a mirror five times. Masterfully made, still absolutely terrifying, and the reason we all cheer whenever Tony Todd makes a cameo ever since, this also features the unlikely bonus of a Philip Glass score.

HOCUS POCUS, Kathy Najimy, Bette Midler, Sarah Jessica Parker, 1993

HOCUS POCUS

Saturday 31^st October 3.00pm

A token film for the kids is 1992’s Hocus Pocus. Why the misfiring hi-jinks of Bette Midler, Sarah Jessica Parker, and Kathy Najimy’s trio of Salem witches is perennially on TV is a mystery, but to present it as the essential kids’ Hallowe’en film is an enigma wrapped inside a riddle. Especially when Nicolas Roeg’s film of Roald Dahl’s The Witches, starring a scary Anjelica Huston as the Grand High Witch, dates from 1990…

SCREAM I & II – (Double Bill & Party)

Saturday 31^st October 9.30pm.

Neve Campbell confidently carries this 1996 classic, a blackly hilarious self-aware dissection of slasher clichés which is also a brilliant slasher filled with tense sequences. Williamson’s delicious dialogue (“Movies don’t create psychos, they just make psychos more creative…”) is brought to memorable life by an ensemble on truly top form, with star-making turns from Jamie Kennedy, David Arquette, Rose McGowan, and Skeet Ulrich. 1997’s sequel isn’t quite as good, but Kevin Williamson’s dialogue remains a joy, there are some nail-biting moments, it’s as subversively self-aware as 22 Jump Street of its sequel status, and uses Timothy Olyphant, Sarah Michelle Gellar, Jerry O’Connell, and David Warner to great effect.

‘9 Days of 90s horror’ ends with a Scream-themed Hallowe’en party preceding the Scream double bill, beginning at 8pm. Dress as your favourite 90s horror icon and enjoy the ironically-named cocktails, soundtrack of 90s hits, and general japery all related to Wes Craven’s classic slasher.

TICKETS FOR 90S VAMPIRE FILMS:

http://www.lighthousecinema.ie/newsarticle.php?sec=NEWS&_aid=8323

 

TICKETS FOR 90S HORROR FILMS:

http://www.lighthousecinema.ie/newsarticle.php?sec=NEWS&_aid=8455

Top 10 Scary Movies

Hallowe’en is almost upon us! This weekend Contagion, Demons Never Die, Paranormal Activity 3, Don’t Be Afraid of the Dark and others will all contend for the horror audience at the multiplexes, while the Screen’s Monster Mash and especially the IFI’s Horrorthon with special guest (and cult hero) Michael Biehn (Aliens, Planet Terror) will cater for the hardcore ghouls. But if you’re staying in for TV or DVD scares instead here’re quality shockers to get you thru the horrid holiday.

(10) Psycho
Hitchcock’s 1960 low budget classic influenced all the other films on this list as it dealt a tremendous hammer blow to restrictions on cinematic violence. Hitchcock’s direction is almost parodically showy as the first act of the film is essentially an enormous shaggy-dog story, setting up a number of prolonged blackly comic sequences. Anthony Perkins’s Norman Bates is a terrific resonant villain, especially in the chilling final scene scored by Bernard Hermann with full-on Schoenbergian atonal serialism, while the shower scene with Janet Leigh being slashed to Hermann’s bravura stabbing violins orchestration remains an iconic ‘pure cinema’ scare.

(9) The Host
You may not have heard of this one before but this recent Korean effort is already well on its way to classic status. A hilariously dysfunctional Korean family try to save their abducted youngest member from a mutated monster created by American polluters. Brilliant special effects create scares aplenty while the script is both scathing of American power politics and sublimely absurdist. This pre-dates Rodriguez’s Planet Terror in collecting misfit characters with useless skills, like a hesitant Olympic archer and a Molotov cocktail flinging former student radical, and paying off those set-ups in hilarious and unexpected ways.

(8) Halloween
John Carpenter was probably gazumped by Black Christmas to creating the slasher flick but he certainly codified the conventions of the genre with this 1978 movie. I’ve long thought Carpenter a deeply over-rated director but this film, powered by his deceptively simple yet still creepy music, features numerous sequences of nerve-rending suspense as Jamie Lee Curtis’s baby-sitter is stalked by the homicidal madman Mike Myers in his William Shatner mask. Treasure Donald Pleasance as the psychiatrist Loomis as he dead pans his reply to Curtis’ question “Was that the boogieman?” – “Yes, as a matter of fact it was”.

(7) Night of the Living Dead
George Romero usually gets far too much credit for what is tangential social satire in his Dead films, but there’s no doubt that he invented the modern zombie genre with this piece. By not cutting away when the undead started munching human flesh, and concentrating the action in a claustrophobic setting where the mismatched survivors turn on each other under the constant strain of both repelling the zombies and dealing with the ticking time-bomb of their infected, he gave us the still resonant archetypal zombie set-up. The ending is as chilling as in 1968.

(6) The Exorcist
This 1973 shocker, scored by Mike Oldfield’s Tubular Bells and directed by William Friedkin at the short-lived height of his powers, remains one of the highest grossing movies ever made. Stephen King thought its secret was that it struck a nerve with parents concerned that they had somehow lost their children to the dark side of the 1960s, while simultaneously attracting those self-same kids eager for transgressive thrills. It’s equally likely that such frighteningly realised demonic possession just freaks people out, especially when Max Von Sydow’s stalwart priest realises he’s once again facing the originating villain, Lucifer.

(5) The Evil Dead
The Evil Dead is not a comedy-horror classic like its acclaimed sequel Evil Dead 2, but an extremely gruelling gore-fest that bookends the extreme horror tendencies of the 1970s. Director Sam Raimi made his name directing his school friend and subsequent cult legend Bruce Campbell as plucky college student Ash, fighting off evil spirits inadvertently summoned by his friends by reading an arcane tome at a remote cabin in a forest where even the trees turn out to be evil, damn evil, and prone to doing things that are still controversial. Prepare to lose your lunch.

(4) 28 Days Later
Alex Garland’s first original screenplay was blatantly a zombie reworking of The Day of the Triffids, but there are worse templates than John Wyndham’s particular variety of realistic sci-fi. The post-apocalyptic concerns of that classic became horror gold through Danny Boyle’s customarily frenetic direction of the terrifyingly energetic Infected pursuing Cillian Murphy thru an eerily deserted London. The obligatory survivors turning on each other motif is enlivened by the quality of rhetoric given to Christopher Eccleston’s barking mad soldier, while the climactic eye gouging is perhaps the most horrific act ever committed by any screen hero.

(3) Don’t Look Now
1973 classic Don’t Look Now is on the surface an art-house study, rendered in editor turned director Nicolas Roeg’s typically disjunctive style, of a couple consumed with grief over the death of their daughter trying to forget their loss and begin again by travelling to Venice. Julie Christie and Donald Sutherland though begin seeing a red coated little girl tailing them at a distance thru the streets, and become convinced that it may be their dead daughter, leading to an ending so genuinely nightmarish that it will freak you out even if you’ve seen it before.

(2) Alien
Alien is a great horror film which skilfully masquerades as sci-fi, including the score from Jerry Goldsmith at his most dissonant. Ridley Scott firmly establishes the characters before bumping them off in his Gothic space-ship full of dark shadows and dripping roofs. Stephen King has noted that the absence of almost any action for the first hour leaves the audience extremely nervy for when events finally occur. The alien attacks are superbly orchestrated and you’d need nerves of steel not to do a sitting high jump at least twice in the final 20 minutes. Don’t watch while eating…

(1) Scream
Neve Campbell confidently carries this 1996 classic directed by rejuvenated horror maestro Wes Craven from Kevin Williamson’s razor sharp script. Scream is a blackly hilarious self-aware dissection of the clichés of slasher movies which is also simultaneously a genuinely brilliant slasher flick filled with gory attacks and jump out of your seat moments. Williamson’s delicious dialogue is brought to memorable life by an ensemble cast on truly top form, including star-making turns from Jamie Kennedy, David Arquette, Rose McGowan and Skeet Ulrich. Enjoy, oh, and please do remember, “Movies don’t create psychos, they just make psychos more creative…”