Talking Movies

January 18, 2017

ADIFF 2017

The programme for ADIFF’s 15th celebration of cinema is now available to browse and download at www.diff.ie and tickets go on sale tomorrow Thursday January 19th at 10:00am; available by phone on +353 1 687 7974 or in person at DIFF, 13 Ormond Quay.

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World cinema is coming to the Audi Dublin International Film Festival from 16th-26th February 2017 with Vanessa Redgrave, Nathalie Baye, Kerry Fox, Ross Noble, Ben Wheatley, and Anna Friel joining Irish stars Jack Reynor, Moe Dunford, Cillian Murphy, John Butler, and Aiden Gillen on the red carpet.

Grainne Humphreys, Festival Director, said ‘I’m thrilled with the selection of films that not only showcases some of the biggest names in world cinema but features a selection of first time directors from across the globe who will make a serious impression with our audience in this and in coming years. To be able to include new Irish films from Aisling Walsh, Jim Sheridan, Emer Reynolds, Aiden Gillen, John Butler, Neasa Ní Chianán, Juanita Wilson, and Ken Wardrop is an extraordinary testament to the current strength and depth of the Irish film industry. I hope that as many Dubliners as possible take this chance to explore and celebrate the art of film.’

Richard Molloy, Head of Marketing and Product at Audi Ireland, said, “Following a hugely successful partnership between Audi and the Dublin International Film Festival in 2016 we are proud to continue this into 2017.  Audi’s brand philosophy, ‘Vorsprung durch Technik’, really connects with the festival’s ethos of inspiring progressiveness and creativity. Furthermore, our partnership with the festival allows us to celebrate the art of film-making while recognising new and emerging film talent. This year we are delighted to introduce an Audi Gala screening to the festival programme providing festival fans with the ultimate red carpet film experience.”

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Galas and World Premieres

The Gala Opening Night of ADIFF 2017 will be the Irish Premiere of Maudie, the internationally acclaimed biopic of folk artist Maud Lewis by award-winning Irish director Aisling Walsh (Song for a Raggy Boy) which stars Sally Hawkins and Ethan Hawke. Jim Sheridan’s The Secret Scripture, adapted from the award-winning novel by Sebastian Barry, will receive a Gala Irish Premiere and see ADIFF present a Volta Award to British theatrical royalty Vanessa Redgrave. The Volta Award is the Festival’s most prestigious honour, reserved for those who have made an outstanding contribution to the world of film. Jack Reynor, Cillian Murphy, and Ben Wheatley will attend the Audi Gala screening of Wheatley’s new film Free Fire. ADIFF’s new Centrepiece Gala will be Neasa Ní Chianán and David Rane’s In Loco Parentis documentary study of the Headfort School. World Premieres at ADIFF 17 include Juanita Wilson’s Tomato Red with star Anna Friel in attendance, Dennis Bartok’s terrifying hospital horror Nails, and Aiden Gillen and Jamie Thraves’ Pickups (features Gillen playing a semi-fictionalised version of himself). Ken Wardrop (His & Hers) brings his characteristic warmth and humanity to piano grade exams in The Piano Lesson, while John Murray and Traolach Ó Murchú’s Photo City delves into the celluloid history of Rochester, NY. ADIFF’s prestigious Closing Night Gala is the Irish premiere of Handsome Devil, the new comedy-drama set in an Irish boarding school from John Butler, who directed The Stag.

International Programme

Nathalie Baye, Kerry Fox, and François Cluzet will attend the festival. Baye becomes the target of a dangerous obsession in Moka, Fox is the uncompromising acting teacher in The Rehearsal, and Cluzet stars in stylish paranoia thriller Scribe. ADIFF’s world cinema programme feature films from over 35 countries, from Bhutan to New Zealand, Seoul to Senegal, and Nova Scotia to Manila. There are new films from Festival favourites including Olivier Assayas, Pablo Larraín, Michael Winterbottom, Aki Kaurismäki, Ben Wheatley, Asghar Farhadi, Cristian Mungiu, Lone Scherfig, and Terence Davies. In 2011, Iko Uwais’ flying fists and lightning-fast feet in The Raid brought the house down in the Savoy. Now Uwais returns as the hero of IFI Horrorthon sell-out Headshot, bringing his astounding fighting skills to this tale of amnesia and revenge.

First-time Directors

This year’s programme features a number of new international voices making feature debuts: Juho Kuosmanen’s uplifting Oscar-tipped boxing biopic The Happiest Day in the Life of Olli Mäki, Ben Young’s Australian kidnap nightmare Hounds of Love, British director William Oldroyd’s Lady Macbeth, and Daouda Coulibaly’s thrilling West African crime thriller Wùlu. Irish director Lorcan Finnegan’s deeply creepy walk in the woods eco-horror Without Name marks him out as a talent to watch closely in years to comeThe frustration and unease those in the arts have felt at people uninterested in the arts voting for Brexit and Trump is expressed through acerbic and bitter humour – Dash Shaw’s My Entire High School Sinking Into the Sea!, Sean Foley’s Mindhorn (with Ross Noble in attendance), Anna Biller’s Love Witch, and Kris Avedisian’s comedy of discomfort Donald Cried.

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Special Events and the Surprise Film

Masterclasses include leading British director Ben Wheatley (High Rise, Free Fire, A Field in England, Kill List), and Oscar-winning costume designer Alexandra Byrne (Doctor Strange). Terence Davies, a singular master of film adaptations, will take part in a public interview with Roddy Doyle. Celebrating the current high point in Irish film, an exhibition by Hugh O’Conor features intimate portraits of his colleagues. An annual treat for the brave, the Surprise Film is a tightly guarded secret known only to the Festival Director, and this year the screening is supported by Just Eat, the official food ordering app, who will be offering special discounts and vouchers to the audience.

Fantastic Flix

The Festival’s expanding Fantastic Flix programme brings the world of cinema to the next generation in its packed festival of children’s films from around the globe, workshops, short film selections, the Fantastic Flix Children’s Jury and special events. Highlights include a special selection of films from visiting children’s author Dame Jacqueline Wilson, along with the Golden Globe-nominated animated film My Life as a Courgette, and Michaël Dudok de Wit’s The Red Turtle.

Awards
Alongside the Volta Awards that recognise outstanding achievement, the ADIFF Discovery Award sees the festival reward emerging Irish talent; the Dublin Film Critics Circle Jury selects the best of the festival for their awards ceremony; and film-goers themselves select their favourite with the AUDI-ence award. The AUDI-ence award-winning film-makers
 will be flown to the Berlin International Film Festival in 2018, where they will enjoy a true VIP Audi experience.

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January 20, 2015

The Walworth Farce

The Olympia Theatre stages its second star-studded Enda Walsh play in six months as the Gleeson family throw themselves into an extravaganza of physical theatre.

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The play opens with proud Corkman Dinny (Brendan Gleeson) in the living room, matching a hideous yellow tie to his hideous blue suit. In the bathroom of their quietly disintegrating London flat son Blake (Domhnall Gleeson) is shaving his legs. They are both preparing for their day while Dinny’s other son Sean (Brian Gleeson) is out shopping. Once Sean is back, wigs and dresses can be donned, and a ritual can begin: Dinny relates the story of his mother’s funeral and the reading of her will. His sons stand in for all other characters while he plays himself; possibly the sincerity of his interpretation is the reason that every day he wins the acting trophy. But today Sean has stage-managed badly, bringing home a sausage. “It’s just not working without the chicken,” laments Dinny – which made me think  of “This chicken is the only real thing here, so I’m going to work with it” – but not only has Sean not supplied the needful props, he’s also accidentally invited an audience…

The Walworth Farce becomes an acting showcase for the Gleesons. Brendan’s charisma is such that he’s able to maintain our sympathy as the overbearing Dinny, despite some horrendous physical abuse where slapstick moments result in real injuries. Brian is the straight man, performing the part of Dinny’s put-upon brother, while in reality he is the quiet, defeated son; horrified at having bungled the shopping, but also excited by the prospect of escaping this life. Domhnall is remarkable, his physicality encompasses sitting with his leg wrapped behind his head, and playing three female characters with three distinct voices (and three different wigs, and, thanks to Velcro, outfits); running from place to place to carry on conversations with himself in different guises. Aside from the manic comedy he also registers the fear Dinny has instilled in his boys of dangerous London – dead bodies waiting to rise up from the footpaths and grab you – and resentful fury when their routine is interrupted by frightfully enthusiastic Tesco assistant Hayley (Leona Allen), luring away Sean.

It’s odd seeing this 2006 play after 2014’s Ballyturk. In both plays manic enacting of absurdist small-town bickering is interrupted by a stranger. Hayley is initially amused, then bored, and finally terrified by the ritual – and, unlike Ballyturk, which remains defiantly oblique, we know that the trio perform the routine because Dinny needs to in order to function; so that her attempts to take Sean away are fraught with danger for both herself and Sean. Walworth is less abstract than Ballyturk. Paul Keogan brightly lights the performance, while reality is subdued and sinister. Alice Power’s set of half-shown walls convincingly depicts a decaying flat: a bathroom with a hole in the wall, a bedroom with a bunk-bed and a ‘dining room’ sign with a coffin laid over two chairs, a kitchen, a sitting room with a curious wheelchair. Yet, when a knife appears, your stomach knots in dread, and you realise that there is no rational way to predict where, or in whom, it will end up by the curtain.

Director Sean Foley’s track record in exuberant, slapstick comedy is a perfect match for Walsh’s mania, but he also brings out these trapped players’ tender desperation, and the almost Pinterish edge that Hayley’s arrival brings to this family dynamic.

4/5

The Walworth Farce continues its run at the Olympia Theatre until the 8th of February.

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