#dublin film festival

[domhnallgleesonhaven]

The Little Stranger Irish premiere, 2018

[denimbex1986]

Tonight at 6!

[aidansplaguewind]

Aidan at Dublin International Film Festival on Friday, Feb. 23.

[Photo credit unknown]

[gleesonarchive]

NEW • At the premiere of the documentary 'Brendan Gleeson's Farewell to Hughes's' at Dublin Intartnational Film Festival! 🎶

📷 Brian McEvoy (01.03.2024)

[devoted-to-colin-farrell]

One of my favourite of Colin Farrell’s interviews. He discusses film festivals and his favourite movies.

In Bruges Dublin premiere 2008

Ondine Dublin Premiere 2010

Homeless World Cup

[rocketyoyo]

Pic of Aidan and Camille from the Dublin International Film Festival.

📸: Eclipse Pictures (Facebook)

[marwahstudios]

Sandeep Marwah Inaugurates the 15th Indian Film Festival of Ireland in Dublin

Dublin, 3rd October 2024: The 15th edition of the prestigious Indian Film Festival of Ireland (IFFI) was inaugurated by Dr. Sandeep Marwah, an internationally acclaimed film, television, and media personality, and the Founder of Noida Film City and Chancellor of AAFT University. The festival, running from 3rd to 6th October 2024, was hosted at the state-of-the-art theatre at UCD University in Dublin, under the leadership of renowned actor and festival director Siraj Zaidi.

In his inaugural address, Dr. Sandeep Marwah highlighted the powerful role that films play in showcasing the cultural richness of nations. “Films are the best way to project the culture of any country, and film festivals are extraordinary platforms to spotlight these cinematic gems,” said Dr. Marwah. He expressed his gratitude to Siraj Zaidi and the festival’s organizing team for their dedication in curating such an impactful event that celebrates the art of Indian cinema in Ireland. “It is a matter of pride that Indian films are appreciated globally, including in Ireland, and I congratulate the team for their incredible work,” he added.

Dr. Marwah also spoke about the unifying force of films, emphasizing how they foster love, peace, and harmony among people from diverse backgrounds. He praised the impeccable hospitality and arrangements made by Dublin to welcome filmmakers and their teams from India and around the world.

Festival director Siraj Zaidi expressed his gratitude to Dr. Sandeep Marwah for gracing the occasion and acknowledged his immense contributions to the world of cinema. “We are honored to have a living legend like Dr. Sandeep Marwah with us at the festival. Indian cinema is gaining recognition worldwide, and this festival has now become a significant cultural event in Ireland,” said Zaidi.

The festival opened with the screening of the highly anticipated film “Mujib: The Making of a Nation,” a co-production between India and Bangladesh. The film, written by acclaimed writer Atul Tiwari and directed by veteran filmmaker Shyam Benegal, explores the life and legacy of Sheikh Mujibur Rahman, the founding father of Bangladesh.

The event was also graced by several notable figures, including Atul Tiwari, renowned writer and actor; Satish Sharma, actor, model, and director; Shakeba Umar, social entrepreneur; and Prabha Mishra, film producer from India.

As Dr. Marwah plans to attend the entire festival, he expressed his enthusiasm for watching as many films as possible during his stay in Dublin. The Indian Film Festival of Ireland continues to serve as a bridge between Indian and Irish cinema, showcasing the creativity and diversity of the Indian film industry to an international audience.

[mercureality]

honestly is the dublin international film festival okay ???

like they are basically just in 2 screens of the light house this year. they're still for some reason using eventive which is an awful booking experience and their website is awful. they have - thank god - returned to having a brochure, but it's not a downloadable PDF and it's stuck in a two-page spread on issuu you have to keep zooming haphazardly into to see anything...

regardless of user experience the range of films and talent just doesn't feel particularly inspiring to me idk

and don't even talk to me about them using that horrific version of Dublin Can Be Heaven over the festival trailer like I am dreading repeatedly hearing that in the cinema it's so so bad and makes everything look saccharine please delete it's viiiiile

[queertranshappiness]

Here is this week's good queer and trans news (July 28th):

Tennessee will finally remove sex workers who have HIV from sex offender lists, after a lawsuit was settled in favour of sex workers, thank god (https://www.lgbtqnation.com/2024/07/tennessee-put-sex-workers-on-sex-offender-registry-for-having-hiv-they-will-be-removed/)

Trans Pride Brighton and London have recorded their largest attendances ever, with ~40,000 people and 55,000 people respectively marching through the cities to celebrate and advocate for trans lives (@/gaystarnews, @/londontranspride on Instagram)

Michigan has banned the 'gay/trans panic' legal defence, making it the 20th state overall to do so (https://www.lgbtqnation.com/2024/07/michigan-gov-gretchen-whitmer-signs-bill-banning-gay-or-trans-panic-defense/)

Queer Ass Folk, a live music night in Hastings highlighting queer songwriters and talent, has had a sold out first event, which is very good for queer culture (https://www.instagram.com/p/C9xdtgyCUwg/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==)

The first ever trans and gender diverse film festival in Ireland has been launched in Dublin, TITE (Trans Image, Trans Experiences), with submissions open from next month, and the festival itself scheduled for April next year (https://gcn.ie/trans-non-binary-film-festival-ireland/)

Hypersoft, a European queer dance music label and collective, has released their first ever charity compilation album, Soft Power Volume 1, with all proceeds going to trans charities TGEU and Mermaids (it's primarily a tech and progressive house album, and you can support it here: https://hypersoft.bandcamp.com/album/soft-power-vol-1-protect-trans-youth)

And a new HIV drug, when taken twice a year, has been shown to be highly effective at preventing infections in AFAB people in phase 3 trials, which is a good sign for a new treatment (https://www.lgbtqnation.com/2024/07/trial-shows-that-shot-taken-twice-a-year-very-effective-at-preventing-hiv-in-women/)

(Credit to: LGBTQ Nation, @/gaystarnews and @/transpridelondon, @/notaphaseorg, GCN and Hypersoft themselves for these stories.)

[theholmwoodfoundation]

THE HOLMWOOD FOUNDATION PILOT EPISODE CAST/CREW - PART ONE

REBECCA ROOT - MADDIE TOWNSEND/MINA HARKER

Rebecca trained at Mountview Academy of Theatre Arts. Theatre credits include A Midsummer Night’s Dream at Shakespeare’s Globe, The Curious Incident of the Dog in the Night-Time for the National Theatre (UK and Ireland tour); Rathmines Road for Fishamble at the Abbey Theatre, Dublin; Trans Scripts at the Edinburgh Festival Fringe and American Repertory Theater in Cambridge, Massachusetts; The Bear / The Proposal at the Young Vic; and Hamlet at the Gielgud Theatre and Athens International Festival. TV, Film and Video Game credits include Monsieur Spade, This Is Christmas, Irvine Welsh’s Crime, Hogwarts Legacy, Horizon Forbidden West, Heartstopper, Annika, The Rising, Sex Education, The Gallery, The Queen’s Gambit, Finding Alice, Creation Stories, Last Christmas, The Sisters Brothers, Colette, The Danish Girl, Flack, The Romanoffs, Moominvalley, Hank Zipzer, Boy Meets Girl, Doctors, Casualty, The Detectives, and Keeping Up Appearances.  Radio credits include Clare In The Community, Life Lines, The Hotel, and 1977 for BBC Radio 4. Guest appearances include Woman’s Hour, Front Row, Loose Ends, Saturday Live, and A Good Read.  She plays Tania Bell in the award-winning Doctor Who: Stranded audio dramas. Rebecca has also recorded numerous documentary narrations, audiobooks, and voice-overs. Rebecca is also a voice and speech coach, holding the MA in Voice Studies from Royal Central School of Speech and Drama.

SEAN CARLSEN - JEREMY LARKIN/ JONATHAN HARKER

Born in South Wales, Seán trained at the Royal Welsh College of Music & Drama. He has worked extensively in audio drama, television, theatre and film.  Seán is perhaps best known to Doctor Who fans as Narvin in the Doctor Who audio series Gallifrey and has appeared on TV in Doctor Who - The Christmas Invasion and Torchwood. Recent TV credits include Mudtown (BBCiplayer/S4C), Dal y Mellt (Netflix), His Dark Materials (BBC1), All Creatures Great and Small (Channel 5), A Mother's Love (Channel 4) and Series 5 of Stella (Sky1).  Films include supporting leads in Boudica - Rise of the Warrior Queen, cult horror The Cleansing,  the lead in Forgotten Journeys and John Sheedy’s forthcoming film ‘Never Never Never’

SAM CLEMENS - ARTHUR JONES

Samuel Clemens trained at the Drama Centre London and is an award-winning director with over twenty years’ experience. Samuel has recently written and directed his debut feature film ‘The Waterhouse’ with Take The Shot Films & Featuristic Films and represented by Raven Banner Entertainment, which is due for release this coming year.  In addition, he has directed fourteen short films, winning awards all over the world including shorts ‘Surgery (multi-award winning), A Bad Day To Propose (Straight 8 winner 2021), Say No & Dress Rehearsal’. Samuel also directs critically acclaimed number one UK stage tours and fringe shows (Rose Theatre Kingston, Swansea Grand, Eastbourne, Yvonne Arnaud, Waterloo East Theatre) and commercials include clients JD Sports, Shell and Space NK. Samuel is also a regular producer and director for Big Finish Productions & Anderson Entertainment. He has cast, directed, produced and post supervised numerous productions of ‘Doctor Who – (BBC), The Avengers (Studio Canal), Thunderbirds, Stingray (Anderson Entertainment), Callan, Missy, Gallifrey’& Shilling & Sixpence Investigate’ and many more. Samuel has directed world class talent such as, Sir Roger Moore, Ben Miles, Tom Baker, Sylvester McCoy, Alex Kingston, Frank Skinner, Rita Ora, Rosie Huntingdon-Whiteley, Rufus Hound, David Warner, Celia Imrie, Samuel West, Youssef Kerkour, Sophie Aldred, Ian McNiece, Colin Baker, Olivia Poulet, Stephen Wight, Jade Anouka, Mimi Ndwendi, Michelle Gomez, Peter Davidson, Paul O’Grady and many more. Samuel is one of the founding members and directors at Take The Shot Films Ltd and is Head of Artistic Creation and Direction. Lastly, Samuel is a regular tutor at The London Film Academy, The Giles Foreman Centre for Acting & The Rose Youth Theatre and is a member of The Directors Guild UK. As for upcoming projects, Sam is currently in pre-production on his next feature film “On The Edge of Darkness”, which is based on his dad’s stage play “Strictly Murder”.

ATTILA PUSKAS - DRACULA

Attila Puskás is a native Hungarian Voice Actor born in Transylvania – Romania, so Romanian is in his bag of tricks too, but most of his work is done in English, in a Transatlantic Eastern European Accent, but is quite capable of Hungarian, Romanian and International Eastern European accents, plus Standard American. His voice range is Adult to Middle Aged (30-40+) due to his deep voice. Vocal styles can range from authoritive, brooding to calming and reassuring and much more. He’s most experienced in character work, like Animations and Games, but his skills encompass Commercials to Narration as well. He’s received training through classes and workshops, pushing him to the next level to achieve higher standards. Now on a journey to perfect these skills and put them to good use!

PART TWO: HERE

PART THREE: HERE

[domhnallgleesonhaven]

Caption this 😏

The Little Stranger premiere at Dublin International Film Festival 2018

[denimbex1986]

"Oh, I'm matching the chair. Thank you. Yeah. What's so extraordinary about the film is, uh, it's been out here for a good wee while, but it's just come out in, in the UK and Ireland, and so it's sort of - it's taken off, the film is just sort of, the flight has taken off, so it's lovely that it's out in the world. But what's so extraordinary is um, people say: 'Do you know what line in that film killed me?' And you're like: 'Yeah?' And they say - and it's always something completely different. Um, and I think it's a, it's a testament to the movie actually because there's so many bits in the movie that are, are so devastating to people, and people see themselves in - whether they're parents or uh, you know, whether they're grief-stricken in some way and that, you know, I always; the film is a little bit about, about grief, but grief doesn't necessarily manifest itself just when somebody dies. It can be grief about a relationship or whatever, so I think it just - I've never really had it with, with a film before, or even with theatre in that sense where it just has such a broad spe, spectrum of, um, of reaction to it; so many different people reacting to it in a different way. So it's completely wonderful."

"It's, it's um, it's one of Paul Mescal's lines actually, because I find it really - oh jeez! I was about to say I find it difficult to watch myself and then, then Godzilla in white up there appeared. Uh, uh, it's one of Paul's lines. It's when he, he - I don't know there's just something that's so beautiful about uh Paul's performance in, in that, uh, and he just talks about how easy it is to lose himself; and it's just the sort of, um, empathy in his, in his, uh, in his eyes. I think the film is so incredibly compassionate, you know; it's really tender and so raw, and I think that's why it kills people so much."

"Well there's a sort of twist in the, in, in the, in the film but it's - it's a strange film; it's sort of a little bit like a dream, and so people - there's a sort of a, I'm hesitant to call it a plot twist, but there is a sort of twist at the end. But I always, for those of you who haven't seen it or, or those of you even who have, have seen it, people sort of want to sort of get the, get the answer right - 'Have I got this right?' But I always equate it to like a dream; you know, sometimes when you wake up from a dream and you can feel really desolate, or you can wake up laughing, or you can - there's so many different reactions, and you don't necessarily look to the dream for logic. You just, you just accept the, the strong feeling and that's what I would say to people, you know; that it's just, it's whatever you kind of want it to be, um, yeah."

"Uh, well, I, I don't know; it's really interesting about sex scenes - I think it's really important. We were very, we were very protected you know, with the rise of intimacy coordinators, I really, um, really welcome it because it makes you feel safe, and actually, it means that you're able to have a conversation um, where you're able to express your fears a little bit and actually it allows you to be a bit more daring in some way because you feel like frankly if, if you, if you don't like it, it won't end up in the movie; if you feel uncomfortable. And so that allows you to just be a bit more free rather than like: 'Oh I don't want to, um, show this side of myself.' But, you know, what I, while that was important that we got those scenes right, I think what was really wonderful about our director was he was like: 'It is just another scene and sex is just physical communication. It's, it's a way of communicating, it's - it's physical communication rather than verbal communication.' So you have to sort of, um, improvise in that sense and you have to sort of listen, but you just have to listen with your body. I'm very, very proud of those, um, those scenes because I think they tell the story very well, and I think it's, it's beautiful. And actually what I think is so radical about the film isn't necessarily the sex scenes, but the scenes that are around the sex scenes, and I think sort of tenderness between, uh, two men particularly, I think is radical because I think there are certain, um, prejudiced, uh, factions of the community who can understand sexuality, but what they find challenging is actually tenderness between two male characters. And I think that's important that that's, uh, represented in that way because um, you know, our vulnerability is our, is our, is our greatest power."

"Nobody - nobody wants that. What? I don't know; I, I don't speak with them anymore - no, no, I'm joking! I don't know like, they, they, they have seen it yes, they have seen it. Yeah, yeah, yeah, yeah. Do you have some particular questions for me?"

"It was completely chaotic. I know it's kind of weird, for those of you who haven't seen the film, Jamie Bell is 10 years younger than me and he's playing my father. So it's this beautiful, it's this beautiful idea; you don't, what? It's a weird thing to clap at. Uh, but, uh, so that's what the, the premise of the, the film is; is this beautiful idea that um, what would you say if you could speak to your parents at the same age that you, more or less the same age, that you are now? And it's a beautiful cinematic sort of idea. So you have this grown man who's going in, in children's pyjamas, to, to uh, you know, cuddle with his parents while - when he feels scared and uh; it's sort of, it sort of turns into this weird, um, thing where his father turns into Paul Mescal. Easy. And, and so um, so, so, so, uh, wow, uh, and um, so uh yeah, It was just funny because we were in this 1980s, uh, creaky bed and Paul had to sneak - Jamie had to sneak out of the bed and become Paul - and this rickety bed, and we had to have this very, very serious, uh, sort of duologue myself and Claire without; so we just - it just like, I don't know. What happens when you're doing um, uh, quite serious films is that you end up - you can't be serious all day, you know; you can't - it's like holding water, you know, it's - you have to keep your imagination alive, so you find yourself just hysterical the whole time because you can't just be um; you can't just be - you have to be ready I always think in acting. You have to be, particularly in sad movies, I always think in - when you're playing something that's soulful I think you have to be looking for the light, and I think when you're in comedy, you have to be looking for the soul. So, I think you always have to be ready in a so-called sad film for, for lightness to happen because I think if you took a snapshot of any human being on the worst day of their life, they wouldn't necessarily always be ashen-faced, because the beautiful thing about human beings is that we're - we try, you know, we try, we have to, we have to eat lunch and there's somebody who makes a joke. You know what I mean? We do that - we, we look towards the light and I think what's so, uh, beautiful about the film is that it's nuanced in that sense, it's - it understands that um, you know, we contain multitudes on, on any, on any given day."

"Oh well, it's a lovely question. Um, it's - I'm just starting to um, to, to process it really, because it's, you know a film like this, you know I'm from, uh, Ireland and when I was sixteen - Hey! Thank you, hey! Uh, uh, so when I was 16, it was illegal to hold somebody's hand, to walk down, down the street, so the fact that this film exists is completely miraculous to me. I went home, myself and Paul who's also an Irishman, we went home to, and had the, the, the Dublin premiere of it, and it was so emotional just to be able to um, to be seen in that way and um, it means an enormous amount. And I think what's really, really moving about it I think; it's something America was saying there about we think that there are films that are for particular types of people, but I like this movement towards this idea that you can see yourself in, in so many different types of cinematic and, and theatrical characters. And what I love is that people of all, um, different walks of life have, have responded to the film, and I think what can be insidious as, as a sort of minority, is that you feel like you're only seen for just that, that just people see the label. And I think if we could just in some ways market our films and talk about our films in a way that uh, uh, is less cynical, and just realise that actually uh, we can all see ourselves in completely opposing, um, nationalities or genders. We could - our souls are, are, um, are such a distinct thing and you know, you don't necessarily have to look like somebody, um, in order to understand them deeply and, and that's what, that's what the purpose of, of, you know, dramatic art I think is, you know so."

[aidansplaguewind]

Another new pic from the Dublin International Film Festival yesterday, 2-26-23. I cropped it in closer so you can get a better look at him.

[Photo by Eclipse Pictures]

[gleesonarchive]

NEW • Portrait of Brendan Gleeson taken during the Dublin International Film Festival

📷 Simon Lazewski (02.03.2024)

[watermelonsugacry]

2022 Blurbs

HARRYCHELLA N.1

It's Harry’s first night performing for Coachella and he doesn't tell YN who his surprise guests are. (3.1k)

HARRYCHELLA N.2

It's Harry’s second night performing for Coachella and he finally reveals to YN who his surprise guest is. (2.5k)

Zane Lowe Interview

Interview bit where 1dbandmember!reader is mentioned.

Superior Guitarist

Harry's asked in a interview who's the better guitarist: Mitch or YN?

Liam’s Podcast

YN’s reaction to Liam’s unsavory comments about her.

Paps

How YN deals with rude paparazzi.

Family

There's a familiar face in the crowd of Harry's Love On Tour show in Dublin. (1.8k)

Amsterdam

Harry does what a fan's sign says.

It's A Classic

Harry and YN receive a nostalgic 1d shirt from fans.

Tits

YN distracts Harry while he's taking an ice bath with talking about a certain body part of his.

Before a Show

How Harry acts before one of YN's shows.

34+35

YN changes a certain word when performing on stage.

Medicine

Who is YN to deny her fans' demands to cover one of Harry’s unreleased songs?

Venice Film Festival

YN is Harry's date to the Don't Worry Darling premiere. (3k)

Or Is It?

YN says one of Harry's iconic phrases during her show.

Wasted Time

A morning with a love sick YN and Harry.

Cake

YN wants to take a bite out of Harry's bum.

Vows

A fan's sign at Harry's show catches the couple's attention.

YN LN: Same Interview, The Sixth Year | Vanity Fair

YN’s growth since she became a solo artist.

Summer Nights

Harry brings out his Sandy to sing with him for HARRYWEEN 2022.

Pink and Blue Forever

YN’s Instagram post for Fine Line's 3rd birthday.

Hot Ones

YN answers hot questions with even hotter wings.

Forevermore

After 12 years of knowing each other, YN and Harry finally tie the knot on their anniversary on England.

Waiting Room

YN’s One Night Only for her third album.

[devoted-to-colin-farrell]