#dublin film festival

[colinmorgan-beautifulsmile]

Colin Morgan at the Dublin Film Festival

[etherealocke]

colin morgan at the dublin international film festival - 2.27.25

[godmerlin]

Colin being interviewed at the Dublin Film Festival, February 27 2022

[domhnallgleesonhaven]

NEW images of Domhnall at the launch of Dublin International Film Festival 2025 program 😍

Here with Amy Huberman.

The Festival runs from February 20 to March 2 and features 80 movies, including the world premieres of 10 Irish films 🇮🇪

[gleesonarchive]

NEW! • Domhnall photographed for DIFF 2025! He will be featured in the 'RETIREMENT PLAN' short film this year.

[denimbex1986]

Tonight at 6!

[jonny-be-gewd]

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

[Photo credit unknown]

[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

[colinmorgan-beautifulsmile]

colin morgan at the dublin international film festival ‘25

[rocketyoyo]

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

📸: Eclipse Pictures (Facebook)

[domhnallgleesonhaven]

NEW photo of Domhnall, Amy Huberman and the Lord Mayor of Dublin at Lighthouse Cinema for the launch of Dublin Film Festival programme 💙

[gleesonarchive]

He means business 🎬 Another lovely close-up of Domhnall for DIFF 2025!

[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."

[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.

[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.)

[devoted-to-colin-farrell]