#wedding cinematography ireland

[momentsforalifetime]

Wedding Cinematography in Dublin - Moments for a Life Time

What is cinematography in wedding?

Cinematography in the context of weddings refers to the art and technique of capturing and recording a wedding event on video in a way that tells a compelling and visually stunning story. It involves the use of professional cameras, lenses, lighting equipment, and various filmmaking techniques to create a cinematic and emotionally engaging wedding film.

A wedding cinematographer focuses on capturing not only the significant moments of the wedding ceremony and reception but also the emotions, reactions, and interactions of the couple, their families, and guests. Unlike traditional wedding videography, which often involves straightforward recording of events, wedding cinematography emphasizes storytelling, creativity, and artistry.

Cinematographers use techniques such as creative framing, composition, camera movements, and selective focus to create visually appealing and aesthetically pleasing shots. They also pay attention to lighting, both natural and artificial, to set the mood and create visually striking scenes. Additionally, they often incorporate elements of storytelling, such as interviews with the couple and their loved ones, to add depth and meaning to the wedding film.

The final wedding cinematography product is typically a professionally edited film that captures the essence of the wedding day, showcasing the love, emotions, and unique moments that make each wedding special. Couples often hire wedding cinematographers to create a lasting and artistic representation of their wedding day that they can cherish for years to come.

Is cinematography necessary in wedding?

Whether cinematography is necessary for a wedding depends entirely on the preferences and priorities of the couple getting married. Some couples prioritize having a professionally produced cinematic record of their special day, while others might be satisfied with more traditional forms of photography and videography.

Here are a few factors to consider when deciding if cinematography is necessary for your wedding:

Reasons to Consider Cinematography:

Emotional Impact: Cinematic wedding films can capture emotions, reactions, and the atmosphere of the day in a way that traditional photography sometimes cannot. Seeing and hearing the events unfold can evoke strong emotions when watching the film.

Storytelling: Cinematography allows for storytelling. A well-edited wedding video can tell the story of your day, including behind-the-scenes moments, interviews, and personal messages, creating a comprehensive narrative.

Memorable Moments: Certain moments like vows, speeches, or even candid interactions might be better captured through video, adding depth to your memories.

Visual Appeal: Cinematographers use various techniques to create visually stunning films, adding an artistic touch to the documentation of your wedding day.

Reasons Against Cinematography:

Budget Constraints: Cinematography can be more expensive than traditional photography. If your budget is limited, you might choose to allocate your resources differently.

Personal Preference: Some people simply prefer the aesthetics of photographs and the way they can capture moments frozen in time.

Privacy Concerns: Video captures more details, and some people might be uncomfortable with that level of exposure, especially if the video will be shared publicly or online.

Logistics: Having a video team present can sometimes be logistically challenging, especially in small or crowded venues.

Ultimately, the decision to have cinematography at your wedding should align with your vision for how you want to remember your special day. It's a deeply personal choice, and there's no right or wrong answer. If you value the idea of reliving the day through motion and sound, investing in a good wedding cinematographer might be the right choice for you.

[nice-2-look]

The Magic of Moments: Wedding Videography in Waterford

Your wedding day is a momentous occasion, filled with love, joy, and countless memories. To capture every precious moment, couples often turn to the art of wedding videography in Waterford, Ireland, wedding videographers are skilled in the delicate task of weaving these cherished moments into a cinematic masterpiece.

Wedding Videography Services in Waterford

Wedding videography is more than just pointing a camera and pressing a record. It's an art form that requires a deep understanding of storytelling, cinematography, and, most importantly, the ability to anticipate and capture the fleeting moments that make each wedding unique.

Waterford, with its picturesque landscapes, historic venues, and vibrant culture, is an ideal backdrop for wedding videography. The rolling hills, serene beaches, and quaint villages provide a canvas for videographers to craft stunning visual narratives that complement your love story.

The Role of a Wedding Videographer

A professional wedding videographer in Waterford is not just someone who documents your wedding day but someone who creates a timeless memento. They understand that it's not just about recording the ceremony but also about capturing the emotions, the laughter, the tears, and the magic of the day.

From the exchange of vows to the first dance and all the heartfelt moments in between, a skilled videographer knows where to be and when to be there. Their equipment, from high-definition cameras to drones for breathtaking aerial shots, ensures that no detail is missed.

The Cinematic Experience

Today's wedding videographers in Waterford are not just documentarians; they are storytellers. They use their creativity and expertise to transform your wedding day into a cinematic experience that you can relive for years to come. 

With careful editing, music selection, and special effects, they create a movie-like production that captures the essence of your love story. Watching your wedding video becomes more than just revisiting the past; it's a journey through the emotions, excitement, and beauty of that day.

Preserving Memories for Generations

One of the most profound aspects of wedding videography is its ability to preserve memories for generations. Your wedding video becomes a family heirloom, a cherished treasure that can be shared with your children and grandchildren.

In the digital age, it's easier than ever to share your wedding video with loved ones near and far. It's a way to relive your special day with those who were there and a way to introduce it to those who couldn't be.

Conclusion

In the heart of Waterford, wedding videography is not just a service but an art form. It's the magic of moments captured on film, a treasure trove of memories that you can revisit whenever you wish.

When choosing a wedding videographer in Waterford, look for professionals who are not just skilled with a camera but are passionate about storytelling and dedicated to creating a masterpiece that will stand the test of time. With their expertise, your wedding day will become an enduring work of art, a testament to the love and joy you shared on that unforgettable day.

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[letamreviews]

Top of 2019

With 56 films watched and 27 favorited in 2019, I composed a list of my top. By pure happenstance, the list is almost an exact third (18) of the total films watched. Be aware that I don’t have as much to say about some of these because I took no notes after.

Because I’d be biased towards them, I don’t count the National Theatre Live plays.

Since the list is likely to be altered between now and the end of February (to accommodate for films missed), check the Lettboxd list later on to see an up to date listing, but be aware that it intentionally lacks the details provided here.

EDIT (01/04/20):

Woke up this morning religiously re-reading this and caught some grammar errors. It’s almost like staying consistently well-rested is actually beneficial. While I’m at it, Blind Rating (BR) is how worthwhile the film is watching “blind” (or knowing nothing). The scale is 1 (worth it) to 5 (you must). ‘Eh is essentially a 0.5.

1. Midsommar (USA)

Saw the original and Director's Cut in theatres and discussed them with a group immediately after both times. I’m somewhere between really liking it and loving it. Still unsure. Hell of an experience with a lot to notice, debate over, and pick up on during the second viewing. Don’t even get me started on the Christian/Dani matter. Dat tension, tho. Blind Rating: 4/5

2. Us (USA)

Saw in theatres and discussed with a group immediately after. I’m digging the allegories and the way (I think) it reflects on society. Dem reveals, tho. Blind Rating: 4/5

3. Toni Morrison: The Pieces I Am (USA)

Saw in theatres and discussed with a group immediately after. Two things probably play a huge hand in this not being atleast 3 spots lower: my demographic and the fact that her older self constantly reminded me of my grandma and a certain middle school teacher. Regardless, it’s an entertaining, interesting, and lively documentary with its many personalities on-screen all giving their take on matters along with Ms. Morrison herself. Glad they managed to finish and release this 1.25 months before her death. Blind Rating: 0/5

4. When They See Us (USA)

Saw on Netflix over the course of a month. Y’all, this one hurt too much to watch again any time soon. Admittedly, part of the reason why it hit me so hard is because I could easily have been one of them. Dat ending, tho. Don’t forget to watch the Oprah followup When They See Us Now after. You’ll ball (again). Blind Rating: 3/5

5. Parasite (South Korea)

Saw an advance screening in theatres and watched a live post-film Q&A. I really like it. This hit me in such a way that it’s one of three films I’m writing an essay on. Planing on watching it a second time soon so I can finish with a sense of accuracy. This isn’t one that I would recommend looking at images for. There are some that will spoil the experience of the second half. Seriously, block the “Parasite” tag from your feed if you can. Blind Rating: 3/5

6. Luce (USA)

Saw in theatres and discussed with a group immediately after. This was is so~ good as a thriller and especially in regards to being Black in America. Wanted to watch it a second time but never managed to squeeze it in before it left theatres. Dem performances, tho. Dat tension, yo. Dat score, bro. Blind Rating: 1/5

7. Them That Follow (USA)

Saw in theatres and discussed with someone immediately after. I love it. Blind Rating: 1/5

A drama influenced thriller about a religious and somewhat self-isolating community that's effectively blanketing a realistic romance. (snip) —Letterboxd review

8. The Souvenir (United Kingdom)

Saw in theatres (partially because so many movie peeps were shitting on it). I love it, but I didn't fucking love it. Was tempted to see it again, but didn’t get the chance. Dat ending, tho. While it was a movie peep telling me the whole plot that caused me to gain so much interest in it [Cabin in the Woods (2011) all over again, amiright?], I must say that the less you know the better. It’ll make for... a more immersive experience. Blind Rating: 3/5

9. After the Wedding (USA)

Saw in theatres and discussed with a group immediately after. I thought I really liked it, but I love it. This was a trip down unexpected lane, le'me tell ya. The trailer is a spoilerful lie, but the Landmark's description is very accurate. People's experiences will have a heavy hand in how they react to it and feel about certain characters. The way they made this feel like a constant thriller was excellently done. Dat cinematography, tho. Go in knowing nothing more than what the previous link provides. Blind Rating: 1/5

10. Joker (USA)

Saw in theatres and discussed with a group immediately after. I really like it. Blind Rating: 1/5

(slight spoilers)

This was difficult to watch at times, but hella captivating throughout. Arthur's reasoning is believable, his sanity is questionable, and his life is indeed one hell of a joke. Like watching an extreme example of what happens when people on the lower end lose access to social programs. This can very easily be taken as a commentary on mental illness kept unchecked. More than that, it's a story about a guy who accepts his "crazy" and transcends poverty, circumstance, and societal bullshit... at everyone else's expense. (snip) —Letterboxd review

11. Miles Davis: Birth of the Cool (USA)

Saw in theatres and discussed with a group immediately after. I really like it. Captivating documentary in a very similar style to Toni Morrison: The Pieces I Am, but with Mr. Davis never joining the “talking heads” (as people like to call it) and instead being heard as a constant narrator of his own biography. Regardless of how I feel about him on a personal level, this shit was a great watch and the ending hit hard. Still need to get his autobiography, though. There’s a nostalgic factor for me here since I was partially reminded of my grandpa while watching it. Blind Rating: 'eh

12. Queen & Slim (USA)

Saw in theatres and discussed with someone immediately after. Fuck yeah, I enjoyed this one. Dat soundtrack and cinematography, bruh? 👌🏿 The throwback soundtrack, main characters’ racial group, and fact that they went to New Orleans definitely play a hand in why this one’s not atleast 1 spot lower. Blind Rating: 1/5

13. Dwelling in the Fuchon Mountains (China)

Saw in theatres during festival and attended discussion days later. I really like it. Was long, but in a good way. Similar to Ash is Purest White (2018) in that I kept thinking "please end here," but would be glad it didn't later. It's beautifully slothy and has absurdly long tracking shots. The cinematography during walking conversations is notable. Dat trick, tho. Blind Rating: 'eh

14. A Girl Missing (Japan)

Saw in theatres during festival and discussed with a group immediately after. Bruh~, this is a hell of a personal trial. Didn’t expect it to go the places it did. Blind Rating: 1/5

15. Dutch Angle: Chas Gerretsen & Apocalypse Now (Netherlands)

Saw on MUBI on phone. I love it. This goes over his childhood (for 8 minutes), career paths, photography of 9/11/1973's Chilean coup d'etat, the 6 months he spent on-set photographing Apocalypse Now (1979), and him as a person. What I didn’t expect was how much he would get into the details of things happening during that film’s development. Along with those details are interesting photos presented excellently in a way that’s reminiscent of manga at times. I like the way the photos take center point and are treated like the foreground. It’s like the director and editor forced themselves to remain aware that the documentary was showcasing 15% of the total slides housed in the Nederlands Fotomuseum’s archives in Rotterdam and that most of his Apocalypse Now photos were never seen. Dat score, tho [Ex Machina (2014) vibes]. Blind Rating: 0/5

BTW, it had its official (Dutch national) release by EYE Filmmuseum on 12/19/19 in the Netherlands, so maybe it’ll come to the USA soon. 🤷🏿‍♂️ Forgot to mention it’s been added as a special feature to the 40th anniversary 4K blu-ray disc of Apocalypse Now: Final Cut (2019).

16. Receiver (Ireland)

Saw on MUBI on phone. I really like it. A very interesting short film in three odd segments. First was disturbing; second was about activism, protests, and politics; third was about the person I assume the film was made for. All compose what I took as a film about the importance of having reliable sound and hearing. Needs to be watched alone with good sound quality (for immersion). Blind Rating: 'eh

17. Bacurau (Brazil)

Saw in theatres during festival. I really like it. This was some Most Dangerous Game shit with a hell of an ending. The whole game is an allegory of civilized people's obsession with hunting wild animals for "sport". I really like the portrayal of history here and enjoyed the racial matters it lays bare. I can only imagine someone watching this without knowing a thing. Kinda wish I didn’t even read the description beforehand. Digging the soundtrack. Blind Rating: 1/5

18. Little Women (USA)

Saw on 35mm and discussed with others on separate occasions. I really like it. This was just warming and sad. I felt for the main characters and actually felt satisfied with the way it ended. Considering the type of film, there are handful of typical things for me to complain about. That being said, the movie earned its stars back. I mean, did you not see their attic performances? Shit was dope. Blind Rating: ‘eh

[live-and-in-living-colour]

And so the final episode is finally here, and I sit here wondering... why on earth did I watch this entire show? Originally I think it was because I was interested to see a more accurate adaptation, because as much as I love the musical, no way can they get everything into 2 1/2 - 3 hours. Then I think it was because I was hoping Les Amis would save me. Now... now I think it’s just because I am this close to finishing it and I am stubborn.

To be fair with how much is left, they do cover the same amount of story, in roughly the same amount of time in the musical. So this might not be a disaster

I would like to appreciate the fact that the nearest big theatre just emailed saying that the Les Mis UK and Ireland tour tickets are available Tuesday

This got very long because a lot happened and I am still annoyed about the characterisations. Though to be fair, if the previous episodes had been better, the pay offs this episode would have been so great, but because of butchered charters it just... wasn’t enough

Announcer lady I found the whole show upsetting

Ah yes, we left off with Valjean going to murder Marius because that is totally a thing Valjean would do

Is this going to open with Gavroche dying because I swear

I have to say, the cinematography on this show is amazing

Why did Cosette go to sleep like that? It doesn’t even make sense, she’s still in the big dress, she isn’t face down so wasn’t crying herself to sleep

My history might be wrong, I thought Comrade was Russian, and Citizen was French 

That is a very small amount of people on the barricade. Which I get is kinda the point, but I feel that they ran out of budget

Why is Marius saying that? Courfeyrac would have been better surely

I do actually like this scene, but I feel it would have been better if we knew Les Amis better

Javert’s spider senses are tingling

So they basically just changed the whole barricade scene to have Valjean not be there?

Cosette... I am so sorry you were written in this way

Oh ok... that happened

Can Valjean just save Courfeyrac instead

And Valjean is threatening Marius again

How are they missing? Also why is Gavroche dancing?

THE HELL IS THE SOLDIER SMILING FOR?

I am actually disappointed the dog from shoujo Cosette didn’t show up to save him

So Valjean changes his mind over Marius because he runs out to get Gavroche? 

They lay Eponine and Gavroche together... now I’m sad

But Enjolras had no reason to let Valjean kill Javert

The way Valjean has been written this show, just doesn’t fit with him saving Javert

Just editing the lines from the musical slightly, doesn’t stop them being from the musical

Marius has been shot and stabbed a lot, I feel he should die like right now

NNNNNNNNNOOOOOO COURFEYRAC

Oh he is alive?

Also he and Enjolras have a lot of chemistry

STOP KILLING COURFEYRAC

I miss Hadley, he actually made the guard human not happy by all this

Least they got that bit right, even if Enjolras has been so wrong the entire show. Which is absolutely nothing against the actor, because I think he could have been fantastic if he had a better script. But that scene was very well done

Ok I swear this was legit stolen from the musical, just they haven’t all been lined up yet

Why flashbacks? What is the point of this?

Why do other police care about Valjean? And why is Javert telling him this?

I can hear that they’re in the sewers but it’s so dark I can’t actually see what’s happening

You’re only now just realising that’s Marius? I am so confused, because he knew that was who Cosette loved right? Did he just save him because he went to get Gavroche, or did he just remember some dude he saw once in the park?

Literally, the scene is so dark I couldn’t tell you what was happening

Right, there is 30 minutes left and still a lot to get through here, I swear the pacing of this show makes no sense

Oh look, symbolism

Is Valjean just pretending to be a murderer now?

Why is Thenardier acting like Ben Gunn from Treasure Island? But, you know, evil

Ah yes, Valjean, the man to blame for everyone’s problems. Because that is how the show is presenting it by getting everyone’s personalities so wrong

The thing with this, the musical, and probably other versions, it must have been so awkward to film for the actor playing Marius. Be carried around in shit, playing dead

Aren’t they going to tell him that he’s alive? Or just let them figure it out

David Bradly is such a good actor and I feel bad for him despite what he’s done in this

The problem is, I just don’t believe this version of Javert would agree to that

It just feels like Javert is doing this because the plot demands it, not because of his character

I feel like I have been insulting Javert a lot, and just wanted to say that this has nothing to do with the acting, that has been incredible. It is the bad writing

You know, if only there was another way for Javert to let his emotions out rather then saying to some random police office. I don’t know... a song maybe

But you didn’t live your life by the law is good, and criminals are bad. You were just spending your life getting Valjean and nothing else

Maybe this is where Shoujo Cosette influences it and he doesn’t jump

Well, least there was no horrific body snap

I am as confused by Thenardier by that, he seemed to have changed his mind

There is 10 minutes left, and still so much left

By why did they let Cosette up to see him, they didn’t know who she was

Oh he was hallucinating, that makes more sense now

“All my friends” you didn’t have any others because they were cut

Ok, the reunion between Marius and his grandfather was sweet, I’ll give them that much

And it’s the ugly blue dress again

She isn’t a dove, she’s a lark

Valjean sure knows how to tell people things, just blurting them out like that

Just... what is this version of Valjean? I miss Hugh Jackman, and I never thought I’d say that

Like... there’s 3 minutes left, how are they going to do this?

Wait he’s going to the wedding now?

OH, ok apparently this goes on until quarter past

Why is Cosette a part of this conversation?

So Cosette is just... in a room with her abuser? Ok, great, glad they did that

I feel the scene with Marius and Cosette was one we needed

Are they actually going to ever address what happened to Madame Thenardier, or Azelma?

Wait, what?

Oh sure, now his hair is grey, YOU’RE 4 EPISODES LATE

Valjean being too blunt again

You know, I normally cry when Valjean dies, I’m just waiting for them to get on with it. And once again, nothing against the actor at all, just a bad script

I love that shot of the candlesticks 

Oh god, it’s the two little boys starving. That’s not ok. Although I do kind of get what the message there was, and it is clever, but it hurts

So Azelma just vanished? Ok great

[aion-rsa]

Belfast: Kenneth Branagh Remembers a Childhood That’s a Million Miles from Shakespeare

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When one thinks of films by Irish director, actor, and writer Kenneth Branagh, the first word that comes to mind is “elaborate.” His directing resume alone consists of five Shakespeare adaptations (including a full-length, four-hour Hamlet in which he also stars), one cosmic superhero movie at Marvel, a live-action version of a classic Disney fairy tale, and a star-studded adaptation of arguably the most famous mystery novel of the 20th century. Clearly, this is a storyteller who likes to go big.

Which is what makes his new film, Belfast, so surprising in so many ways. It’s the opposite of what we’ve come to expect from a Branagh joint. Yes, it’s a period piece, but it’s in black and white. Gone are the elaborate sets, like the throne room of Asgard from Thor or the castle in Cinderella, or the Gothic laboratory from Mary Shelley’s Frankenstein. The eye-popping costumes from any of those three films or the director’s entire Shakespeare oeuvre are nowhere to be found. Also missing: Branagh’s penchant for swooping camerawork and Dutch angles, as well as sometimes overwrought performances.

Having said all that, we like lots of Branagh films around here, and that includes the many he’s acted in as well as directed. But there’s no question that Belfast, a semi-autobiographical work based on Branagh’s childhood in the title city during the Troubles, is easily his most personal, emotional, and perhaps finest work as a filmmaker. It finds nostalgic joy in the center of a period remembered grimly by many in his hometown as Protestants and Catholics were pitted against each other over the autonomy of Northern Ireland for 30 years.

Belfast is loosely plotted and episodic, following nine-year-old Buddy (an excellent debut by Jude Hill) as he goes about his daily life in a small community tucked inside his beloved city. Buddy’s Ma (Caitriona Balfe) tends to him and his older brother Will (Lewis McAskie), while Pa (Jamie Dornan) spends a lot of time away, working in England. But his grandparents (Ciarán Hinds and Judi Dench) are around, and the rest of the neighborhood–an extended community/family in the best sense–looks after him and each other.

That is until the simmering tensions between Irish unionists (mostly Protestants who wanted Northern Ireland to remain a separate state that’s part of the UK) and nationalists (largely Catholics who want the North to become part of a united, independent Ireland) breaks out into all but open war in the streets, with riots, bombings, beatings, and the constant threat of more violence splitting Buddy’s neighborhood into two factions. In the aftermath, neighbors, friends, and even family members begin turning against each other.

The quasi-documentary style in which Branagh shoots all this makes it heartbreaking to watch. Just like so many of his films, Belfast is a period piece, but the cinematography and production design are more low-key and realistic than in his other, more florid films. The block on which Buddy lives feels real, from the narrow row houses to the side alleys to the wide storefront windows. Everyone knows each other, and there’s a sense of a real community, even as it’s torn apart by violence within and without that many of them don’t want to be involved in.

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There are moments of extreme happiness–as when Buddy watches his Pa sing with the house band to his Ma at a wedding late in the movie, their own marital troubles swept away by their continued love for each other–and extreme terror, as when Buddy is swept up by a mob and forced to participate in the looting of a supermarket. Over it all hangs the knowledge that somehow Buddy’s little Belfast neighborhood is changing forever, as residents are killed and families decide to leave, with his own Ma and Pa agonizing over whether to stay and risk their lives or leave for England and try to begin an entirely new life in a country that doesn’t exactly welcome them either.

This writer did not grow up in or near anything like the Troubles, nor did my family (a divorced single mother with two young children) have to uproot itself to another country. But when you’re seven years old, even moving from Brooklyn to Staten Island can feel immense. Being alone there for long stretches of time while your mother works part-time to scrape together whatever money she can, and not knowing if we’ll make the rent, can feel terrifying even without your old block going up in flames.

Branagh makes all of that relatable in Belfast, even for the many of us watching who did not experience the Troubles firsthand, and his cast also makes the relationships between Buddy and his family members equally full. Ma and Pa can somehow seem distant, with Pa gone for long periods of time and Ma often mentally not present as she tries to balance the budget and make up for the shortfalls that Pa has incurred with his occasional gambling. That makes, in many ways, the relationship between Buddy and his grandfather, “Pop,�� perhaps the most key in the film.

Hinds and Dench are absolutely perfect in their roles, and one senses the entire history behind Granny and Pop even without it being explained or defined. He’s a bit of a rascal, perhaps even a ne’er-do-well, while she’s the practical, hard-headed one who keeps his feet on the ground. Yet their warmth and love for each other and their family shines through at every moment. Without his Pa around, Buddy naturally looks up to Pop as a father figure; I did the same with my maternal grandfather, who was something of a superhero to me. The vacuum caused by their inevitable absence–due to the necessity of younger families moving or the relentless onslaught of old age–is keen.

But Granny and Pop–and all “those who stayed,” to whom the film is partially dedicated–represent a Northern Ireland that perhaps lives now only in Branagh’s memory. He brackets his film with color images of Belfast today, a large, bustling metropolis quite different from the tiny, gray, cloistered little town in which the filmmaker grew up. Belfast is, as we suggest above, about a million miles away from the often entertainingly melodramatic and even operatic esthetic of so much of Branagh’s past work; but in terms of shared human experience and emotion, it’s right there next to every one of us, as close as the touch of a grandparent’s warm hand. It’s also, ultimately, just as impermanent.

Belfast is now playing in theaters in the U.S. It opens in the UK on Jan. 21, 2022.

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[031cinephile]

Free Virtual European Film Festival 2021

Hot on the success of last year’s virtual European Film Festival, this 2021 edition will be taking place predominantly online from 14 to 24 October.

This wonderful selection of 18 award winning films from across Europe, 13 of which have been directed by women, will be screened free of charge, providing a window onto what is fresh and new in the film industries of the respective countries. Four new participants – the Czech Republic, Denmark, Switzerland and Ukraine – will complement those from last year: Austria, Belgium, France, Germany, Ireland, Italy, Lithuania, the Netherlands, Poland, Spain, Sweden, and the United Kingdom, along with the return of Portugal.

This diversity is reflected in the theme of this year’s festival, Healing Journeys. Healing – be it mental, physical, spiritual or societal – is vital to the human condition, to our humanity, to our existence.  This applies in both South Africa and in Europe, where despite our different contexts and histories, there exists common experience and a mutual need for healing.

The films screening will present, through the lenses of European filmmakers, a snapshot of experiences of re-establishing oneself after sometimes traumatic and possibly cathartic experiences. They deal with journeys that include organic growth, transition, and processes of self-discovery.  Many include a healthy dose of humour, bringing some possibly much-needed laughter into our lives. Much of the humour is of a more cerebral nature … films that make you smile and think at the same time.

Essentially, these films present stories of hope, humanity and thought-provoking intrigue, show-casing new work by some of Europe’s most accomplished filmmakers alongside exciting new talent.

“We are deep into our second year of confronting the threat of Covid-19, both in terms of our lives and our livelihoods. It has been difficult … everyone is affected. This year’s European Film Festival has been inspired by overcoming difficulty and challenge. Its theme, Healing Journeys, seems rather appropriate for our times. I take this opportunity to invite you – irrespective of whether you are a repeat or a first-time viewer –to join us on this year’s exciting cinematic, and healing, journey,” says EU Ambassador Riina Kionka.

Austria

A woman needs a new kidney, but is her husband ready to donate?   Michael Kreihsl’s Risks and Side Events is a lively comedy about marriage, hypochondria, friends, architects, secrets, and taking risks.  

Belgium

Jan Verheyen and Lien Willaert’s film Save Sandra is based on the true and highly topical story of a girl diagnosed with a rare muscular disease, and her father’s fierce battle with the pharmaceutical industry to gain access to medical treatment, raising ethical and societal questions in the process.

Czech Republic

Agnieszka Holland’s politically charged drama Charlatan takes us inside the conflicted life of a non-conformist herbalist, exploring his unshakeable commitment to his calling, the illicit relationship with his assistant, as he perseveres first under Nazi then Communist regimes in Czechoslovakia.

Denmark

The 2021 Oscar for Best International Feature Film went to Thomas Vinterberg’s Another Round, in which four jaded high school teachers embark on a risky experiment to maintain a constant level of intoxication throughout the workday. Mads Mikkelsen is at his scintillating best in this mature blend of comedy, tragedy, and human behaviour.

France

Starring Gérard Depardieu and Déborah Lukumuena, Robust is an outstanding feature debut by Constance Meyer about an aging film star and a young security guard responsible for watching over him.  Despite their differences, life has shaped them in ways more similar than they thought, and their unlikely friendship becomes a search for authenticity, laden with intrigue and humour.

Germany

In Mr Bachmann and His Class the ever-patient teacher uses unconventional methods to inspire his young citizens-in-the-making with a sense of curiosity and appreciation of the complex social and cultural realities of their worlds.  Maria Speth’s life-affirming documentary beautifully highlights what a quietly spectacular process education can be.  

Ireland

Ruth Meehan’s The Bright Side is a moving and uplifting story about a stand-up comedian diagnosed with breast cancer.  Armed with cynicism and blackly comic jokes, her exit strategies are upended when she encounters four powerful women whose unsolicited friendships challenge her, soften her and ultimately blow open her shut-down heart.

Italy

On the face of it, the brightly paced comedy Parents vs Influencers, directed by Michela Andreozzi, seems to focus on the world of social media and influencers, but the heart of it is about change and resistance to change. And father-daughter relationships!  And family!

Lithuania

A high-seas jump from a Soviet ship to a US vessel in an attempt for political asylum goes horribly wrong.  About an ordinary man who became a symbol for freedom-seeking refugees everywhere, director Giedrė Žickytė’s The Jump takes us on a stranger-than-fiction journey that reaches all the way up to the White House.  

The Netherlands

Antoinette Beumer’s My Father is an Airplane is about a woman’s poignant search for the puzzle pieces of her past, a journey that raises questions about parental boundaries, the risks and dangers of childhood as well its joys, and of what it means to be loved and understood.  

Poland

Never Gonna Snow Again is writer/ director Malgorzata Szumowska’s exquisitely off-beat story about how a masseur and hypnotist gains acceptance and stature in a wealthy gated community, touching on class, immigration, and global warming.

Portugal

With magnificent black and white cinematography, João Botelho’s The Year of the Death of Ricardo Reis brings to screen José Saramago’s novel about a fictitious author’s homecoming, his romantic dalliances, and his mysterious encounters with the ghost of Fernando Pessoa.  

Spain

Icíar Bollaín’s gem of a romantic comedy Rosa’s Wedding concerns a woman making radical changes in her life, and this includes a surprise wedding, much to the dismay of her family. A film about self-empowerment and gaining independence.

Sweden

Run Uje Run is an biographical music dramedy about the way life takes turns you could never have imagined.  Henrik Schyffert’s directorial debut features musician and actor Uje Brandelius playing himself in this unusual and darkly witty indie drama about appreciating what you have.

Switzerland

Writer-director duo Stéphanie Chuat and Véronique Reymond’s, My Little Sister is an intimate, personal tale about sibling love in which a sister gives her all to support her ailing twin brother, and inspires herself at the same time. A powerful look at the bonds both breakable and unbreakable in family.

Ukraine

Kateryna Gornostai’s Stop-Zemlia anchors its open-ended narrative around an introverted schoolgirl and her classmates in this sympathetic portrait of the tidal forces of teenage-hood. A deeply personal story about self-discovery and the patience it requires.  

United Kingdom

In Aleem Khan’s ground-breaking feature debut After Love, Joanna Scanlan puts in a phenomenal performance as a white, English Muslim convert uncovering secrets after the death of her husband, while exploring complex themes of loss, cultural identity and reconciliation.

Special Co-Production Presentation

Oscar nominee Jasmila Žbanić’s Quo Vadis Aida? is an extraordinary co-production between nine European countries, in which a UN translator is caught between doing her job and trying to help local inhabitants and her own family when the Serbian army takes over the small town of Srebrenica.  

Please note that the films are geo-blocked for viewing in South Africa only.  For more info please visit www.eurofilmfest.co.za

The European Film Festival 2021 is a partnership project of the Delegation of the European Union to South Africa and 17 European embassies and cultural agencies in South Africa:  the Embassies of Austria, Belgium, Czech Republic, Denmark, Ireland, Italy, Lithuania, the Netherlands, Poland, Portugal, Spain, Sweden, Switzerland, Ukraine, and the British Council, Camoes Institute of Portugal, Diplomatic Representation of Flanders, French Institute in South Africa, Goethe-Institut, and Italian Cultural Institut. The festival is organised in cooperation with Cineuropa and coordinated by Creative WorkZone.

[twinflamese]

Elopement at an Irish Castle

When it comes to planning your fantasy Irish Castle elopement ceremony or wedding anniversary, experts are there to help you make it happen. Irish Castles are excellent for small elopement weddings or promise renewals. There have been so many castles in Ireland to choose from. Take your pick from a current century's fortified tower house, a Middle ages tenth-century castle,  Norman castle.

 Elopement cost-effective packages at Irish Castles

 Elopement options at Irish Castle may accommodate couples or up to the capacity of thirty guests. And over 30 people can be accommodated by customizing the package. Additional options, and also as cinematography, wedding music, a chauffeured vehicle, a celebration venue, legislative and technical support, two witnesses to your wedding, and group transportation, are available upon request.

 They're really gorgeous

 There is no doubt about it that the Castles of Ireland are stunning. The Atlantic Ocean has nine miles of marine cliffs. Safety comes first, therefore I wouldn't suggest going on a rough day. For your elope Ireland pictures and films, the Cliffs nearby the Irish castles provide a stunning background to your images and videos. In addition, photographers will recreate the drama and romanticism of your wedding day in photos and videos.

 They're highly accessible to the general public

 These Irish castles are easily accessible. As there are many castles in different locations in Ireland, one can choose any of them as per their requirements. Irish castle elopement could be done very easily. One can easily book these castles for their elopement either online or even offline as well.

[dweemeister]

Braveheart (1995)

The summer of 1995 provided moviegoing audiences with a third Die Hard movie, Casper, batnipples, Disney’s problematic Pocahontas, Apollo 13, Waterworld, and one of the most understanding children’s films of all time in Babe. That is a busy summer to say the least. Amid that clutter, one of the most successful movies of that period could not possibly have been made now, let alone find the audience it did twenty-three years ago. Released by Paramount in North America and 20th Century Fox internationally, that film is Mel Gibson’s Braveheart, a thirteenth-century war epic about Scottish knight William Wallace (played by Gibson) taking arms against King Edward I of England in the First War of Scottish Independence. Braveheart was Gibson’s second directorial work after more than a decade as a figurehead for 1980s Australian cinema and presence in the Lethal Weapon series. This is a visually striking, technically accomplished film rife with homophobia, misogyny, and historical howlers that continues to sharply polarize viewers about its cinematic merits. Through the fires of these controversies, the extremely violent Braveheart has bludgeoned its way to becoming an iconic fixture of 1990s Hollywood.

It is 1280 in Scotland. As a child, William Wallace survives King Edward “Longshanks” (Patrick McGoohan) invasion of Scotland. Following Scottish defeat, Wallace is taken on a European journey by his uncle Argyle (Brian Cox). Years later, Wallace (Gibson as an adult; James Robinson as a child) will return to his village and marry childhood friend Murron MacClannough (Catherine McCormack as an adult; Mhari Calvey as a child). But Longshanks has granted his English nobles in Scotland right of the first night, and Wallace’s successful attempt to save Murron from rape eventually ends in her execution. Enraged, Wallace – assisted by his fellow villagers – massacres the English forces sent to his hometown and drives the remaining English military from Scotland. Longshanks will not take military defeat without response, ordering Prince Edward (Peter Hanly) to quash the rebellion. War and royal intrigue breaks out, leading to Edward’s wife, Isabella of France (Sophie Marceau), being sent to negotiate with Wallace and the two falling for each other far too quickly.

With that plot in mind, viewers should understand that the only historically accurate aspects of Braveheart are the names of the historical figures involved and place names – really, that’s it. The Scots wear kilts, despite the fact kilts would not be invented for another several hundred years. If one wants to understand the First Scottish War for Independence and the history surrounding this era, read a book instead. Screenwriter Randall Wallace admitted that his script was based less on history than on the epic poem The Actes and Deidis of the Illustre and Vallyeant Campioun Schir William Wallace, written by Blind Harry in the fifteenth century.

In its medieval swordplay, Braveheart has more to do with Spartacus (1960) than anything in a 1930s-40s 20th Century Fox or Warner Bros. swashbuckler. The film’s enormous battle scenes – shot in Ireland with over 1,500 members of the Irish Army Reserve participating on both sides of this cinematic conflict – are excellent collaborations in deploying men on foot and horseback smashing into each other on a grassy plain with a frantic camera attempting to make sense of the scrum. The use of 200-pound mechanical horses running on nitrogen cylinders even fooled an animal welfare organization that decided to investigate the film because of the effect’s realism. When not indulging in ill-advised slow-motion, these battles, perhaps too frequently placed into the film to the point they becoming fatiguing, are spectacular in their choreography. The collaborative effort between Gibson, cinematographer John Toll (1994′s Legends of the Fall, 1998′s The Thin Red Line), editor Steven Rosenblum (1989′s Glory, Legends of the Fall) and second unit crew members contributes to a blood-soaked, crashing symphony of mangled limbs and human brutality that no other film depicting medieval warfare has since equaled – especially the Battle of Stirling Bridge, which is horrifying in its impact despite the absence of the crucial, eponymous bridge. Many films since Braveheart portraying contemporary war likewise pale in comparison.

Braveheart would be a disastrous film without John Toll’s cinematography, whether in action sequences or peaceful moments. The use of natural lighting and the on-location shooting in Ireland and Scotland appeals to Toll’s strengths for exterior shots, lending Braveheart a near-mythical angle amid large landscape shots blessed with eerie cloud covers and looming, verdant mountains. Toll makes Scotland a place of dreams – especially in the blue of twilight when the sun’s reds have retreated westward, welcoming the cool and comfort of the evening. This suits the film, as Gibson is not filming a historical drama. No computerized flourishes or too many swooping helicopter-aided vistas pry the viewer from the film. Toll’s camera for these landscapes and shots of the village (reportedly built by the production crew to Toll’s specifications) remain still or are gently heightened or lowered by crane shots. Close-ups are mercifully spare, reserved almost entirely for violent scenes.

The word “freedom” is tossed around with such promiscuity and depthlessness that Braveheart’s 178 minutes cannot be justified. Wallace’s screenplay touches lightly on the era’s politics, Wallace’s love life, and the ideas why Scotland should be independent from England. Political philosophy this is not. Look elsewhere for films of military leaders with a wracked conscience, psychologically impacted by the slaughter they have initiated. Instead, we are presented with anachronistic dialogue like this: 

WILLIAM WALLACE: Before we let you leave, your commander must cross that field, present himself before this army, put his head between his legs, and kiss his own arse.

Sure, dude. If possible, maybe that commander might have a future as a contortionist.

Braveheart presents William Wallace as a man on a revenge-fueled mission who will consider all possible means to liberate his people – he has an irreverent sense of humor that makes given scenes a tonal mishmash. Wallace’s romantic interludes with Murron and Isabella? Gibson, McCormack, and Marceau, respectively, are all unconvincing – despite an enormous assist from Toll in these passionate scenes.

Casual homophobia is directed toward Prince Edward (later King Edward II), the son of Edward Longshanks (Edward I; who was a bellicose monarch, but becomes a cartoonish archetype in this film). Prince Edward is depicted as effeminate and gay, and his lover Philip (Stephen Billington) is killed by defenestration. The film further compounds this depiction by associating the Prince’s homosexuality to his ineffectual character – Longshanks constantly chastises his son’s lack of masculinity and Princess Isabella also disapproves of her husband for those qualities. This is not to say homophobia did not exist in the late thirteenth century, but that Gibson and Wallace are doubling down on the Prince, making him a punchline puppet of a leader because of who he is. Aggressive masculinity and sexual expressions inundate the battle scenes, too – swinging swords should be interpreted as one might think.

Women have almost zero agency in Braveheart, as they are depicted as sexual vessels to remain pure and chaste while the men fraternize and fornicate all they wish. Wallace’s campaign of violence begins not because the English lords have invoked right of the first night (prima noctis) for other women, but because prima noctis has been invoked for Murron (whose sexual faithfulness is idealized after her death in a pair of visions Wallace – who, by sleeping with Isabella, does not return that same faith – has). One of the few topics that women speak of throughout the film is sexual interest/satisfaction or lack thereof – Isabella’s only purpose in the film is to bang Wallace so that she can deliver an inflammatory piece of news to Longshanks on his deathbed.

Other than Toll, another craftsperson showcases their mastery in this film. That master is composer James Horner (Glory, 1997′s Titanic). 1995 proved to be a career year for Horner, having composed the scores for Apollo 13, Balto, and Casper. His second-best score of the year behind Apollo 13, Braveheart’s score is mostly devoid of the wanking masculinity described above, combining cultural elements that might seem inappropriate for a film about Scottish warriors – given the use of Japanese woodwinds in Legends of the Fall (a generational epic drama about a Montana ranching family), Horner’s instrumental appropriation knows no bounds, for good and ill. Along with the requisite bagpipes (rather than the Great Highland bagpipes that are generally associated to be “bagpipes”, Horner utilizes Uilleann pipes – Irish in origin, Uilleann pipes are softer and considered to produce a less harsh sound than Great Highland Bagpipes), this heavily orchestral score also benefits from a boys’ choir reminiscent of Casper, Horner’s affinity for Irish music, and quena (an Andean flute) for “The Secret Wedding”.

Three major motifs exist in Horner’s score: for Wallace, Murron, and Isabella. Wallace’s motif is first in the main title through the Uilleann pipes and will be the most-repeated theme in the film, fragmented up by percussion in the battle scenes, and often accompanied by strings in melodic unison (most heroically at 6:05 in “Freedom/The Execution Bannockburn”). Murron’s motif assumes melodramatic, (and very quickly afterwards) tragic connotations upon its most memorable appearance on quena in “The Secret Wedding”, chorally reprised at 3:10 in the “End Credits”. Dominating the final third of the film is Isabella’s motif, best outlined in “For the Love of a Princess” by the entire orchestra, and containing echoes of “The Ludlows” from Legends of the Fall. Credit the London Symphony Orchestra for providing a gorgeous recording, even if Horner’s score to Braveheart is not the most musically interesting effort of his career.

Producers Bruce Davey (Gibson’s longtime producer) and Alan Ladd, Jr. (son of legendary Paramount contracted actor Alan Ladd) navigated numerous obstacles at 20th Century Fox and Paramount to complete the film. This enormous, nearly three-hour production of a time period unfamiliar to North American moviegoers could not be produced at this scope today. A 2018 Braveheart would require even more major studios from various nations to finance the project, as epic films have all but disappeared from the multiplex because of their forbidding costs and lack of action star/superhero connections. Gibson’s ambition is staggering here. Yet Braveheart is let down by Gibson’s hypermasculinity and homophobia – reflective of his troublesome political dimensions.

The film’s cultural importance when it was released is unquestionable, but it remains to be seen how time will treat Gibson’s directorial breakout work. By being released in the mid-1990s, it is among the last Hollywood epic films largely untouched by excessive CGI – the effects are gruesome because they are practical. Though the characterizations are simplistic, Braveheart is an effective character piece for many, if not for this writer. Caught between the praises of fanboys of a certain demographic and those who loathe Gibson and/or Braveheart, I can neither adulate nor dismiss this movie outright. Bring on the insults on my manhood, but say it with a Scottish accent, would you kindly?

My rating: 6.5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found here.

[cliffchoongphotography]

A very vibrant cross culture wedding with both Chinese and Bidayu traditional outfits. Here the bride is a Bidayu from Kuching and groom a Chinese from Subang Jaya. And this is a live story of a doctor and nurse who met in Ireland. What a romantic journey. Yay 🥰😍❤️❤️. Congratulations to Christy & Jason! - Make up & hair styling: @by_emmielee | Photographer: @thecrosseffects with @kevintanphoto & @cliffchoongphotography | Cinematography: @filmingart Wedding planner: @myweddingplannersb | Venue: @dorsettgrandsubang . . . . . . . . . . . . #lookslikefilm #malaysiawedding #malaysiaweddingphotographer #singaporeweddingphotographer #mywed #junebugweddings #photobugcommunity #shotwithlove #portraitcollective #destinationweddingphotographer #loveislove #weddingphotography #momentsovermountains #weddingchicks #thatsdarling #dirtybootsandmessyhair #theknot #bridesrealwedding #belovedstories #singaporebrides #singaporebridesweddings #weddingmoments #crossculturewedding #igbride #amsterdamweddingphotographer #rotterdamweddingphotographer #ypwphoto (at Dorsett Grand Subang) https://www.instagram.com/p/BsS9VIeHF_z/?utm_source=ig_tumblr_share&igshid=tcg51jx5th3d

[nice-2-look]

Capturing Memorable Moments: A Guide to Wedding Videography in Sligo

In the heart of Ireland's scenic landscapes and enchanting vistas, lies the picturesque county of Sligo, a place where love stories come to life against a backdrop of breathtaking beauty. As couples embark on their journey towards forever, the role of a wedding videographer becomes paramount in immortalising these cherished moments. In this guide to Wedding Videography Sligo, we delve into the art of capturing love stories through the lens, ensuring that every emotion, every glance, and every heartfelt exchange is elegantly preserved.

The Essence of Wedding Videography in Sligo

Wedding videography is more than just documenting events; it's about weaving a narrative that encapsulates the couple's unique journey. Sligo offers an array of stunning locations, from windswept cliffs to tranquil lakeshores, creating a natural stage for these love stories to unfold. A skilled wedding filmmaker in Sligo knows how to harmonise the beauty of these landscapes with the couple's story, creating a visual symphony that resonates with their love.

Cinematic Poetry: Crafting Wedding Films in Sligo

A wedding film is a cinematic poem that captures the essence of a couple's union. Every element – the venue, the decor, the people – plays a crucial role in this narrative. A seasoned wedding videographer in Sligo understands the significance of these components and skillfully integrates them into a seamless tapestry of emotions. From the laughter shared during preparations to the tears of joy exchanged at the altar, every moment is a brushstroke on the canvas of their love story.

The Art of Cinematography: Telling Tales Through Motion

Wedding Cinematography Dublin is an art that requires a delicate balance between observation and participation. It's about knowing when to blend into the background and when to step forward to capture those candid exchanges that make the day so special. The play of light, the dance of shadows, and the soft whispers of the wind all contribute to the atmosphere of the film. A wedding filmmaker in Sligo is a maestro who orchestrates these elements to create an evocative and heartfelt masterpiece.

Capturing Emotion: The Soul of Wedding Films

Beyond the picturesque landscapes and stunning venues, the soul of a wedding film lies in its ability to evoke emotions. The tears of a father seeing his daughter in her wedding gown, the elation shared between partners during their first dance, and the uninhibited laughter of friends – these are the raw, unscripted moments that bring authenticity to a wedding video. A wedding videographer in Sligo is attuned to these subtleties, ensuring that every sentiment is elegantly captured.

In conclusion, the art of wedding videography in Sligo is a dance of creativity, emotions, and technical finesse. As couples embark on their journey into matrimonial bliss against the backdrop of Sligo's awe-inspiring beauty, the role of a wedding filmmaker becomes indispensable. Through skillful cinematography and a keen eye for storytelling, these professionals transform fleeting moments into eternal memories, preserving the magic of a wedding day for generations to come.

So, if you're seeking to encapsulate your love story in the breathtaking landscapes of Sligo, entrust the task to a dedicated wedding videographer who understands the essence of your journey and can translate it into a mesmerising cinematic masterpiece. With every frame, every sequence, and every heartfelt exchange, they'll weave a tale that speaks to your hearts and transcends time itself.

Capture your love. Preserve your memories. Let Sligo's beauty be the canvas for your everlasting tale.

Blog Source URL:

[lynettemurrayhair]

Louise & Richard: Moyallon Quaker meeting house, Northern Ireland

[purephotoni123-blog]

Wedding Photographer Northern Ireland

Professional and award winning Belfast Northern Ireland wedding photographers and videographers, our wedding photography and cinematography covers the whole of Northern Ireland, Ireland and the UK and worldwide. We have to say that looking at your photographs is like being in a time-machine magically transporting us back to every moment - to all the things that made it our best day ever, and to all the things that we missed but that you've forever captured. We discussed their plans for a wedding in Belfast City Hall, followed by a tour of the city in a vintage bus, including a few award winning wedding photographers Northern Ireland quick stops at some iconic finishing at the hotel in Belfast for a reception. Everything was planned and scheduled and it sounded like a load of fun.

We take away the hassle of you trawling through hundreds of directories and Face book pages to find the one - by working with the best wedding photographers northern Ireland providers, we make your wedding that much less stressful by giving you one point of contact to make everything simple and easy for you.

Looking for a wedding photographer located in Belfast Photography provides relaxed, beautiful wedding photos for your special day. Northern Ireland wedding photographers all of this is part and parcel of the service she offers and to all intents it is like having your own personal wedding photography planner! Her ability to bring out the individuality of her clients in their wedding or portrait photographs is what makes her much sought after, producing top quality images which have a simple, timeless elegance. A good wedding photographer will be able to help you plan the timings of your day. He is one of the a lot of trusted Wedding Photographers in Northern Ireland and widely recognized for his friendly but professional manner. They are good friends with another super photographer and had asked if they would consider doing the wedding.  For more information, please visit our site https://www.purephotoni.com/

[flightsglobal-blog]

New Post has been published on FlightsGlobal.net

New Post has been published on http://flightsglobal.net/the-quite-man-an-american-sings-irish-ballad/

The Quite Man - an American Sings Irish Ballad!

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by Nfrhtp

Action...Excitement...Romance...Fill the Screen! This one is the perfect tagline to define The Quite Man. One of the Hollywood's longest in the making movie; The Quite Man was screened in 1952 worldwide. Director John Ford's one of classic movies, The Quite Man reflects human relationships, nostalgic flavour and contemporary imageries of Irish heritage in its purest forms. Apart from the script, all the characters in The Quite Man display personal endeavours to entertain the warmth and vitality of human relationships in every possible level. Cinematography in The Quite Man is at its best and Winton C. Hoch has done exceedingly well in picturising various Irish locations in the backdrop of story. In true sense The Quite Man is a cinematic representation of a classic romantic drama.

The storyline is very simple and there is nothing historic about the story or it does not carry any social message. The story is all about two lovers Sean Thornton (John Wayne) and Mary Kate Danaher (Maureen O'Hara) and their struggle through time and finally reconciliation in between them. The main plot can be summarised as "Set in 1920s Ireland, Sean Thornton (John Wayne), an Irish-American from Pittsburgh, returns to Ireland to reclaim his family's farm in Innisfree. He meets and falls in love with the fiery Mary Kate Danaher (Maureen O'Hara), the spinster sister of the bullying, loud-mouthed landowner "Red" Will Danaher (Victor McLaglen). Danaher, angry that Sean outbid him for the Thornton land adjacent to his property, initially refuses to sanction the marriage until several town locals, including the parish priest, conspire to trick him into believing that the wealthy Widow Tillane wants to marry him, but only if Mary Kate is no longer living in the house. After learning the truth on Sean and Mary Kate's wedding day, an enraged Will refuses to give his sister her full dowry.

Sean, unschooled in Irish customs, cares nothing about the dowry; but Mary Kate is obsessed with obtaining it; the dowry representing her independence, identity and pride. Angered and shamed by Sean's refusal to confront her brother and demand what is legally hers, she brands him a coward, and, despite living together, they are estranged as husband and wife. The truth about Sean, however, is known only to one other person in the village, the Church of Ireland minister Rev. Playfair (Arthur Shields). Sean is a former boxer in the United States, a heavy weight champion known as "Trooper Thorn." After accidentally killing an opponent in the ring, Sean hung up his gloves, vowing never to fight again.

Later, in an attempt to force Sean to confront Will Danaher, Mary Kate leaves him and boards a train departing Castletown and headed to Dublin; Ireland's Capital. Infuriated, Sean arrives and drags her off the train, and, followed by the townspeople, forces her to walk the five miles to Innisfree from Castletown to Will Danaher's farm. Sean demands that will hand over her dowry. Will finally relents and gives him the cash. Mary Kate and Sean throw it into a furnace, showing that Mary Kate never cared about the money, but only that Sean stands up for his wife. Sean and Will slug it out through the village, stop for a drink, brawl again, then becomes best friends. Sean regains Mary Kate's love and respect. Will Danaher and the Widow Tillane begin courting, and peace returned to Innisfree." (Courtesy: Wikipedia.org)

In the movie one can see the underlying conflict has a great deal in common with the Western culture and lifestyle. At its core, there is a "good man" that represents an outsider, who enters into conflict with the "bad man" in the protagonist who represents the established, rich, and overbearing land owner. The conflict revolves around love, honour and social acceptance. The Quiet Man is a definitely a Fordian film in every sense as it represents uniqueness of Ford and his immense love Ireland. If I were asked, I would have advised every to keep one DVD copy of The Quiet Man in your movie wallet. The new special edition DVD has several interesting features. The print is bright and colourful. You can order this from Stoleit.com right now.

For Further Information Please visit our web store @ http://www.stoleit.com and also these links, A Classic Christmas CD, Classic Christmas CDs.

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[nice-2-look]

Choosing the Perfect Wedding Videographer in Dublin: Tips and Considerations

The day of your wedding is a once-in-a-lifetime occasion, full of priceless feelings and experiences that you'll want to cherish always. Capturing these memories through photography is a wonderful way to preserve the essence of the day, but hiring a professional Videographer In Dublin Ireland, takes it a step further, allowing you to relive the magic of your special day through moving images. When it comes to selecting a wedding videographer in Dublin, there are several essential tips and considerations to ensure you find the perfect match for your needs.

1. Begin Your Search Early

Finding a Professional Videographer Dublin who aligns with your style and vision takes time. Start your search early in the wedding planning process to give yourself ample time to research, compare portfolios, and meet potential candidates. Popular videographers often get booked quickly, especially during peak wedding seasons, so starting early will increase your chances of securing the best one for your big day.

2. Assess Their Style and Portfolio

Every wedding videographer has their unique style and approach to capturing weddings. Some focus on documentary-style storytelling, while others lean towards cinematic or artistic presentations. Take the time to watch several Dublin Wedding Photoshoot and video from each photographer and videographer you are considering. Pay attention to the editing, cinematography, and overall feel of their work to determine if it resonates with your preferences.

3. Check for Experience and Professionalism

Your wedding is a significant milestone, and you want to entrust the responsibility of capturing it to an experienced professional. Look for videographers in Dublin with a track record of shooting weddings. Experience not only ensures technical expertise but also means they can handle various scenarios and adapt to different environments seamlessly.

Professionalism is equally crucial. A wedding videographer should be communicative, punctual, and attentive to your needs throughout the process. Opt for someone who is receptive to your ideas and offers suggestions to make your Wedding Videography Services experience exceptional.

4. Read Reviews and Testimonials

Reading reviews and client testimonials can give you important insights about the videographer's work ethic and the general level of client satisfaction. Look for reviews that specifically mention the videographer's attention to detail, responsiveness, and ability to capture meaningful moments.

5. Inquire about Packages and Pricing

Before finalizing your wedding videographer, inquire about their packages and pricing. Understand what is included in each package and whether they offer any customization options to tailor the services to your specific needs. Be clear about the deliverable, such as the length of the final video, additional editing, or the provision of raw footage.

6. Schedule an Interview

Once you've narrowed down your choices, schedule an interview with the videographers you are most interested in. Meeting in person or virtually will allow you to get a sense of their personality and how comfortable you feel around them. A good rapport with your videographer is essential, as it will help you relax and act naturally on your wedding day, resulting in more authentic footage.

7. Confirm Availability

Ensure that the wedding videographer you choose is available on your wedding date. Since videographers may cover multiple events in a day, confirming their Availability is crucial to avoid any last-minute surprises.

8. Discuss Equipment and Backup Plans

Inquire about the videographer's equipment and backup plans. A reliable professional will have high-quality cameras, audio equipment, and stabilizers to capture clear and steady footage. Additionally, they should have contingency plans in case of technical difficulties or unforeseen circumstances on the wedding day.

9. Review Contract Details

Before finalizing any agreements, carefully review the contract provided by the videographer. Pay attention to the terms and conditions, including the payment schedule, cancellation policy, and rights to the footage. Ask for clarification on any issues you are unsure of.

Conclusion

The best Wedding Videographer In Dublin, Ireland should be chosen carefully, as it is a significant decision. By starting your search early, assessing their style and portfolio, checking for experience and professionalism, reading reviews, and scheduling interviews, you'll be well on your way to finding a videographer who can capture the essence of your special day beautifully. Remember that your wedding videography will serve as a cherished keepsake for years to come, so invest time and effort in finding the best fit for your wedding day.

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Capturing Everlasting Moments: The Art of Wedding Cinematography in Dublin

The day of your wedding is a celebration of love, happiness, and the start of a wonderful adventure with your spouse. It's a day filled with heartfelt emotions, tender moments, and cherished memories that you'll want to relive time and again. While photography can freeze these moments in still frames, wedding cinematography takes it a step further by capturing the essence of your special day in moving images. In Dublin, Ireland, the art of wedding cinematography has evolved into a beautiful and sophisticated craft, thanks to the skill and expertise of professional wedding videographers in the city.

The Role of Wedding Cinematography in Dublin

Wedding cinematography is an art form that aims to tell the unique love story of a couple through a beautifully crafted film. It goes beyond the traditional Wedding Video Dublin, transforming the wedding day into a cinematic experience that is as emotive as it is visually captivating. In Dublin, wedding cinematography has gained popularity as couples recognize its ability to create lasting memories that transport them back to the magical moments of their big day.

The Expertise of Wedding Videographers in Dublin

Dublin is home to a vibrant community of professional wedding videographers who possess a keen eye for detail, a creative vision, and a deep understanding of the significance of each wedding they film. These skilled videographers approach each wedding with dedication and passion, ensuring that no precious moment goes unnoticed and every emotion is authentically captured.

Benefits of Wedding Cinematography

Emotive Storytelling: Wedding Cinematography Dublin is all about weaving a narrative that reflects the couple's unique love story. From the tender glances during the vows to the joyful celebrations on the dance floor, every element is thoughtfully captured to create a compelling and emotive film.

Reliving the Day: A well-crafted wedding film allows couples to relive their special day and experience the emotions they feel all over again. The moving images bring the memories to life, rekindling the love and happiness shared on that momentous occasion.

Cinematic Experience: Wedding cinematography elevates the wedding video to an art form. The use of cinematic techniques, such as creative camera angles, expertly choreographed shots, and elegant editing, adds a touch of sophistication to the final film.

Capturing Unseen Moments: While the couple may not be present for every moment of the wedding day, wedding cinematography ensures that no moment is missed. From behind-the-scenes preparations to candid interactions between guests, the videographer expertly captures the unseen moments that make the day truly special.

Family Heirloom: A professionally crafted wedding film becomes a cherished family heirloom, passed down through generations to preserve the legacy of love and commitment.

Selecting a Professional Wedding Videographer in Dublin

When choosing a Wedding Videographer In Dublin to capture your special day, consider the following factors:

Portfolio and Style: Review the videographer's portfolio to ensure their style aligns with your vision. Look for a diverse range of wedding films that showcase their storytelling abilities and cinematographic skills.

Experience and Reputation: Opt for an experienced wedding videographer with a solid reputation. Read reviews and testimonials from past clients to gauge their professionalism and quality of work.

Personal Connection: Schedule a meeting or virtual consultation with the videographer to assess if you share a personal connection. Feeling comfortable and at ease with your videographer will help you act naturally on your wedding day, resulting in more authentic footage.

Package Options: Inquire about the different wedding cinematography packages available. Select the alternative that most closely satisfies your needs and provides the coverage and editing you desire.

Conclusion

Wedding cinematography in Dublin has evolved into an exquisite art form that beautifully captures the love and emotions of couples on their special day. With the expertise of Professional Wedding Videographer Dublin, Couples can savor their wedding memories in a masterpiece of cinema that they will love forever. From emotive storytelling to creating a cinematic experience, wedding cinematography adds an unparalleled dimension to wedding memories, making it an essential investment for any couple looking to preserve their love story in the most enchanting way possible.

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Northern Ireland Photography

Professional and award winning Belfast Northern Ireland wedding photographers and videographers, our wedding photography and cinematography covers the whole of Northern Ireland, Ireland, UK and worldwide. Albums is something we don't tie my clients into with packages etc, we personally feel an album (if required) should be chosen based on the images you want in it so this is why we feel you should get your images first, we can’t think of nothing worse than having to decide how many pages your album should have and how many images your restricted to depending on the size of your album a year or more before your wedding, let the images decide your album not the other way about.

So, if you love what we do and you're after natural yet striking artistic documentary photography and a wedding photographer who is going to create images that will do justice to one of the most memorable special and important days of your life then we'd love to meet you and hear all about your big plans! As a wedding photographer based in Belfast, Northern Ireland, my intention is to capture the natural emotions in an unobtrusive manner, so much so that you should hopefully see me as just another one of your guests allowing you to enjoy your day to the fullest.

When it's cold, dark and wet outside and wedding photographers all around the country are hard at work behind their computers editing cosy winter

wedding photographer Northern Ireland

, it is sometimes simple to overlook that the summer marriage division anytime happened, and that it'll be aback again a lot sooner than we think! For more information, please visit our site

https://www.purephotoni.com/