Saturday, December 28, 2019

Spring Season 2020

Due to the COVID-19 developments, screenings at the Rockabill Film Society are cancelled until further notice.

Wednesday January 15th – A Faithful Man
L'Homme Fidèle
Dir: Louis Garrel, 2018, France, 75 mins, Cert: CLUB
Starring: Louis Garrel, Laetitia Casta, Lily-Rose Depp
Language: French

One morning Marianne, Abel’s girlfriend of three years, tells him that she is pregnant. Unfortunately for Abel, the father is his best friend Paul, who Marianne has been seeing behind Abel’s back and is now going to marry.

Several years later, Marianne unexpectedly reenters Abel’s life. Having never quite got over their breakup, Abel sees this as a sign to win Marianne back. But Paul’s younger sister Eve has been in love with Abel since she was a teenager. Now all grown up, she has designs of her own on Paul!

Actor Louis Garrel features both in front and behind the camera for this delightfully playful and truly French romantic comedy.

Winner – Best Screenplay, San Sebastian International Film Festival 2018

Wednesday January 29th – The Peanut Butter Falcon
Directors: Tyler Nilson, Michael Schwartz , 2019, USA, 97 mins, Cert: 12A
Starring: Shia LaBeouf, Dakota Johnson, Zack Gottsagen

Zak, a 22-year-old wrestling enthusiast with Down Syndrome, lives in a retirement home because the state has nowhere else for him. After numerous failed attempts, he finally breaks out and heads cross-country to find his favourite wrestler, The Salt Water Redneck.

Stowing away in the boat of a troubled outlaw named Tyler, Zak manages to convince Tyler to help him get to a wrestling school run by his hero. The two set off on an adventure through the stunning North Carolina Outer Banks. Along the way they hunt, fish, drink and share their secrets. But hot on their heels is nursing home volunteer Eleanor, sent to bring Zak home.

This modern-day Huckleberry Finn type drama is a pure, feel-good adventure.

Winner - Audience Award, SXSW Film Festival 2019

Wednesday February 12th – Sorry We Missed You
Dir: Ken Loach, 2019, UK, France, Belgium, 101 mins, Cert 15A
Starring: Kris Hitchen, Debbie Honeywood, Rhys Stone

Ricky and his wife Debbie are zero-hours workers - he is a delivery driver and she is a care assistant. They are hard-working, loving parents, but they have never recovered from the 2008 crash, which saw Ricky lose his permanent job, and their chances of owning a home of their own disappear.

Now renting, but still dreaming of their own place, Ricky sets his sights on a ‘franchise’ opportunity as a courier. In reality this means long hours, no job security and no benefits. So when teenage son Seb starts going off the rails, the pressures and mounting debts begin to tear the family apart.

Loach and Laverty reunite for a true and searing look at the ‘gig’ economy.

Winner - Audience Award, San Sebastián International Film Festival 2019

Wednesday February 26th – Pain & Glory
Dolor y Gloria
Dir: Pedro Almodóvar, 2019, Spain, 113 mins, Cert: 16
Starring: Penélope Cruz, Antonio Banderas, Asier Etxeandia
Language: Spanish

Veteran director Salvador Mallo (Antonio Banderas) currently suffers many health issues, which he blames for the creative rut he finds himself in. As he tries to recover, he reflects on his life. Whilst recalling memories from the past, including those of his humble upbringing by his doting mother (Penélope Cruz), in the present he reconnects with past friends and lovers. Can this journey help him overcome his physical pain and rediscover his creativity?

Banderas and Cruz, with whom Almodóvar has worked extensively in the past, reunite with the award-winning director, to bring arguably his most personal film to date to the big screen.

Winner – Best Actor, Cannes Film Festival 2019

Cancelled! Wednesday March 11th – Monos
Dir: Alejandro Landes, 2019, Colombia, Argentina, Netherlands, Germany, Sweden, Uruguay, 102 mins, Cert: 15A
Starring: Sofia Buenaventura, Moisés Arias, Julianne Nicholson
Language: Spanish

Exiled on a remote mountainside in South America, the Monos are a group of teenage soldiers left to guard a single hostage: Doctora.

Who they are and where they come from is not known. They have their orders from the Organisation communicated by radio, and also sporadic visits from the Messenger, serving as a voice of authority and connection to the outside world. But when the accidental death of the camp’s cow causes the group’s leadership to be questioned, the internal dynamics shift and the few ties the Monos had to reality begin to dissolve.

Monos is a powerful, beautifully surreal film, which uses a pulsating soundtrack and visual style to provide an immersive and mesmerising experience for the viewer.

Winner - World Cinema Dramatic Special Jury Award, Sundance Film Festival 2019
Winner - Best Film, San Sebastián International Film Festival 2019
Winner - Best Film, BFI London Film Festival 2019

Cancelled! Wednesday March 25th – The Wolf's Call
Le Chant Du Loup
Dir: Antonin Baudry, 2019, France, 115  mins, Cert: CLUB
Language: French
Starring: Omar Sy, Mathieu Kassovitz, Francois Civil

One of the biggest French films of the year in it's home country, The Wolf's Call is a gripping thriller set on a nuclear submarine.

A young man possesses an uncommon gift for identifying every sound he hears. He has made a profession out of it, as the “Golden Ear” aboard a French nuclear submarine. When his reputation for infallibility is damaged by a mistake that puts the lives of the whole crew in danger, his determination to win back his comrades’ trust takes them to the heart of an international crisis as it spirals out of control.

Monday, September 16, 2019

Autumn Season 2019

All films start at 8.30 pm in the Skerries Sailing Club.
Tickets / membership at the door.

Wednesday 25 September – Arctic
Dir: Joe Penna, 2018, Iceland, 98 mins Cert: CLUB
Starring: Mads Mikkelsen, Maria Thelma Smáradóttir
Language: English

It doesn’t take long for Joe Penna’s Arctic to establish itself as one of the best movies ever made about a man stranded in the wilderness. In fact, there’s a small but crystalline moment in the first act (some 15 or 20 minutes in, maybe) when this hellishly cold portrait of human endurance claws ahead of the pack and never looks back.

The context is easy to describe — the conflict frozen across Mads Mikkelsen’s face is not. The Danish star, throwing himself into an Iceland shoot that could probably make for a compelling survival story unto itself, plays a downed pilot named Overgård. The nearly wordless film starts at some point after his plane has crashed into a deep white valley in the middle of nowhere. It’s hard to pinpoint when exactly the accident took place, but it’s obvious that our hero has been out there for longer than most of us could ever hope to last.

From the very first scene, the busted fuselage has already been converted into a homey little shelter that could pass for a decent one-bedroom in Brooklyn. Overgård has had time to dig out a massive S.O.S. in the snow, and to fill a freezer with the bony fish he’s snagged from beneath the ice. He’s had time to stack a pile of ugly black stones into a small grave for someone whose identity we never learn — likely a co-pilot, but we’re left to assume. There’s no way of knowing if Overgård was clean- shaven before the crash, but he wears his beard well (the elegant slope of Mikkelsen’s face makes the icicles look like jewelry).

And then — as Overgård is trying to stab a trout in a snowstorm — he spots a rescue helicopter cutting its way towards him. It promptly crashes, the winds driving the chopper headfirst into the ground. Maybe there are some places where people just shouldn’t fly.

This is when Arctic starts to thaw into something unexpectedly rich and humane; one perfect reaction shot is all it takes for Penna’s debut feature to prove itself more lucid 127 Hours and more dynamic than All Is Lost (admittedly a low bar to clear). You expect Overgård to sprint over the nearest ridge so he can get a clear view of the wreckage, but... he doesn’t. On the contrary, he just stands in place, as though his feet were stuck to the snow.

Cinematographer Tómas Örn Tómasson, always opting for a steadiness that belies the chaos of Overgård’s situation, trains his camera on Mikkelsen’s static face. It’s like he’s short-circuiting for a second. The disappointment in his eyes is obvious, but we also note the lack of disbelief — how surprising can a disaster really be after so many days spent waiting for death? Plus, Overgård is totally wiped out. Even a rugged and resourceful MacGyver type like him might not have the strength to save anyone. Besides, that was supposed to be their job!

Of course he eventually does the right thing, but that fleeting hesitation is enough to sell us on Overgård’s fragility. Penna’s script, co-written with Ryan Morrison, doesn’t need a flimsy backstory to explain why this guy wants to live, or what it might take to rekindle his fading hopes. Penna recognizes that certain scenarios are so complete that any kind of additional motivation tends to smell bad.

One of the two helicopter pilots is still alive (Maria Thelma Smáradóttir), if only just. She’s got an infected wound on her abdomen, but she also has a lighter and some noodles. That’s a great recipe for a hot meal. Suddenly, those mountains in the distance start too look a little closer. And so they set off to a distant point on the map, Overgård tobogganing his silent new friend across the Arctic like some kind of frozen Fitzcarraldo. They exit the crash site, pursued by a polar bear.

Initially written as a sci-fi adventure set on Mars (before everyone involved came to their senses), Arctic works because it’s so believable. The movie never cheats or takes shortcuts — in fact, Overgård and his living cargo are forced to take the long way round. Penna has packed the film with incident and excitement, even making room for a bear attack sequence that puts The Revenant to shame, but even the most Hollywood moments obey a certain logic.

More than that, Penna finds ways to infuse real drama into potentially mundane details. We always know where the characters are and what’s at stake with each step, so that watching Mikkelsen turn a sled into a makeshift shelter achieves the excitement of a major setpiece. The photo Overgård finds of the pilot with her husband and baby — at first a maudlin touch — comes to assume a genuine emotional heft. Some credit for that belongs to Joseph Trapanese’s low and stirring score, but the brunt of its power exists between Mikkelsen and the man he’s playing. Overgård needs someone to live for, even if he’s not the person who ultimately needs to live for them.

It’s broad stuff, and well-trod terrain for a movie that takes place in uncharted territory, but it cuts straight to the difference between endurance and survival. Movies like this are typically only exciting because the hero might die. Arctic is so compelling because Overgård might not.
- David Ehrlich, IndieWire

Wednesday 9 October – Float Like a Butterfly
Dir: Carmel Winters, 2018, Ireland, 101 min, Cert: 15A
Starring: Hazel Doupe, Dara Devaney, Johnny Collins, Hilda Fay, Lalor Roddy
Language: English

We have the opportunity to screen 'Float Like a Butterfly' starring Hazel Doupe from Skerries and a past pupil of Skerries Community College!

Winner of the Audience Award at the Cork Film Festival November 2018.

15-year-old Frances lost her mother in a fight. The same fight which led to her father being locked up in jail for the last ten years. Frances has never forgiven the police sergeant who she feels is responsible for this. She’s got fighting in her blood, just like her idol Muhammad Ali. And like Ali, she wants to be the Greatest too.  

When her father gets out of jail, Frances is starry-eyed. Together they can take on the world. But her father doesn't turn out to be the hero she remembers. Required to keep the peace due to the conditions of his parole, he's forced to endure humiliation from the police sergeant, much to Frances' dismay. And to make up for lost time, he is determined to make a man of his son and an obedient wife of his daughter.  

Frances never wanted to clash with her beloved father, but when he gives her boxing gloves to a prospective husband to “keep her in line” she has to make a stand. Cast out by the world and her family alike, Frances must fight even for the right to fight. Some people say it doesn’t matter whether you win or lose. But for Frances losing is not an option. This is a fight she has been training for all her life. At stake is her own freedom, her mother's honour and her father's faith. She knows the only way she can end this war is to win it.
Screen Ireland

Wednesday 23 October – Sink or Swim
Le Grand Bain
Dir: Gilles Lellouche, 2018, France, 122 mins, Cert: 15A
Starring: Mathieu Amalric, Guillaume Canet, Benoît Poelvoorde,Jean-Hugues Anglade, Virginie Efira
Language: French

You wait ages for an all-male synchronised swimming comedy and then two come along at once. Gilles Lellouche dives in first with Sink Or Swim (Le Grand Bain), a surefooted crowdpleaser with enough warmth and the committed talents of a stellar ensemble cast to fend off any sense of predictability. It should make commercial waves on its domestic release later this year and travel well.

The Full Monty appears to have been the inspiration for both Lellouche and the forthcoming British effort Swimming With Men. There is a similar sense of emasculated, middle-aged men tackling their demons by committing to the most unlikely of public acts. Sink Or Swim doesn’t cut quite so deeply but has a likeable charm and sneaks up on the viewer in its more reflective, emotional moments.

Mathieu Amalric’s Betrand is unemployed, depressed and sending his days playing Candy Crush when he spots a sign seeking new members for an all-male team of synchronised swimmers. Amateurs are welcome, which is just as well given that the rum bunch of current members are neither very synchronised nor especially professional.

Under the indulgent tutelage of coach Delphine (Virginie Efira), the team starts to train regularly and the sessions in the pool prove as valuable as the time spent bonding over drinks in the pub or relaxing in the sauna. Every one of them has a problem of some kind from businessman Marcus (Benoit Poelvoorde) teetering on the brink of bankruptcy, to glowering uptight Laurent (Guillaume Canet) and an aging rocker (Jean-Hugues Anglade) who still nurtures dreams of stardom after 17 albums and no hit records.

There is nothing too surprising about how Sink Or Swim unfolds as the men bicker, develop a sense of solidarity and regain self-respect from their involvement in the group and a reckless decision to compete in the World Championships. There are training montages, fights, foolishness and sentimental life lessons along the way.

Sink Or Swim works because of a screenplay with some genuinely funny moments and a jaunty, confident approach from Lellouche that displays his sure comic timing and faith in the performers. Jean-Hughes Anglade is rather touching as a gentle man still hoping to impress his daughter, Jonathan Zaccaï is a hoot as the slow-witted but endlessly kind-hearted Thibault and it is a delight to see Mathieu Amalric’s Bertrand slowly coming back to life and seizing his moment.

The music choices, including Olivia Newton-John’s Let’s Get Physical and the Vangelis Chariots of Fire theme, are all a little on the nose and the film feels overlong as it nudges the two hour mark. There are reservations, but this is still a well-made, feel good entertainment that will win the audience over long before the big finale in Norway.
- Allan Hunter, Screen Daily

Wednesday 6 November – The Favourite
Dir: Yorgos Lanthimos, 2018, Ireland, UK, USA, 119 mins Cert:15A
Starring: Olivia Coleman, Emma Stone, Rachel Weisz
Language: English

Just when we thought Olivia Colman couldn’t get any better, she steps up to movie- star lead status with an uproarious performance as Britain’s needy and emotionally wounded Queen Anne in this bizarre black comedy of the 18th-century court, a souped up and sweary quasi-Restoration romp full of intrigue and plotting – with wigs, clavichords and long corridors to storm down. The drama is loosely based on the true story of Sarah, Duchess of Marlborough, competing with her cousin Abigail, Baroness Masham, for the monarch’s favours, and creating a horribly dysfunctional politico-sexual love triangle with mother issues. The two emotional duelists are played here by Rachel Weisz and Emma Stone, the latter with a very good Brit accent.

There is a cheerfully obscene original script from Deborah Davis and Tony McNamara, directed by the Greek auteur Yorgos Lanthimos, who brings to it the absurdism he’s already known for, along with something even more jagged and uninhibited. In fact, The Favourite may have corrected Lanthimos’s tendency towards arthouse torpor. It is a scabrous and often hilarious film, made loopier by the nightmarish visions and wide-angle distortions contrived by the cinematographer Robbie Ryan.

At first – I admit it – I thought these stylisations were going to be insufferable, and even had the unworthy thought that this script might work quite as well with a trad director, in a trad style. But no. Acclimatisation to the visual and verbal rhetoric doesn’t take long and the point is that Lanthimos’s provocations pump and energise the screenplay, which with a conventional director might have just reverted to simpering bonnets-and-ruffles period drama, for all the raucous language.

Olivia Colman’s queen is a really funny creation – perhaps funnier and more sympathetic than her Queen Elizabeth II is going to be for Netflix, but who knows how she will reinvent that role? Her Anne is like something between the QEI that Quentin Crisp created in Sally Potter’s Orlando and a weird blend of Nursey and QEI in Blackadder. But that doesn’t do justice to the sadness of her Queen Anne: someone who has been infantilised by a lifetime of emotional manipulation. She is transported everywhere by wheelchair or sedan chair but can walk just as well. She sometimes flies into something between an anxiety attack and a rage at music or the spectacle of people enjoying themselves because of a self-hating inability to participate in pleasure. There is a private tragedy in her life which means that her emotional energies have been displaced into her large menagerie of house rabbits and she shows a keen interest in racing ducks and lobsters. Again: in the hands of an actor who wasn’t funny this could have been awful, but Colman sells all of it.

Weisz plays her court favourite and intimate Lady Sarah, who deploys every sly sexual and emotional trick to keep the monarch co-dependent and keen on the raising of taxes for an ongoing French war that will glorify Lady Sarah’s warrior husband Marlborough (Mark Gatiss). This is to the horror of minister, Robert Harley (Nicholas Hoult). Then a gentlewoman and cousin of Sarah’s, fallen on hard times, arrives at the court as a servant: this is Abigail (Stone), whose knowledge of medicinal herbs helps the queen’s gout. Her majesty takes a shine to the pretty little thing. So does the predatory nobleman Lord Masham (Joe Alwyn). The contest between Abigail and Sarah is on like the 18th-century equivalent of Donkey Kong.

If there is a flaw in the film, it is probably that Colman will inevitably upstage Stone and Weisz, and put their very important face-off in the shade. That is a minor consideration. The Favourite is full of freaky zingers and deeply strange laugh-lines: I loved the idea of someone sleeping like a “shot badger”. (There’s quite a lot about badgers.) And The Favourite is a reminder that the idea of royalty as polite and picturesquely sentimental is something that came in with Queen Victoria: The Favourite is more punk than that. It’s a rousingly nasty, bleary, hungover punchup.
- Peter Bradshaw, The Guardian

Wednesday 20 November – Foxtrot
Dir: Samuel Maoz, 2017, Germany, France, Israel, Switzerland, 113 mins, Cert: 15A
Starring: Lior Ashkenazi, Sarah Adler, Yonatan Shiray, Karin Ugowski
Language: Hebrew

This emotional knockout from Israel isn’t nominated for Best Foreign-Language Film at the 2018 Oscars – another strike to add to the tally of Academy cock-ups. From first shot to last, Foxtrot takes a piece out of you. Director Samuel Maoz (Lebanon) begins with a devastating moment of grief: Soldiers arrive at the home of a middle- aged couple to tell Dafna (Sarah Adler) and Michael Feldman (Lior Ashkenazi) that their son has been killed in the line of duty. As his mother is tranquilized, his father is told about funeral arrangements. The military ritual is tragically commonplace. But for Michael, the sudden desolation is impossible to process. After calling his Auschwitz- survivor mother (Karin Ugowski), he locks himself in the bathroom, his face ravaged with anguish, pouring scalding water on his hands. Ashkenzai, a superb actor, reaches a new career peak. You will be shaken.

In the film’s second section – there are three – Maoz switches focus to four Israeli soldiers on border patrol in the desert. Jonathan (Yonatan Shiray), the Feldmans’ son, is one of a group manning a security checkpoint. We watch the young soldiers sleep in a large shipping container and fight off boredom with talk, video games, even a little soft-shoe. Maoz and the gifted cinematographer Giora Bejach turn the desert into a dream-like landscape where a camel can walk through a security gate and Jonathan can grab a rifle and use it as a dance partner. The mood is broken when Palestinians attempt to cross and suffer humiliating interrogations. It does not end well.

In the final third, we’re back in the Feldman apartment, where a personal war is raging between Michael and Dafna. Moaz builds his film out of puzzle pieces that don’t easily fit together. But there’s no mistaking the writer-director’s anger at his country for sending soldiers to die for questionable politics. That anger has brought accusations against the movie’s supposed “anti-Israel narrative.” Is it that or more likely a humanist plea for change directed at any country that extends war and ignores its futility? You be the judge. Foxtrot makes demands on audiences and then richly rewards them. It’s a riveting, deeply resonant achievement.
- Peter Travers, Rolling Stone

Wednesday 4 December – Wild Rose
Dir: Tom Harper, 2018, UK, 101 mins, Cert: 15A
Starring: Jessie Buckley, Julie Walters, Sophie Okonedo
Language: English

Great country songs are often made from the most basic musical elements — a few chords, a hummable melody and chorus, maybe a key change — but somehow those humble components can be worked into something transcendent with the alchemical addition of skillful playing, energetic showmanship, ace songwriting and sincerity.

Fittingly, the British comedy-drama Wild Rose pulls off the same kind of trick as a movie. It posits a classic setup — a young rebel (in this case a young Glaswegian woman fresh out of prison, played by the incandescent Jessie Buckley) with a raw streak of talent (singing country music) and then tests how badly she wants to succeed (will she leave her young children for a chance to go to Nashville?). Out of these familiar, predictable elements director Tom Harper and screenwriter Nicole Taylor have fashioned something entirely delightful, fresh as a Scottish summer evening. The film stays in "key," to extend the musical metaphor, with a narrational circle of fifths that creates certain emotional lows and highs and hits them accordingly, but even that mild predictability makes it more lovable, and catchy as a burr on a long-haired dog. Certain to win hearts in its home market and acquired by Neon at Toronto, this could represent a breakout, toe-tapping hit.

Sent to the big house for a year for throwing a bag of heroin over a fence at another prison, 23-year-old Rose-Lynn Harlan (Buckley) is reissued with her fringed white leather jacket and matching cowboy boots, and freed on parole, albeit with an anklet that enforces curfew every night. After a quick stop en route for some al fresco sex with her beau Elliot (James Harkness), Rose-Lynn arrives at her mother's house in Priesthill, a working-class area on Glasgow's south side that's certainly seldom used as film location.

Her mother Marion (Julie Walters, allowed a rare chance to show off her strong and considerable dramatic range), a bakery employee, has been looking after Rose- Lynn's two under-10 kids while she's been away. The children are suspicious and shy of the prodigal mother, who doesn't seem to know quite how to connect with them. In any case, Rose-Lynn is more worked up about getting back her old gig singing with a band at a local country music club, but with her abrasive interpersonal skills, the court-ordered ankle bracelet and her tendency to throw right hooks, nix that.

Marion suggests Lynn-Anne take over an arthritis-ridden friend's job as a daily housekeeper for Susannah (Sophie Okonedo), a cheery, bohemian English transplant who's married to a self-made Scotsman (Jamie Sives), has two sweet young children of her own, a house big enough that a housekeeper is required and plenty of time on her hands. After hearing Rose-Lynn singing while working (a charming dreamlike sequence where the backing band are stationed around the mansion's rooms while Rose-Lynn cleans), the children and Susannah become her newest, most passionate fans.

Putting a smart twist on what viewers, especially British ones, might expect when it comes to cross-class relations, Rose-Lynn and Susannah become genuine friends. Susannah has edges and a mild case of self-absorption, but she's a very rare example of a middle-class character in a British film dominated by working-class people who is not a villain, a snob or a stereotyped twit. Certainly, the fact that she's played by Okonedo enhances her likability, and the actor's mixed race (never remarked on once by the other characters) perhaps changes the complex algebra of class at play here. But as the film goes on, it becomes clear that it's about, among other things, non-sexual relationships between women. Rose-Lynn's occasional trysts with Elliot seem to mean almost nothing to her. It's her friendship with Susannah and tempestuous relationship with her mother that drive the plot forward.If you apply the Bechdel test, this is a film that passes with flying colors.

Nevertheless, above all else, thematically the story is about good old-fashioned self- discovery, a lost lamb finding herself, but once again the journey doesn't zig and zag exactly how you'd expect. She must find herself morally but also musically, and the two objectives are almost the same thing. While imbued with deep respect for country music and its history (the soundtrack, curated by composer-supervisor Jack Arnold, is a cracker), Wild Rose is tuned into the contradictions of a Glaswegian wanting to break into country, a music that's very much about place and cultural identity.

Thoughtful as these extra dimensions are, and enhancements to what is a refreshingly subtle work, most people won't absorb them consciously because they'll be too dazzled by Buckley making a blazing bid for big-time fame. She had already caught some attention with her mesmeric, nuanced performances in Beast last year, and on the recent BBC adaptation of War and Peace that Harper directed. Irish viewers will remember her as a girl from Kerry who came second in a TV singing contest. As a musician, she's terrific, but as an actress she's even better, with ceaselessly mobile features like a changeable Northern sky.
- Leslie Felperin, Hollywood Reporter.

Friday, December 21, 2018

Spring Season 2019

All films start at 8.30 pm in the Skerries Sailing Club.
Tickets / membership at the door.

Wednesday 9 January – The Bookshop
Dir: Isabel Coixet, 2017, UK, 113 mins, Cert: PG
Starring: Emily Mortimer, Bill Nighy, Hunter Tremayne
Language: English

Florence Green, a free-spirited widow, puts grief behind her and risks everything to open up a bookshop -- the first such shop in the sleepy seaside town of Hardborough, England. But this mini social revolution soon brings her fierce enemies: she invites the hostility of the town's less prosperous shopkeepers and also crosses Mrs. Gamart, Harborough's vengeful, embittered alpha female who is a wannabe doyenne of the local arts scene.

Wednesday 23 January – The Guilty
Den skyldige

Dir: Gustav Möller, 2018, Denmark, 85 mins, Cert: Club
Starring: Jakob Cedergren, Jessica Dinnage, Johan Olsen
Language: Danish

Demoted to deskwork and awaiting a disciplinary hearing, Agent Asger is working the night shift in an emergency call room. When he receives a call from a woman who has been abducted his resolve and arrogance are tested as it becomes a race against time to locate her.  Taking place in real time and in a single location nothing is quite as it seems in this claustrophobic thriller.  Using sound as the primary storytelling tool and with a powerful central performance from Jakob Cedergren, The Guilty is a visceral viewing experience.

Winner - World Cinema Audience Award, Sundance Film Festival 2018
Winner – Audience Award, International Film Festival Rotterdam 2018
Winner – Youth Jury Award, International Film Festival Rotterdam 2018

Wednesday 6 February – 1945
Dir: Ferenc Török, 2017, Hungary, 91 mins, Cert: Club
Starring: Péter Rudolf, Bence Tasnádi, Tamás Szabó Kimmel, Dóra Sztarenki
Language: Hungarian

When two black clad men arrive at a country railway station, a classic western set up appears to be unfolding. But it’s 1945 in Soviet-occupied Hungary in the immediate aftermath of World War II, and by their appearance the men are Orthodox Jews. As the two men make their way to town and word of their arrival spreads, there’s a growing panic amongst some of the more prominent townsfolk - especially town clerk, István, whose son’s wedding is later that day…

This difficult, transitional time in Hungary is a period rarely dealt with in cinema, and certainly not with as much clarity, economy and nuance as Ferenc Török displays here. A rare subject too, the grave and sobering issue of how the Gentile population of Nazi-occupied countries behaved towards Jewish neighbours, and how they have, or haven’t, variously, come to terms with a life based on guilt and betrayal. With its monochrome splendour and striking soundtrack, morally compromised townspeople and its tick-tock narrative towards an unknown conclusion, we’re reminded of Fred Zinnemann’s taut and masterful High Noon.

“A fresh, intelligent cinematic approach to a difficult topic that takes on a transitional time in Hungarian history with subtlety and nuance.” – Alissa Simon, Variety

Wednesday 20 February – The Children Act
Dir: Richard Eyre, 2017, UK/USA, 105 mins, Cert: 12a
Starring: Emma Thompson, Stanley Tucci, Fionn Whitehead
Language: English

"When a court determines any question with respect to the upbringing of a child, the child's welfare shall be the court's paramount consideration.” The Children Act, 1989

Based on the much-loved novel by Ian McEwan (Atonement) and brought to the big screen by director Richard Eyre (Notes on a Scandal, Iris), THE CHILDREN ACT is a compelling and powerful drama telling the story of Fiona Maye (Emma Thompson), an eminent high court judge presiding over ethically complex cases. As the demands of her job cause her marriage to Jack (Stanley Tucci) to reach tipping point, Fiona is asked to rule on the case of Adam (Fionn Whitehead), a brilliant young boy who is refusing a life-saving blood transfusion on religious grounds. With her private life in turmoil, Fiona finds herself drawn into the case, taking the unorthodox step of halting proceedings in order to visit Adam in hospital. As the two form a profound connection and powerful emotions come to light, Fiona’s judgement is put to the test with momentous consequences as she must ultimately decide whether Adam lives or dies.

Wednesday 6 March – C'est La Vie!
Le Sens de la fête

Dir: Olivier Nakache, Éric Toledano, 2017, France, 117 mins, Cert: Club
Starring: Jean-Pierre Bacri, Gilles Lellouche, Jean-Paul Rouve, Eye Haidara
Language: French

Max is a veteran wedding planner who is thinking about selling on his business. For now, however, there’s something more pressing to worry about: organising a lavish wedding in a 17th century chateau. It’s no small task: there’s dozens of people to manage, unreliable electricity, a last-minute musician change, and an increasingly demanding groom. Soon, things start going very wrong indeed. Can Max and his team sort everything out without the guests noticing?

The latest film from Untouchable directors Olivier Nakache and Éric Toledano is a gloriously manic French comedy. It hits the ground running and barely takes a breath as wedding disaster after disaster unfolds. With larger-than-life characters and laugh-out-loud set pieces, C’est La Vie! is a delight.

Wednesday 20 March – The Wife
Dir: Björn Runge, 2017, UK, Sweden, 100 mins, Cert: 15a
Starring: Glenn Close, Jonathan Pryce, Christian Slater, Max Irons, Harry Lloyd
Language: English

There’s nothing more dangerous than a writer whose feelings have been hurt.” The speaker is Joan Castleman, the charming, enigmatically discreet and supportive wife of world-famous author and New York literary lion Joe Castleman. It is a fascinating and bravura performance from Glenn Close, in this hugely enjoyable dark comedy from director Björn Runge, adapted by Jane Anderson from the novel by Meg Wolitzer. Perhaps it’s Close’s career-best – unnervingly subtle, unreadably calm, simmering with self-control. Her Joan is a study in marital pain, deceit and the sexual politics of prestige. It’s a portrayal to put alongside Close’s appearances in Dangerous Liaisons and Fatal Attraction.

The Castlemans are on the plane to Sweden, ready for Joe to get the Nobel prize. Yet they are being pestered on the flight by a certain Nathaniel Bone, part stalker-fan, part parasitic hack who wants Joe to cooperate with a warts-and-all biography he is planning to write. Joe gives him the contemptuous brush-off but Joan cautiously advises a more diplomatic treatment. It is a key moment in this hugely enjoyable drama when things begin to fall apart.

Tuesday, September 11, 2018

Autumn Season 2018

All films start at 8.30 pm in the Skerries Sailing Club.
Tickets / membership at the door.

Wednesday 26 September – Under the Tree
Dir: Hafsteinn Gunnar Sigurðsson, 2017, France/Iceland, 89 mins, Cert: Club
Starring: Steinþór Hróar Steinþórsson, Edda Björgvinsdóttir, Sigurður Sigurjónsson

The shade from a front-yard tree brings the already simmering tensions between two families in an Icelandic suburb to boiling point. Pitch black in its humour, Under the Tree is a dark and wry drama.

Grieving Inga and put-upon husband Baldvin are the proud owners of the area's only tree. Next door, amateur marksman Konrad lives with his new, much younger wife, the athletic Eybjorg — whose mere appearance incites torrents of expletives from Inga. Eybjorg is infuriated by the way the overhanging branches of Inga's beloved tree block the sunshine.  Absurdly hilarious and psychologically astute, Hafsteinn Gunnar Sigurðsson, expertly draws out the repressed anger and grief of his characters. An excellent cast perfectly tread the line between comedy and drama.


Winner - Dublin Film Critics Circle Awards 2018 – Winner DFCC Best Cinematography Monika Lenczewska (director of photography)
Nominated - Venice Film Festival 2017 - Venice Horizons Award - Best Film - Hafsteinn Gunnar Sigurðsson

Good fences make very bad neighbors in Icelandic writer-director Hafsteinn Gunnar Sigurdsson's black-frost comedy of suburban mores. – Guy Lodge, Variety

Everyday black humor seesaws with drama - Deborah Young, Hollywood Reporter

Wednesday 10 October – Let the Sunshine In
Un Beau Soleil Intérieur

Dir: Claire Denis, 2017, France, 94 minutes, Cert: Club
Starring: Juliette Binoche, Xavier Beauvois, Philippe Katerine, Josiane Balasko, Sandrine Dumas, Nicolas Duvauchelle, Gérard Depardieu

Isabelle (Juliette Binoche) is a divorced artist living in Paris. She has several potential lovers and suitors who compete for her attention, or in some cases display complete indifference despite Isabelle’s own obvious interest…

Director Claire Denis (Beau Travail, White Material) is best known for her often dark and challenging dramas - so it may come as a surprise to see her tackling what is, in essence, a romantic comedy. What won’t come as a surprise, however, is that she has crafted an accomplished, artful and thoughtful twist on that much-maligned genre.

Inspired by Roland Barthes's 1977 text A Lover's Discourse, Let The Sunshine In also boasts one of Juliette Binoche’s most captivating performances of recent years.

Winner - SACD Award, Directors’ Fortnight, Cannes Film Festival 2017

★★★★ “... a sophisticated delight.” – The Guardian, Cannes Film Festival 2017

“… an exquisite romantic comedy whose laughs are sad and whose sadness is funny.” – Slant Magazine, Cannes Film Festival 2017

“…an acutely intelligent, finely acted and – despite its cerebral edge - emotionally rich piece.” – Screen International

Wednesday 24 October – The Divine Order
Die Göttliche Ordnung

Dir: Petra Volpe, 2017, Switzerland, 96 minutes, Cert: Club
Starring: Marie Leuenberger, Max Simonischeck, Marta Zoffoli, Nicholas Ofczarek, Sofia Helin

1971: Nora is a young housewife and mother, living in a quaint little village in Switzerland with her husband and their two sons. The rural area is untouched by the major social upheavals the revolutionary movement of 1968 has brought about elsewhere. Nora’s life is not affected either; she is a quiet person who is liked by everybody – until she starts to publicly fight for women’s suffrage, which the men are due to vote on in a ballot. Despite obstacles and backlash Nora becomes a hero as she overthrows the status quo.

Switzerland was one of the last countries in the world to introduce female suffrage. And it is only since 1971 that women have had the right to vote.

Winner - Audience Award, Tribeca Film Festival 2017


“… a heartfelt and captivating film about regular people demanding their right to an equal voice.” – Grainne Humphreys, Festival Director, Audi Dublin International Film Festival 2018

“… a mainstream crowd-pleaser adept at inspiring and amusing in equal measure.” – Variety, Tribeca Film Festival 2017

Wednesday 7 November – The Guernsey Literary And Potato Peel Pie Society
Director: Mike Newell, 2018, UK/USA, 124 minutes, 12A
Starring: Lily James, Michiel Huisman, Matthew Goode, Jessica Brown Findlay, Penelope Wilton

London, 1946. Free-spirited author Juliet Ashton is invited to travel to the Channel Island of Guernsey to carry out research for a new book. Whilst there she meets the delightfully eccentric members of the Guernsey Literary and Potato Peel Pie Society, a mysterious literary group formed during the Nazi occupation.

Based on the beloved historical novel of Mary Ann Shaffer and Annie Barrows, directed by Mike Newell (Into the West, Four Weddings and a Funeral) and featuring a charming ensemble cast, The Guernsey Literary and Potato Peel Pie Society weaves a romantic story of love, courage and loyalty where the power of books can bring people together and provide refuge in their darkest times.

★★★★ ”… every location in this irresistible romantic mystery is like a little mini-break for the soul, every costume and piece of set-dressing nibble-ably gorgeous, and every character a pleasure to keep company with…” – The Telegraph

"Winningly warm and smiley …” – Shadows on the Wall

Wednesday 21 November – The Happy Prince
Dir: Rupert Everett, 2018, Germany/Belgium/Italy, 105 minutes, 15A
Starring: Rupert Everett, Colin Firth, Colin Morgan, Emily Watson, Edwin Thomas

Free from prison after two years of hard labour in Reading Gaol, Oscar Wilde (Rupert Everett) is forced to live in exile in Europe. He yearns to reunite with his children, but ill-health and a misguided reconciliation with his beloved Bosie propel him towards a disasterous and ultimately fatal existence.

Supported by loyal friends Reggie Turner (Colin Firth) and Robbie Ross (Edwin Thomas), who try to protect him from his own excesses, Wilde courageously lives out his last years by falling back on the creativity, charm and brilliant wit that defined him.

Actor Everett writes, directs and stars in the untold story of Wilde’s tragic last days. The Happy Prince is a poignant, dignified and personal tribute to his hero.

★★★★★ “... a fearless, committed, and award-worthy turn, and emblematic of a first-time film-maker at his most expressive and most affecting..” – The Times

★★★★ "... a deeply felt, tremendously acted tribute to courage.” – The Guardian

Wednesday 5 December – Leave no Trace
Dir:  Debra Granik, 2018, USA, 109 mins, PG
Cast:   Thomasin McKenzie, Ben Foster, Jeffery Rifflard

A self-contained father and daughter, live happily on the fringes of society.
Will, a war veteran, suffering from PTSD, and his teenage daughter Tom, live in a vast urban park in Portland. Will is vigilant about their camp, their rations and the regular drills they have to remain undercover. Only leaving the park to collect certain supplies, their bond is apparent and unyielding.  Until the authorities discover them and social services intervene.  Offering help, imposing compliance and conformity, they are given a new home, and a job and school are arranged. Will quietly prepares for them to disappear again but Tom is beginning to enjoy this world….
Sensitive and enthralling with intense and touching performances from McKenzie and Foster.

‘Debra Granik’s follow-up to Winter’s Bone is delicate family drama at heart’ -Tara Brady, The Irish Times

‘a film that never overwhelms but it lingers, leaving its mark on the viewer.’ -Tim Grierson, ScreenDaily

‘A father and his 13 year-old daughter are living in a paradisiacal existence in a vast urban park in Portland Oregon when a small mistake derails their lives forever ... Captivating’ -David Edelstein, Vulture

Monday, January 8, 2018

Spring Season 2018

All films start at 8.30 pm in the Skerries Sailing Club.
Tickets / membership at the door.

Wednesday 10 January – Lost in Paris
Paris pieds nus
Dir: Fiona Gordon / Dominique Abel, 2016, French/English, 83mins, Cert: CLUB 
Starring: Fiona Gordon, Dominque Abel, Emmanuelle Riva, Pierre Richard, Fred Meert
Language: French / English

Prepare to accompany one kooky Canadian as she embarks on a whimsical trip through France’s great city in this charming and entirely unique comedy which stars the two long-time Brussels-based theatre actor-directors (and real life couple) Fiona Gordon and Dominique Abel.

Fiona’s (Gordon) orderly and precise life in Canada is thrown into chaos when she receives a letter of distress from her 93-year-old Aunt Martha (Academy Award-nominee Emmanuelle Riva, Amour, 2012) who is living in Paris. Immediately jumping to action, Fiona arrives in the city of lights only to discover that Martha has disappeared. So begins a hysterical search crammed with one spectacular disaster after another as Fiona desperately scours the city with her oversized red backpack, all the while tailed by an infatuated Dom (Abel), an affable, but annoying tramp who won’t leave her alone.

Brimming with brilliantly timed pranks, amazing tricks and intricately choreographed slapstick in the vein of Charlie Chaplin and Jacques Tati, Lost in Paris will have you leaving the cinema with a gleeful skip in your step and a renewed zest for life

Wednesday 24 January – 
The Florida Project
Dir: Sean Baker, 2017, USA, 115 mins, Cert: 15A, English 
Starring: Willem Dafoe, Brooklyn Prince, Bria Vinaite, Valeria Cotto 

Six-year-old Moonie (Brooklynn Prince) lives with her mother Halley (Bria Vinaite) in a Florida motel. Along with her friends, Moonie spends the summer exploring the urban wilderness and getting into every sort of mischief. Halley, meanwhile, desperately tries to make ends meet. Kind but stern manager Bobby (Willem Dafoe) tries to keep his patience as rent goes unpaid and the hyperactive kids run wild.

In his follow-up to the acclaimed Tangerine, director Sean Baker cements his reputation as one of the great chroniclers of forgotten America. The Florida Project is a deeply sympathetic portrait of one small, neglected community. It’s the wildly energetic kids who really allow this remarkable film to soar, however - few films about childhood have ever felt this authentic.

Wednesday 7 February – 
Director: Ivan Sen, 2016, Australia, 110 minutes, Australia, Cert: CLUB
Starring: Aaron Pedersen, Alex Russell, Pei Pei Cheng, David Gulpilil, David Wenham, Jacki Weaver

Rugged, Indigenous Australian detective Jay Swan is arrested for drunk-driving by rookie local policeman Josh on the desolate road into the mining town of Goldstone. Jay is investigating the disappearance of a Chinese migrant worker, and while Josh is initially reluctant to help on the case, when it becomes apparent that something more sinister is happening in the area, the two men must overcome their differences and work together. 

Australian director Ivan Sen’s follow-up to 2013’s Mystery Road is a complex, stylish and tense western that explores Australia’s history, whilst dealing with key contemporary issues. Like its predecessor, Goldstone is intelligent and thought-provoking cinema.

Winner - Best Director, Best Actor, Best Supporting Actress, Best Cinematography,Australian Film Critics Awards 2017

Wednesday 21 February – 
The Party
Dir: Sally Potter, 2017, UK, 71mins, Cert: CLUB
Starring: Patricia Clarkson, Bruno Ganz, Cherry Jones, Emily Mortimer. Cillian Murphy, Kirsten Scott Thomas, Timothy Spall 
Language: English

Janet has just been appointed minister in the shadow cabinet – the crowning achievement of her political career. She and her husband Bill plan to celebrate this with a few close friends. The guests arrive at their home in London but the party takes an unexpected turn for the worse when Bill suddenly makes two explosive revelations that shock Janet and everyone present to the core. Love, friendships, political convictions and a whole way of life are now called into question. Underneath their cultivated liberal left-wing surface people are seething. Their dispute leads to the big guns being brought out – even in a literal sense.

For her eighth theatrical feature British director and screenwriter Sally Potter, who last took part in the Berlinale Competition with Rage in 2009, has invited a stellar cast to join her party. Beginning as a subtly witty comedy replete with sharp-tongued dialogue, the film later veers off into tragedy. When life can no longer be controlled by reason, people will fight tooth and nail to protect their seemingly stable existence. 

Wednesday 7 March – 
The Death of Stalin
Dir:Armando Iannucci, 2018, France/UK, 106 mins, Cert: 15A
Starring: Jason Isaacs, Andrea Riseborough, Olga Kurylenko, Paddy Considine, Michael Palin
Language: English 

It’s 1953, and Joseph Stalin rules over the Soviet Union with an iron fist...until one morning he’s discovered unconscious. With the dictator at death’s door, his deputies including Nikita Khrushchev (Steve Buscemi), Lavrentiy Beria (Simon Russell Beale) and Georgy Malenkov (Jeffrey Tambor) beginjostling for power. Meanwhile, they find themselves dealing with Stalin’s demanding son & daughter, planning a grand funeral, and keeping the country in order...

In his return to the big screen, Armando Iannucci - creator of Veepand The Thick of It - brilliantly blends farce and drama in this hilarious yet probing historical satire. Loaded with inspired comic moments and thrilling political chaos, The Death of Stalin also proves a provocative portrait of a society under a cruel regime.

Wednesday 21 March – 
Back to Burgundy
Ce qui nous lie
Dir: Cedric Klapisch, 2017, France, 113 mins, Cert: Club
Language: French
Starring: Pio Marmaï, Ana Girardot, François Civil

Jean left his family and his native Burgandy ten years ago to tour the world. When learning of his father's imminent death, he returns to his childhood home. There he reconnects with his sister Juliette and his brother Jérémie. Their father dies just before the beginning of grape picking time. Over the period of a year, according to the rhythm of the seasons that follow one after the other, these three young adults will rediscover or reinvent their fraternal relationship, blossoming and maturing at the same time as the wine they make.

Monday, August 28, 2017

Autumn Season 2017

All films start at 8.30 pm in the Skerries Sailing Club.
Tickets / membership at the door.

Wednesday 27 September – A Man Called Ove
En man som heter Ove
Dir: Hannes Holm, 2016, Sweden/Norway 116 mins, Cert: 15A
Starring: Rolf Lassgård, Bahar Pars, Filip Berg, Ida Engvoll
Language: Swedish

Ove (Rolf Lassgård) is a retiree struggling to come to terms with the death of his wife - a struggle that he angrily takes out on his neighbours by strictly enforcing the estate rules. Ove’s world is unexpectedly turned upside down when a young family move in next door. Despite his initial resistance, Ove slowly forms a bond with his new neighbours and discovers a whole new side of life...

Based on a novel and nominated for Best Foreign Language Film at the 2017 Oscars, this Swedish hit is a bittersweet but charming tale of one man rediscovering himself after a devastating tragedy. Darkly comic but sensitively told, this is a true crowd-pleaser held together by a remarkable lead performance.

A strong contender for feel-good film of the year” - David Hughes, Empire Magazine
A touching comic crowd-pleaser that may call for a tissue or two by the end” - Alissa Simon, Variety

Awards / Nominations:
Best Actor, Audience Award - Guldbagge Awards (annual Swedish film industry awards)
Audience Award - Cabourg Film Festival
Nominated - 2017 Academy Award, Best Foreign Language Film

Wednesday 11 October – Heal the Living
Dir: Katell Quillévéré, 2016, France, Belgium, 103 mins, Cert: CLUB
Language: French
Starring: Tahar Rahim, Emmanuelle Seigner, Anne Dorval, Bouli Lanners

It all starts at daybreak with three young surfers on the raging seas. A few hours later, on the way home, an accident occurs. Now entirely hooked up to life-support in a hospital in Le Havre, Simon’s existence is little more than an illusion. Meanwhile, in Paris, a woman awaits the organ transplant that will give her a new lease on life.
Katell Quillévéré's remarkable ensemble drama is adapted from an acclaimed novel by Maylis de Kerangal.

Wednesday 25 October – Tanna
Dir: Bentley Dean, Martin Butler, 2015, Australia, Vanuatu, 104 mins, Cert: CLUB
Starring: Mungau Dain, Marie Wawa, Marceline Rofit, Chief Charlie Kahla, Albi Nangia, Lingai Kowia
Language: Nauvhal

Tomboy Selin lives in Yakel, a village on the volcanic island of Tanna in the South Pacific archipelago of Vanuatu. Selin’s older sister Wawa has fallen in love with the village chief’s grandson, Dain, but when hostilities break out with a neighbouring rival tribe, Wawa’s hand in marriage is offered as part of the peace negotiations. Faced with separation the lovers flee the village….

Based on true events that took place in 1987, and featuring an impressive cast of non-professionals drawn from the communities whose history is being represented on screen, Tanna is a visually stunning and captivating tale of forbidden love set amongst the Yakel people, and the first feature film shot completely on Vanuatu.

With its magnetic cast and Venice award-winning cinematography, this film treads the familiar theme of star-crossed lovers with shimmering vitality.” – The Guardian

…a stirring tribute to the power of love…” - Variety

Best Cinematography, International Critics Week, Venice Film Festival 2015
Audience Award, International Critics Week, Venice Film Festival 2015
Australia’s official entry for the 2017 Oscars

Wednesday 8 November – Nocturnal Animals
Dir:  Tom Ford, 2016, USA, 116 mins, Cert: 16
Starring: Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Taylor-Johnson, Isla Fisher, Armie Hammer
Language: English

From writer/director Tom Ford comes a haunting romantic thriller that explores the thin lines between love and cruelty, and revenge and redemption. Susan Morrow, a Los Angeles art dealer, lives a privileged yet unfulfilled life with her husband Hutton Morrow. One weekend, as Hutton departs on a business trip, Susan receives an unsolicited package left for her in her mailbox. It is a novel, Nocturnal Animals, written by her ex-husband Edward Sheffield, with whom she has had no contact for years. Edward’s note accompanying the manuscript encourages Susan to read the work and then to contact him during his visit to the city. Alone at night, in bed, Susan begins reading. The novel is dedicated to her...
...but its content is violent and devastating. While Susan reads, she is deeply moved by Edward’s writing and cannot help but reminisce over the most private moments from her own love story with the author. Trying to look within herself and beyond the glossy surface of her life, Susan increasingly interprets the book as a tale of revenge, a tale that forces her to re-evaluate the choices that she has made, and re- awakens a love that she feared was lost—as the story builds to a reckoning that will define both the novel’s hero and her own.
-Venice Film Festival 2017

Wednesday 22 November – Lion 
Director: Garth Davis, 2016, Australia, India 2016, 120 mins, PG
Cast: Dev Patel, Rooney Mara, David Wenham, Nicole Kidman, Sunny Pawar

Based on the true story of 5-year-old Saroo Brierley who becoming separated from his older brother one night, is carried 1600km from his home on a decommissioned train. Unable to speak the regional language, he is forced to become one of the cities many street children but is eventually adopted by an Australian couple. 25 years later his memory is triggered and he finds himself wrestling with the need to seek out his original family. Conflicted by the enormity of this and fearing what he may find if anything, the film offers raw, excellent performances from Pathel and Kidman but it is Sunny Pawar, whose remarkable and wrenching portrayal of 5 year old Saroo who steals the show.

“As enthralling as it is emotional’’ – David Rooney, The Hollywood Reporter
“The true story of a foundling Indian boy who locates his mother years later via Google Maps is given the treatment it deserves in this intelligent, heartfelt film.’’ – Peter Bradshaw, The Guardian

BAFTA Awards 2017 Won Best Supporting Actor Dev Patel
BAFTA Awards 2017 Won Best Adapted Screenplay Luke Davies

Wednesday 6 December – Lady MacBeth
Dir: William Oldroyd, 2016, UK, 89 mins, Cert: 16
Starring: Florence Pugh, Cosmo Jarvis, Paul Hilton, Naomi Ackie, Christopher Fairbank
Language: English

Debut director William Oldroyd and writer Alice Birch move from theatre to film with an ingeniously realised adaptation of an 1865 Russian novella Lady Macbeth of the Mtsensk District. Katherine (Florence Pugh) is a young bride, unhappily married to the nasty son of a wealthy mine owner. Unable to consummate his marriage, the husband is sadistic, refusing to even allow his young wife out of the house. Left alone when her husband is called away on business, Katherine starts to explore the grounds and initiates a passionate affair with earthy, ill-mannered stable-hand Sebastian (Cosmo Jarvis), while her increasingly concerned maid (rising star Naomi Ackie) watches on. Lady Macbeth has grand ambitions, and exudes a rare vision and talent. Proving her knockout turn in The Falling was no fluke, Pugh amazes as a heroine whose behaviour shifts from steely proud to wild-eyed and deranged.

Tricia Tuttle, London International Film Festival 2016

Wednesday, January 4, 2017

Sping Season 2017

All films start at 8.30 pm in the Skerries Sailing Club.
Tickets / membership at the door.

Wednesday 18 January – A Date for Mad Mary
Dir: Darren Thornton, 2016, Ireland 82 mins, Cert: 15A 
Starring: Seana Kerslake, Tara Lee, Charleigh Bailey
Language: English

A 'Mad' Mary McArdle returns to Drogheda after a short spell in prison - for something she'd rather forget. Back home, everything and everyone has changed. Her best friend, Charlene, is about to get married and Mary is to be her maid of honour. When Charlene refuses Mary a 'plus one' on the grounds that she probably couldn't find a date, Mary becomes determined to prove her wrong. 'A date for Mad Mary' is a tough and tender story about friendship, first love, and letting go of the glory days.

Wednesday 01 February – After Love
L'économie du couple
Dir: Joachim Lafosse, 2016, France/Belgium, 100 mins
Starring: Cast: Bérénice Bejo, Cédric Kahn, Marthe Keller, Jade Soentjens, Margaux Soentgens
Language: French

After 15 years together, Marie (Bérénice Bejo) and Boris (Cédric Kahn) are calling it quits, but until they can resolve the details of their separation agreement — most notably the division of their prize asset, the magazine-photo-worthy apartment they share with their young twin daughters — they're still living together. The latest feature from acclaimed Belgian director Joachim Lafosse (Our Children) is about the ties that bind us after love has gone.

Marie is the breadwinner in the relationship, but it was her family's wealth, not her salary, that allowed the couple to purchase their stylish apartment. This is a fact that Boris, a contractor currently between jobs, never lets her forget, since it was his renovation work that added significant value to the property. As Marie and Boris argue over everything — finances, who's taking the girls to soccer, and even passing the cheese plate at dinner — After Love reveals the complexities of their relationship and the depth of the cracks in it.

Lafosse deftly avoids taking sides in this absorbing family drama, inviting the audience to see that both parties are right, and both are wrong. Relentlessly observant of his characters' daily routines and oscillating emotions, Lafosse uses his trademark confined setting and tightly controlled handheld photography to create a claustrophobic environment, enveloping us in the gathering storm that is this couple's relationship. With outstanding, genuine performances from Bejo and Kahn, the subtle and powerful After Love reminds us that sometimes, no matter how much beauty is to be found in our immediate surroundings, we just need to get out. - Toronto International Film Festival 2016
Wednesday 15 February – Captain Fantastic
Dir: Matt Ross, 2016, USA, 118 mins, Cert: TBC
Starring: Viggo Mortensen, Frank Langella, George MacKay, Samantha Isler, Annalise Basso, Nicholas Hamilton
Language: English

Deep in the forests of the Pacific Northwest, isolated from society, a devoted father dedicates his life to transforming his six young children into extraordinary adults. But when a tragedy strikes the family, they are forced to leave this selfcreated paradise and begin a journey into the outside world that challenges his idea of what it means to be a parent and brings into question everything he’s taught them. - Cannes program 2016

Wednesday 01 March – The Unknown Girl
La Fille inconnue
Dir: Jean-Pierre Dardenne, Luc Dardenne, 2016, Belgium/France, 113 mins, 15A
Starring: Adèle Haenel, Olivier Bonnaud, Jérémie Renier, Louka Minnella, Christelle Cornil, Nadège Ouedraogo
Language: French

Adele Haenel stars as young doctor Jenny Davin, who refuses to answer the buzzer to her surgery after hours one night.  She is informed the next day that the caller, a young, unidentified woman has been found dead nearby.  Consumed by guilt Jenny commits to finding out the identity of the young girl, so that she can be buried with her name, reclaiming her identity. Driven by an overriding sense of moral responsibility Jenny puts herself in the middle of an investigation that endangers her also.

Another complex look at social compromises, the Dardenne Brothers deliver an engaging and moving work with an intense, internalised performance for Haenel as Jenny, whose single minded pursuit of justice will resonate with audiences.

Wednesday 15 March – Viva
Director: Paddy Breathnach, 2015, Ireland/Cuba, 100 mins, 15A 
Starring: Héctor Medina, Jorge Perugorría, Luis Alberto García
Language: Spanish

Jesus (Héctor Medina) a shy, delicate, struggling hairdresser finds a genuine opportunity to enrich his life when he is given the chance to perform as a Drag Artist. But when Jesus’abusive estranged father returns, he forcefully forbids the young man from performing. Jesus must decide to either fulfil his potential or wilt under the dictate of his father. What unfolds is a bittersweet story of pain, regret, and reconciliation, as the two men learn to know and respect each other for the first time. Featuring boisterous and often heart-breaking drag performance, Paddy Breathnach’s Oscar-shortlisted crowd-pleaser is a tender and compassionate tale of finding one’s true voice.

Best Irish Film, Audi Dublin International Film Festival 2016 

Wednesday 29 March – Up For Love
Un homme à la hauteur
Dir: Laurent Tirard, 2016, France/Belgium, 98 mins, Cert: CLUB
Starring: Jean Dujardin, Virginie Efira, Cédric Kahn, César Domboy, Myriam Tekaïa, Jean-Michel Lahmi
Language: French

Oscar winner Jean Dujardin, as charismatic as ever, returns to SIFF in this new romantic comedy from Laurent Tirard, the director of Molière (SIFF 2007's Closing Night film). Diane (Virginie Efira, SIFF 2014's Turning Tide) is a successful lawyer three years removed from her divorce, and she has been romantically challenged ever since. But her luck changes one afternoon when a stranger calls her flat, having found her cell phone and wanting to return it. Over the phone, Alexandre is both funny and charming, and the pair develop an easy chemistry with each other, leading to a date of sorts to return her lost phone. Eagerly arriving at the appointed time and place, Diane is caught completely off-guard when Alexandre arrives—all 4'6" of him. (He literally has to hop up into his café chair.) At first his stature makes Diane uncomfortable, but she soon discovers that Alexandre is pretty much the complete package—witty, intelligent, handsome—so who cares if she has to bend down to kiss him? However, Alexandre and Diane will have to face many other romantic challenges, including a full-sized rival as well as public gawking and the judgement of society, if they are going to make it to their happily-ever-after in this delightful comedic romp. -Seattle International Film Festival 2016