American Film Festivals Underscore Irish Cinema

From the film, Farewell Packet of Ten

Gone are the wonderfully delightful Irish films depicted by depression-aged directors that patronized global Irish stereo-types with myopic views of the Irish. Brilliant was the photography of Ireland’s pastoral scenes, but lost in the story was solid character development. These films were most often nostalgic in nature illustrating American immigrant’s tendency to desperately clutch to the past for selected memories that sooth the soul. For good or bad, Irish film had its place in Hollywood film archives…made by Irish-Americans.
We have been subjected to the onslaught of more Hollywood films about the IRA and the troubles in Northern Ireland. Films like The Devil’s Own and Ronan illustrate historical fiction and a subjective perspective of Irish Nationalism, often subtley engaging viewers to think about politics and support for, or not for, a cause. In a world where so much hate and violence dominate our headlines the reality films have given way to a new kind of cinema. Not that the atrocities of the past are forgotten but more Irish filmmakers are focusing on the effect rather than the cause for nationalism. Filmmakers are now finding themselves living in the aftermath and are beginnig to tell those stories.
Ireland has significantly changed for the better, becoming one of the world’s wealthiest countries. Although it may no longer be poor, it still seeks identity. Independent films denunciate a cookie-cutter approach to filmmaking and embrace individual expression.
There are now enough wealthy stars with their own production companies that remain true to their art by supporting new talent that tell accounts of human condition inundated with conflict, love and spirit of life. Directors demonstrate the direction of the New Irish cinema. For example Jim Sheridan’s “The Boxer” and “In America,” Ken Loach’s “The Wind That Shakes The Barley,” and John Sayles’s “The Secret of Roan Inish.” Even Sheridan cannot escape American influence naming his Dublin based production company, Hell’s Kitchen, after the New York City enclave of Irish immigration. These directors are moving forward developing stories with characters and actors that breathe new life into Irish themes making it a new genre all it’s own.
Irish stars Liam Neeson, Pierce Brosnan, Fiona Flannagan, and Colin Farrell can pick and choose the films they make, encouraging the Irish film industry to spawn its own portrayal of who and what Ireland is in the cinema. Beautifully entertaining films like The Nephew, Michael Collins, The Waking of Ned Devine, and the latest, In Bruges, are signs that Irish Filmmaking is here to stay.
Indeed, Irish cinema is taking ownership and imbuing a new stamp of approval. Also, Irish films are gaining in popularity from great venues and good marketing. That is why Irish film festivals in America are exploding onto the scene.
A united movement on the west coast is the Irish Film America (IFA), a new organization, dedicated to bringing the best of contemporary Irish film to US audiences, provide a platform for Irish filmmakers to showcase their independently-produced feature films, documentaries, short films and animations. In March IFA will host its first Irish Film Festival with screenings in Los Angeles, San Francisco and Seattle. Co-presenting partners are established film festivals like San Francisco Irish Film Festival and the Seattle Irish Reels Film Festival.
The Tri-City Festival at the Clarity Theatre in the heart of Beverly Hills will be the inaugural Irish Film Festival of Los Angeles.
Elsewhere in the country the well-known Chicago Irish Film Festival continues to flourish. Since 2000 it has been screening features, documentaries, shorts and animation. The Chicago festival presents a brilliant selection of Irish film, from the classics to the contemporary. It will have nine screenings and two receptions, showcase feature films, documentaries, two programs of short films and animations, and question and answer sessions with filmmakers, scholars from the American Conference of Irish Studies.
A Festival highlight this year includes an outstanding documentary about the life and work of Ireland’s top photojournalist, “Colman Doyle: Photographing the Nation” and the American premiere of “Garage” starring Pat Shortt, one of Ireland’s most beloved comedians.
Guests at the opening reception include filmmakers David Gleeson (director), Nathalie Lichtenthaeler (producer), James Kelly (director) and Ross Whitaker (director); Consul General of Ireland Martin Rouine and Vice Consul Timothy Reilly; members of the American Conference on Irish Studies; and members of the South Side Irish Parade Committee.
This year’s classic is Ireland’s first Irish language feature film, “Poitin,” made in 1977 and directed by Bob Quinn. In honor of its 30th anniversary, the film, originally produced with no music, received a soundtrack by composer Bill Whelan of “Riverdance.”
Among the filmmakers whose early works will be screened are Kirsten Sheridan, who was nominated for a screen writing Academy Award for “In America;” Ken Wardrop, winner of 17 international film festival awards; Ian Power whose films have won awards from the Galway, Cork and Foyle film festivals and whose short “The Wonderful Story of Kevin Kind” was picked up by Warner Bros. for nationwide release; and Nick Kelly whose latest short, “Why the Irish Dance That Way, was commissioned in Ireland by the Arts Council and RTE (Radio and Television of Eireann) and was accepted for the prestigious Montreal World Film Festival.

By Thomas Miner