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MOTHERING SUNDAY
IN I EMAS CIN In Cinemas : Nov 12th Director : Eva Husson Cast : Odessa Young, Josh O'Connor, Olivia Colman Australian star Odessa Young plays Jane, the maid at a grand house, ruled over by Mr and Mrs Niven (Colin Firth & Olivia Colman). Jane is left alone on ‘Mothering Sunday’ & meets with her secret lover, the boy from the manor next door, engaged to be married to another woman.
KING RICHARD
ETERNALS
as the undeterred father Richard Williams, and showcases a brand new Beyoncé song "Be Alive".
In Cinemas : Nov 5th Director : Chloé Zhao Cast : Angelina Jolie, Richard Madden, Kit Harington Oscar winning director Chloé Zhao joins the world of Marvel with this sprawling, sweeping superhero movie about a race of immortal beings who have secretly lived on Earth for thousands of years.
In Cinemas : Nov 19th Director : Reinaldo M. Green Cast : Will Smith, Demi Singleton, Saniyya Sidney Based on a true story, ‘King Richard’ is a biopic about the rise of living tennis legends, Venus and Serena Williams and the lengths their father Richard went in order to foster their remarkable talent, despite him knowing absolutely nothing about tennis.
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IN I EMAS CIN
HOUSE OF GUCCI
Director Ridley Scott brings us ‘House of Gucci’, a star studded
In Cinemas : Nov 26th Director : Ridley Scott
story of the family empire behind the Italian fashion house of Gucci.
Cast : Lady Gaga, Jared Leto, Adam Driver, Al Pacino, Salma Hayek, Jeremy Irons
Reggiani Martinelli (played by Lady Gaga), who married into the Gucci family and was convicted of hiring a hitman to kill her husband.
THE CARD COUNTER
RESIDENT EVIL:
Haddish, Tye Sheridan
In Cinemas : Dec 3rd Director : Johannes Roberts Cast : Kaya Scodelario
In Cinemas : Nov 5th Director : Paul Schrader
Driver’ script put him on the map, Paul Schrader teams up once more with producer Martin Scorsese to tell the story of William Tell (Oscar Isaac), a man who has done unforgivable things and has found comfort in playing poker.
WELCOME TO RACCOON CITY The latest video game, ‘Village’, became a pop culture phenomenon earlier this year. Now, the popular horror franchise returns to the big screen with this reboot that brings the tone, aesthetics, & story much closer to the video games that it originated from.
THE TIME S
DA ILY M A IL
“ABSOLUTE PERFECTION ” B R IA N V INER , DA ILY M A IL
NOVEMBER 12
There's a little magic in all of us …almost all of us.
CERT TBC CERT TBC
IN CINEMAS
WEDNESDAY NOVEMBER 24 Parents, connect with us via WaltDisneyStudiosIE ©2021 Disney Enterprises, Inc.
DisneyStudiosIE #Encanto
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CRY MACHO
IN I EMAS CIN In Cinemas : Nov 12th Director : Clint Eastwood Cast : Clint Eastwood, Eduardo Minett, Natalia Traven 91-year-old legend Clint Eastwood climbs back on his horse & puts on a cowboy hat
rodeo star who takes a job from an ex-boss to bring his son home across rural Mexico to Texas.
BOXING DAY
In Cinemas : Dec 3rd Director : Aml Ameen Cast : Aml Ameen, Aja Naomi King, Leigh-Anne Pinnock Boxing Day (surprisingly not retitled Saint Stephen’s Day for Irish audiences) is a Christmas movie inspired by the life of writer, director, and star Aml Ameen. The a British author living in America, who returns home to London for Christmas to introduce his American eccentric British-Caribbean family putting their relationship to the test.
SPENCER
In Cinemas : Nov 5th Director : Pablo Larraín Cast : Kristen Stewart ‘Spencer’ follows Princess Diana, during one long, terrible Christmas weekend with the royal
over a few terrible days.
INTERVIEW WITH JASON REITMAN Could you talk about the genesis of this Eight to ten years ago a character popped into my head. It was a 12-year-old girl who a barn... I didn’t know who she was yet. And eventually I started to think of this story. The a proton pack and, in that moment, discovers who she is, what her legacy is, why she’s unique. And I began writing a movie I never thought I would write. You know, I came into my career as and I was prepared for that to be my career. And eventually I couldn’t
look away from this idea any longer. I’d fallen in love with this family and needed to make a movie about them. And the way was through your father’s movie. Yes. Well, I considGhostbusters fan. I was seven years old and before anyone knew what a terror dog was or what a proton pack was, I was actually on set. I remember being on set the day that the marshmallow man exploded and melted, and they had a stunt man there getting
pelted with shaving cream and I walked home with this little piece of Stay Puft marshmallow man that sat on my shelf all the way through high school. Talk about the theme of this movie and how it’s a I wanted to make a movie that was as much for my father as it was for my daughter. I wanted to tell a generational story about a single mom with two kids, two kids who don’t know their identity they are actually
GHOSTBUSTERS
AFTERLIFE
Director Jason Reitman was just six years old when his father, Ivan Reitman directed the 1984 cult classic ‘Ghostbusters’. Now Jason, an acclaimed director in his own right continues the family business with a brand new Ghostbusters movie that honours the franchise that came before. quite special. Ghostbusters has always been
attic. And that’s what I want the experience
ic moments through the act of ghostbusting. It’s a franchise that has kind of been punching up from the very beginning. We all know what it feels like to go into our grandparents’ basement or attic looking for something special, something that makes us feel unique. And that’s where this movie begins. And that’s what I want the audience to feel. I think we all have this sense of Ghostbusters as though perhaps it’s hiding underneath a blanket in our grandparents’
I want the audience to feel while they’re watching Ghostbusters like they’re being handed back Ecto-1, the proton packs, the music, the props, the characters. Piece by piece, from movie, you’re watching this mystery and we are kind of handing you back all your favorite elements of this franchise. Are you talking to any of the former makers of the If you think of a lot of
creatures you see on screen these days, they’re creatures that were invented in a computer, which is exciting and it’s great of new technology. But you think about the Ghostbusters characters, what is the continuity of the taxonomy, right? What puts Slimer in the same world as Stay Puft marshmallow man, the same world as the library ghost, same world as the Terror Dog? You know, one character is opaque. One is transparent. One is humanoid. One is
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something about Ghostbusters, everything that you think is going to terrify you makes you laugh. Everything that you think is going to make you laugh scares the crap out of you. And that is what we wanted to emulate. So I went back to the techniques that they used to make something physical about the clay, when an artist molds a ghost time instead of in a computer, where they can actually turn and look at it and see how the light hits it, and it’s it’s physical, it’s real. It doesn’t have a perfect asymmetrical being, but it’s kind of odd and goofy. What is a Ghostbusters ghost,
What is a Ghostbusters ghost? That’s the question that Gil Kenan and I were as we were writing this movie. What makes them funny? What makes them scary? What makes them totally unique from all the ghosts you’ve ever seen in any other movie and how do we add that? What is it about slime that makes it so wonderful? Horrifying and yet we kind of want to be slimed ourselves. If you think about ghostbusting historically, it’s always been about four people standing next to each other ghostbusting. We wanted to put ghostbusting in motion. We wanted ghostbusting hanging
out the side of the car, your hair blowing in the wind, in complete danger, trying to lasso a ghost as you’re trapping it from this little RTV. What do you think This is a Ghostbusters movie that is looking backwards and looking forwards at the same time. We want to reconnect with the nostalgia, with all the reasons that we love this brand. But simultaneously we want to show ghostbusting like you’ve never seen it before. I want to do things with the proton beam that they couldn’t do back in 1984, really get into the weight and the physicality of it.
M A RT IN SCOR SESE
PRESEN TS
OSCAR ISAAC
REAP WHAT YOU SOW.
THE CARD CO U N T ER A FILM BY
PAUL SCHRADER
15A
TIFFANY HADDISH TYE SHERIDAN WILLEM DAFOE
IN CINEMAS NOVEMBER 5 thecardcounter.ie ifco.ie
NOVEM
MBER 18
“a love letter to music and resilience”– hot press
Sunday world
radio nova
EVENING ECHO
sunday independent
“A sparkling portrait of a unique artist” – Sunday Independent
LOVE YOURSELF TODAY 'Love Yourself Today' centres around the music of Irish singer songwriter Damien Dempsey but also turns the lens onto his celebration of modern spirituality and the power of music to heal. Why did you decide to make the going to see live music. Growing up,
me, but I was going through a bit of a rough time; my mum was very sick. Someone said I should go and see Damien Dempsey, that he does these Christmas shows every year and that people really got something from
most of the gig watching the crowd and how they sang every single song back to him. People were in tears. There was joy, there was so much emotion. At the end, everyone walked out of there singing along after Damo left the stage. It was just incredible. We were speechless at the end. I had never really seen anything like it. The audience believed every word from him, but he got as much out of it as the fans. I honestly felt like I had been spiritually cleansed or something. Ross McDonnell is a photographer and an old friend. We met for a pint and got talking about the gig. He had been to one the year before, and he had an idea about making a documentary around the gig, the fans, and the connection. The minute he said it, I was in.
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We wanted to really capture the emotion in the crowd authenlooking at the camera, mindful of that, but people were in the we were very careful about which songs we were shooting, capturing our cast, and ensuring we got good coverage on the songs we were hoping to feature. Why did you decide to shoot in Black and white made it timeless. I love the idea that maybe people are watching it in years to come, even though I have put the date on it to give it some
I met Damien in a cafe and told him the idea, showed him the treatment, and showed him some of my previous work. Damo is a quiet person; he is hard to read. In the end, he looked at me and he said, this is helps people. From the beginning, was to capture what happens in the room at the shows authentically. The second rule was to go deep with the characters, to understand what is in this music that resonates so deeply with people and makes them emotional and connects them with Damo as an artist. The third was can
sense in a COVID world now? I to see together in a cinema. The socially distanced screenings been brilliant and very emotional. The premiere was in Galway. We had an outdoor screening a silent disco; everyone had the headphones on. It was a beauti-
I would encourage people who people have been through the depths of life, and then other people, like me, might have problems that with something. On a technical level, how did you
human story. I hope people see something that can help them and whatever they are going through, no matter how big or small.
Interview by Graham Day
NEIL SMITH, TOTAL FILM
DAILY TELEGRAPH
DAILY MAIL
XAN BROOKS, THE OBSERVER
TIMEOUT
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ENCANTO
Interview with Disney animators Renato dos Anjos & Kira Lehtomaki
The culture and tradition of Columbia are integral to this
them if it looked authentic. If they saw anything that could be better, they always gave us guidance. When we needed to do some-
Renato dos Anjos: It all started with the directors; they went to Columbia and spent quite a bit of
with them about making it as authentic as possible. We learned that in Colombia, people think with their lips. It sounds strange when you say it, but it is something that needs to be seen and is a big part of Columbian life.
places, and they brought back a lot of ideas that they loved about the country, including what elements they wanted to portray and the type of architecture. They brought in consultants to talk to us, and they gave us classes and lectures about Colombian culture and history. When we started the animation properly, we had a group of consultants, and we would show them the sequence we were working on and ask
You mentioned architecture, and the family house is more than just a house; it is a living character. What was it like Kira Lehtomaki: That was a huge challenge. We are used to animating characters with faces, and here we have a house that
Mix the magic of Disney with the musical talents of Hamilton’s Lin-Manuel Miranda and you have this brand new animation that tells the tale of the Madrigals, an extraordinary family who live in a wondrous, charmed place called an Encanto. had to emote and had to have opinions about things and interact with the family. Early on, the directors told us that they did not want the house to come across as an enchanted house where all the objects could also move around,
We determined that this house was a gift to the family created out of the earth, and it was a living thing. Anything that was installed or attached to the house could move like a limb, but if there was a chair sitting in the middle of the kitchen or something in the dining it by itself. If the house needs to move something, it has to move the tiles underneath the chair to move the chair into place. Once we determined those rules, we communicates and shows emotion. How does a house say hello? Thankfully, many Colombian houses have beautiful shutters, so we could use some of the shutters to help communicate. Certain things were very simple to determine, but others would take six times to correct the communication. tell us about working with Lin-Manuel Miranda on the Renato dos Anjos: The directors were in constant collaboration with Lin; he was involved earlier and he went with them on the trip to Colombia. His work is woven
movie is incredible. The musical scenes were a joy to work on, and inspiring. They are also challenging because we had to work in it was so much fun. I am super happy with how the songs and the animation worked out together. really fun sequence, and one that I You used real dancers to choes and based the animation around their actions. How did Kira Lehtomaki: We did, we used real-life people. It was one of the very few in-person moments during this pandemic; very safe, of course. We got to collaborate with the choreographer and Kai They went into the dance studio and brought the dances to life. They came in so early that they were very much collaborators in creating the characters. Before the music was written, the directors would write monologues for what the characters were thinking or what they wanted them to express through the song, and then Lin would write that music. We had a demo of Lin singing all the parts, including the girls, which was great for us to start pulling it all together before the actors came on board.
BREAKING OUT
INTERVIEW WITH DIRECTOR MICHAEL MCCORMACK
Breaking Out is a documentary about a one of kind singer from Ireland. You might not know Fergus O'Farrell but you know his legacy and his story is the story of Ireland. We chatted with director Michael McCormack about his 10 year journey documenting the life of Fergus O'Farrell. Michael, I feel a little bit ashamed that I didn't know anything about Interference going into it. made it so that more people would music… Years ago it used to feel cool knew about Interference’s music, and that you felt really privileged, but you
you’ve got to let as many people as possible know about the music, Out’ was made. And the reaction so far from people is brilliant, they come out and they go, ‘how did I not know about this guy’? Because this is as much a story about Fergus as it is you because you dedicated 10 years of your life to this journey. Taking it all the way back when I was 14, there was a thing in Dublin called ‘People in Need’, which followed on from ‘Live Aid’. Concerts happened all over the country on one day, featuring a a mad music fan. So, I was doing backline, and Interference walked onto the stage. And at the time Fergus was standing at the mic, where he was striking a pose and he looked like a rockstar, and he
way he acted on camera. And it really messed things up for a while. So, I stopped showing much, which, of course, I regret. But he knew exactly what I was doing. And I talked to him about the treatment all the time & he would hear the ideas I had. must be a lot on the cutting
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sang like a rockstar and then they started playing and I was immedi-
heard an Irish band sound this good into his wheelchair, and that was concentrating on the music, and I poor guy, and I used to go and see them whenever I could over the next like a religious experience. Everyone would be there, the greater good of Dublin because we all knew that this
was a horrible process because there was so much that you wanted to get in. And thus, it editing process that we began to realise that the whole point of a ality on screen. I already knew the screen and I knew that audiences would love him. The nicest thing I heard, at the closing night of the Doc Fest, a person came up to me afterwards and said, I feel like I just saw a life pass in front of me, I do not feel like I part of a life. It is just unbelievhear as well. How do you feel now that the
happen that often. The reason it times would hit a bad patch with the muscular dystrophy.
should be seen in the cine-
exactly why we love going to the cinema and for that communal Good question. Very little, because I made the mistake in the early days of showing him some and for a period after that he changed the
reactions to stories like this, so
Interview by Graham Day
IN CINEMAS NOVEMBER 5 MarvelIreland #Eternals MarvelIreland #Eternals