Classified
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n February 12th, just prior to its premiere at the Dublin International Film
Festival, Aoife McArdle's debut feature Kissing Candice was 'slapped' with an 18 certificate by IFCO, the Irish Film Classification Office.
After the film premiered this rating was generally agreed to have been excessive, and it was felt that it would be reduced upon appeal. This did not happen. IFCO stuck to its guns and the 18
remained on the film for its release this month.
An 18 for an Irish film is rare, but not unprecedented. Ordinarily it goes to a film that is excessively violent or to extreme horror films. The introduction of the 16 cert in 2004 was to allow for more mature films to still be available to older teenagers, the exact audience for who Kissing Candice was made.
Kissing Candice is visual spectacle of tone and mood, which depicts teenage sexuality and violent and threatening events caused by and happening to teenagers. The film aired in the Generation 14Plus category at the Berlin Film Festival, a competition category at one of the world's foremost filmmakers which is aimed at teenagers and whose jury members are teenagers.
The awarding of the 18 to Kissing Candice has rightly generated discussion in the media, particularly after the BBFC in the UK gave it a 15 cert. Ordinarily IFCO and the BBFC fall into step on ratings, and where they diverge IFCO is usually the more lenient, due to a softer stance on language in Ireland.
Ger Connolly, the director of film classifications, stood by his decision in an interview with The Journal, saying “Regarding an appeal, I did, on request from the distributor, have a second look which did not change my opinion."
Frequently the BBFC consults with the British public on its guidelines to ensure that they accuratelyreflect current feelings with relation to sex, violence, and language. IFCO's most recent stab at this was a consultation with parents in 2013 that was published in 2015.
It may well be time for another, wider and more in-depth look at the subject of film classification in Ireland. It is imperative that
films aimed at a particular audience, and that reflect the experiences of that and especially those that have important messages for a specific audience, are seen by those audiences.
In the modern world teenagers in particular are exposed to more potentially harmful scenarios and at an increasingly younger age. Film has a power to educate and to inform, but only if it is seen.
Niall Murphy
Managing Editor
O
CinÉireann / June 2018 5
EDITORIAL