What Richard Did (2012)
There is probably a ‘Lenny’s Law’ somewhere that states that a Lenny Abrahamson film should be on a list of this type and whilst Garage and Adam and Paul hog the limelight (both are great and very well known) it is his 2012 film What Richard Did which makes the list and is very much worth seeking out. It is a scalpel sharp take on Kevin Powers’ book Bad Day at Blackrock, itself a fictionalised telling of the Brian Murphy case. Jack Reynor in the titular role has never been better. Abrahamson explores in the most naturalistic way that difficult transition into adulthood for young teens in Dublin. It also explores a hell of a lot more within the South Dublin environs. With a terrific script by Malcolm Campbell and some beautiful camerawork, this is a world expertly drawn without missing a beat. The pivotal moment is captured in a disturbingly beautiful way and its aftermath is dealt with sensitively and with great cinematic skill. This is a terrific film. We will see Abrahamson again in 2018 with his much anticipated adaptation of The Little Stranger.
I Used to Live Here (2014)
Frank Berry’s micro budget narrative feature debut was made working with Headstrong, the National Centre for Youth Mental Health. Berry worked among non-professional actors in Tallaght with the intention of workshopping a small drama about suicide clusters. Featuring a career making performance by Jordanne Jones as Amy, I Used to Live Here is an intimate and beautiful film with impressive performances all round. What stands out is the deeply humane way that that director treats the characters, not a working class cliché in sight. A very impressive film that has taken Berry to the forefront of new Irish filmmakers (his documentary Ballymun Lullaby is also worth finding). His new film, Michael Inside is one of the most anticipated Irish films of 2018.
Pyjama Girls (2010)
Maya Derrington's terrific documentary is ostensibly about the early 21st century Dublin, working class phenomenon of wearing pyjamas out in the real world. Lauren and Tara are the terrifically engaging main characters of this documentary. Pyjama Girls also touches on various important subjects such as loyalty, family and friendship. It also obliquely mentions one of the greatest tragedies of the late 20th century in Dublin, the effects of which are still being felt by Lauren's and her mother’s generation: namely the decimation of the inner city of Dublin by heroin. That story itself would take another film to tell. This is quite a dreamy documentary with blurred visions of night time Dublin placed alongside a jagged and suitable electronic score. The direction by Derrington is sensitive and humane. She lets these girls tell their stories without judgement or condemnation. In the end the pyjamas do become very important in one way. They are a blooming of hope in riotous colour in a very bleak and dreary world. That in itself is enough reason for their existence. A new Maya Derrington film is well past due.
Mammal (2016)
What if a filmmaker in Ireland made a gruelling and brilliant art house film like the great French filmmakers do? Well Rebecca Daly did just that in this criminally underseen film with seismic performances from Rachel Griffiths and Barry Keoghan (it should really get an overdue DVD release on the strength of the cast alone). About as intimate as Irish film gets, restrained with a sensual messiness weaved throughout this story of grief and misguided love. Perhaps a little too much plot intrudes in the final act but this is a minor quibble in a major Irish work. There should have been many awards. The direction by Rebecca Daly is deft and sure, in full control of tone. But good luck trying to find it available to view. If you have live in the US it is available on Netflix there. That it can’t be seen (legally) in Ireland is pretty damning. Like Frank Berry, Daly’s new film Good Favour is very much anticipated in 2018. Let us hope that gets a wider release.
CinÉireann / March 2018 47