I only got to see three films at this year‘s Melbourne Irish Film Festival but they were all really solid. I really appreciate festival director Enda Murray‘s choice of films (and his endearingly bumbling introductions and Q&As).
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Do I have any right to be disappointed that the story of Lee Miller is book ended by her role and failures as a mother?
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Mohammad Rasoulof keeps his political critique subtle in this early drama set almost completely on a rusting hulk of an oil tanker in the Persian Gulf.
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Such a relief! I thought this latest English language feature by Yorgos Lanthimos might have his incisive gaze diminished by Hollywood capitalism but it is on par with some of his early gems, albeit with a more inspiring, less bleak ending.
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Director Matt Winn riffs off Hitchcock’s The Trouble With Harry in this ‘black comedy’ that modernises the vicissitudes of collective guilt and self interest.
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Director Alice Troughton has a TV pedigree; she directed two of my favourite Doctor Who episodes – The Doctor’s Daughter and the iconic Midnight.
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Emerald Fennell gives us Brideshead Revisited and The Talented Mr. Ripley dragged screaming into a fantastical modern world where desire perverts everything.
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Director Kitty Green has some worthy documentary subjects under her belt and it’s no surprise that the excellent Hotel Coolgardie (2016) inspired her in this outback noir fictionalisation.
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This is a lovely story about friendships that can form across class divides and provide safety and salvation for women experiencing coercive control.
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This deeply affecting Irish documentary delves into the history of the institutionalisation of pregnant women from the 1920s to the 90s by various Irish institutions including the Mother and Baby Homes and Magdalene Laundries.
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