Thursday, May 30, 2013

The queues continue at Cannes... Cannes Film Festival 2013 blog: Part Five

After queuing for well over an hour for Yolande Moreau's Henri (are you sensing that I'm over queues yet, or do I need to be less subtle!), there was no room at the inn and the majority of the line was turned away...

The Last Days on Mars

Next up on my list (and another queue was awaiting) was Ruairi Robinson's science fiction film The Last Days on Mars which was part-funded by Bord Scannan na hEireann/Irish Film Board. It was great to hear the huge cheer that the Film Board logo received when it appeared on screen during the opening credits. A routine excavation goes horribly wrong for the crew of Tantalus Base on Mars, just hours before their mission was due to come to a close. As the group get picked off one by one, the remaining group hold out for the arrival of the relief ship Aurora. Robinson's film is an extremely accomplished piece of work and a fine addition to the sci-fi genre. It keeps you on the edge of your seat and builds momentum nicely as time starts running out for the constantly reducing-in-number crew. It got a great response from the Cannes audience too. 

Mohammad Rasoulof

Playing in Un Certain Regard was Iranian director Mohammad Rasoulof's Manuscripts Don't Burn. Based on real events, it follows the persecution of intellectuals in Iran and the determination of writers to get their work published without censorship. Khosrow and Morteza are hired to carry out an assassination to keep a writer's manuscript from being published, but they need to make it look like a suicide. But things don't go according to plan and there are other copies of the unpublished work being held by friends which also need to be tracked down and the minders silenced before their job is complete. It's a compelling film by Rasoulof (who also wrote the screenplay) highlighting the difficulties experienced by artists and writers in Iran. 

Only Lovers Left Alive

Jim Jarmusch returns with Only Lovers Left Alive, a vampire tale set in Detroit and Tangier. Adam and Eve (Tom Hiddleston and Tilda Swinton) have been lovers for centuries. Living separately as the film opens he's depressed by the state of the human race (or 'zombies' as he calls us!) so Eve feels the need to leave her beloved Tangier to be with him. There's a long build-up to the lovers being reunited and the pace is rather slow. Jarmusch clearly enjoys all the references to their amazing pasts and to their artistic creations that they handed onto others (Shakespeare included!) so that their work could live but they could remain in the shadows. While this joke gets overly laboured, it does help to define the tone of the film. The story gets going when Eve's sister Ava (Mia Wasikowska) turns up and unsettles their world. The lighting is dark throughout and the fine actors aren't overly stretched but many will love Jarmusch's take on the now familiar world of vampires on film. 

Jeune et Jolie/Young and Beautiful

And then no sooner had it all begun than it was all coming to an end and I found myself in a queue (where else?!) for Francois Ozon's Jeune et Jolie/Young and Beautiful. It's a coming-of-age story of a 17-year-old girl during the course of one year of her life. Broken down into 4 chapters/seasons, we begin in summer where Isabelle (a wonderful Marine Vacth), on holidays with her family, meets fellow holidaymaker Felix from Germany. After losing her virginity to him on the beach, the complex Isabelle retreats from him, coldly brushing him off. What develops over the next three seasons is a development of this sexual awakening where the troubled and distant Isabelle makes some surprising life choices. It's a story that's been told in different ways before, but Vacth is simply captivating. Perhaps one of the best things that can be said for a film at this stage in Cannes is that it completely holds your attention (as fatigue is setting in for everyone at this stage), and this film did just that. A good choice of film to close Cannes 2013 for me. 

Until next year Cannes...

Ross Keane
IFI Director

Cannes Film Festival 2013 - read Ross' blogs: Part One, Part Two, Part Three and Part Four.  

Tuesday, May 28, 2013

Cannes Film Festival 2013 blog: Part Four

Unmade films, fine performances and false advertising. It's just another day at Cannes...

As the films were mounting up, I decided it was time for another doc, and playing as part of Quinzaine des Realisateurs was Jodorowsky's Dune, the story of the greatest film never made. Directed by Frank Pavich, it's largely a heads-to-camera doc, with Jodorowsky himself relaying his vision for the film that would "change humanity"! With input from many of his collaborators on the project, Pavich provides a detailed account of all the work that went into the film. Jodorowsky is a charismatic character and a raconteur extraordinaire. One also gets the impression that you may have to take some of his stories with a grain of salt as many appear to have fallen prey to some enthusiastic embellishment. However, the documentary is a fascinating insight into the obsession and determination that drive Jodorowsky in his ambition and vision, and it's a thoroughly entertaining and amusing watch to boot. 

Michael Kohlhaas

I was very excited to see Mads Mikkelson on screen again this year after his performance in The Hunt which was one of my highlights at Cannes 2012. This time he returned in Arnaud de Palliere's Michael Kohlhaas where he plays the titular character in a film set in 16th century France. After suffering an injustice, and being a man of principles, Kohlhaas looks for justice (initially through legal means and then choosing to take the law into his own hands) with massive repercussions. It's an epic story and, once again, Mikkeksen doesn't disappoint. The story at times seems familiar even with hints of Robin Hood but with such a capable actor at the helm it's still worth a watch. 

James Gray's The Immigrant

Next up was James Gray's The Immigrant. Set in 1921, Ewa Cybulska (Marion Cotillard) and her sister Magda leave their home in Poland in search of the American dream and a better life in New York. However, her dreams are shattered from the outset when her sister is quarantined with suspected TB and Ewa is threatened with immediate deportation due to actions of 'low morals' during the boat trip over. Enter Bruno (Joaquin Phoenix) who she begs for help so that she can remain in America. At what price, however, does his help come? Also starring Jeremy Renner (as Bruno's charismatic cousin), the film is a marvellous vehicle for Cotillard, who is spellbinding. While the film doesn't have anything new to say, its leads are interesting and Gray manages to avoid black and white characters, with each having shades of good and bad, making for a much more interesting story. 

Nothing Bad Can Happen

A title like Nothing Bad Can Happen arouses suspicion at Cannes where, let's face it, something (very) bad is happening at the vast majority of the films on offer! Well, if a film could be sued for false advertising due to a misleading title then Katrin Gebbe's offering would warrant a court appearance. Based on true events, a young man Tore (played by Julius Feldmeier) joins an extreme religious group called the Jesus Freaks and is desperate to cling to a belief. So when he meets Benno (Sascha Gersak) and his family, he begins to believe that it is God's way that brought them together and he soon moves in with this strange family. What follows is a series of increasingly manipulative and abusive behaviour from Benno (and then also his wife) which makes for very difficult and uncomfortable viewing. While it may be hard to watch and (personally for me) a struggle to identify with what compels Tore to stay, the performances are undeniably good. Gersak gives an intriguing and powerful portrayal of a character who goes from someone who initially appears to be venting some of his frustrations with his life on the new arrival but gradually becomes more psychotic and evil. Regardless, I learned something vital - never trust a title at Cannes!

Ross Keane

Cannes Film Festival 2013 - read Ross' blogs: Part One, Part Two and Part Three

Monday, May 27, 2013

Silent film no more!

“Not long to the tour now...” I hear my fellow musicians declare! Well, it's been an interesting journey that began over 12 years ago when I first researched ideas for a movie with a new score. Sunniva O’Flynn helped me select the film Willy Reilly and His Colleen Bawn, and it proved to be an exciting project for me as a composer so I began to create a voice for each character reflecting the theatrical performances you will see on the screen... 

The feature begins with a holdup… Squire Folliard is held up by the Highwayman Red Rapparee and his gang. Our hero Willy Reilly comes on the scene and rescues him, and the grateful Folliard brings Willy to his home where he meets and falls in love with the squire's daughter, Helen, the Colleen Bawn. Folliard opposes the liaison between Helen and Willy because of their different religious backgrounds, and seeks to encourage Helen to marry the bigoted, anti-Catholic Sir Robert Whitecraft… What will happen? Will the scheming Whitecraft get his way or will the Colleen Bawn find her true love?

Composer Bernard Reilly

After two performances in Meeting House Square, Temple Bar, and our debut at the National Concert Hall last summer, we are sooo excited about our three city tour in June where we will perform the 'live to screen' film concerts in Paris (Cinema Le Balzac, 10th June 8.30pm), Berlin (Kino Babylon, 8th June 8pm) and Madrid (CinĂ© Dore, 12th June 7.30pm). Please come and join us for our final pre-tour Dress Rehearsal with the CinĂ©Theatre Ensemble on June 5th at 6:30pm Irish Film Institute,Temple Bar.

See you there!

Bernard Reilly

Willy Reilly and His Colleen Bawn with a magnificent new score composed and conducted by Bernard Reilly and performed live by the Irish Cine Theatre Ensemble will screen on Wednesday, June 5th at 18.30. Tickets available at the Box Office (016793477) and online

This event is presented by the Irish Film Institute as part of the International Culture Programme to celebrate Ireland’s Presidency of the Council of the European Union, and is supported by Culture Ireland and The Arts Council of Ireland.  

Cannes Film Festival 2013 blog: Part Three

Day Four in Cannes and it's all about queuing. Long queues. Despite being full of industry professionals who you'd imagine would be the most reverential of audiences, Cannes audiences seem to have the worst cinema etiquette! Phones are constantly lighting up - it's half understandable as people are often logging on to check on ticket availability - but even at the bigger competition screenings, when they announce that all phones should be switched off, there's a constant glow of mobile phone activity. 

Another Cannes staple is the constant in and out as people come and go - again this is partly understandable as time is precious, so if you find yourself at a dud screening, there's always something else just about to start elsewhere that you could hedge your bets on instead. But what is completely infuriating is the constant chat. During L'Inconnu du Lac/Stranger by the Lake, three people had a full-blown conversation and then proceeded to giggle like nervous children at every sex scene. At The Great Beauty/La Grande Bellezza, the people beside me - who clearly weren't getting into Sorrentino's crazy world - were unable to keep their frustrations to themselves and had to critically debate the film there and then. At Grisgris my neighbours managed to combine a lot of my pet peeves - they left the sound on their phone on, took and sent texts, and decided to give a running commentary of the whole film!

Rant nearly over! Today, being the day of queues, Cannes etiquette once again took me by surprise. With all the talk about Nicholas Winding Refn's Only God Forgives, this morning's screening was always going to be in demand, and as Cannes goers realise, that means queuing. For a long time! So two hours in advance of the screening time, I had my place in the queue. However, for the next 90 minutes, new arrivals barged in front with no shame or skipped the queue to join friends. Where is the Cannes Cinema Etiquette? Survival of the fittest?!

So onto Only God Forgives. This divided audiences and critics at its first screening yesterday. But I was pleasantly surprised. It doesn't deserve the vitriolic response it's received in some quarters. Yes it's flawed, resembles a Greek tragedy and has many thinly developed characters. But it held my attention. Set in a Bangkok boxing club which acts as a front for drug business, Julian (a non-emotive Ryan Gosling) is pressured by his mother Crystal (Kirsten Scott Thomas) into avenging the death of his brother who was killed after murdering a young prostitute. Scott Thomas must have had great fun with her OTT role and it's a beautifully lit film. But boy is it violent? Let's just say it gives a whole new meaning to 'see no evil, hear no evil'. That was quite a lot of blood to stomach so soon after breakfast!

And from one queue to the next. As we draw towards the latter stages of the Festival there are reruns of some of the official selection, giving everyone a chance to see some of the bigger titles that they may have missed earlier in the week. So, for another two hours, I stood patiently in line (when else do you think I'd have time to write blogs!) for Arnaud Desplechin's Jimmy P. Based on a true story it follows Jimmy Picard (Benicio Del Toro), a Native American Blackfoot who fought in World War II in France. Upon his return and suffering from a range of symptoms including headaches and temporary blindness, Jimmy is admitted to a mental institution for soldiers. But when no simple medical solution can be found, the hospital management drafts in Georges Devereux (Mathieu Amalric), a French anthropologist and specialist in Native American culture. The relationship between doctor and patient forms the basis of this simply told story. With no huge dramatic climax, it's a gently engaging story with solid performances from both the leads and supporting cast (Gina McKee gives a lovely understated performance as George's partner Madeleine). 

Inside Llewyn Davis

Next up was a change in tone as I grabbed a late opportunity to see the Coen Brothers' latest, Inside Llewyn Davis. After a lot of very sombre films with challenging subject matters, it was a refreshing change of pace to enter the world of Ethan and Joel Coen for their story of a young folk singer in Greenwich Village in 1961. Struggling to make a living from his music and living on the kindness (which may be about to wear thin) of friends and family, Llewyn Davis is a little lost in life! Oscar Isaac is a wonderful lead and ably carries the film on his shoulders. The film starts brilliantly but somewhat loses its way during a road trip to Chicago with John Goodman in the back seat! But overall it's an enjoyable watch. There's the usual wonderful soundtrack that one has to come to expect from the Coens, but you'll even get to tap your foot along to a rendition of The Auld Triangle performed in Aran sweaters! It may not go down as a Coen classic but it's still a very enjoyable ride. 

Ross Keane

Cannes Film Festival 2013 - read Ross' blogs: Part One and Part Two

Friday, May 24, 2013

Cannes Film Festival 2013 blog (Part Two)

Day 3 at Cannes began with glorious sunshine and ended with a lot of rain! Would the films follow the same path and start full of cheer and end on a damp note?

My first film of the day - and possibly my favourite to date - was La Jaula de Oro/La Cage doree (unofficial English title: The Golden Cage). This film by Spanish director Diego Quemada-diez was a beautiful and powerful story of three young teenagers trying to flee Guatemala towards Los Angeles. When they meet an Indian boy who joins their group, things begin to change within their group dynamics. Their struggle can be heart-breaking at times and I found myself so drawn into the story that I was just willing them to get a good break. It's tender, moving and beautifully shot and I can't wait for more people to get to see it so I can talk with them about it!

La Jaula de Oro/La Cage doree 

The theme of Wednesday seemed to be people down on their luck and Grisgris - which was playing in Competition - could certainly fit the bill. Despite a paralysed leg, 25-year-old Grisgris dreams of being a dancer. But when his stepfather becomes ill and the family cannot afford the medical bills, he resorts to desperate measures to try to help his family. The actor Souleymane Deme, also paralysed in real life, puts in a moving performance. He scored a lot of points from the Cannes crowd after he danced for everyone on the red carpet before the screening! It's a touching tale by director Mahamat-Saleh Hardoun. 

The Argentian comedy Diablo was next on my list but coupled with a few technical hitches and soaking shoes (yes, the rain had started at this stage), perhaps I wasn't in the right frame of mind for it as it didn't do anything for me. 

The final film of the night was a special screening of the 1972 documentary Weekend of a Champion which had been re-edited and updated with new material. It follows Roman Polanski and his friendship with Formula One driver Jackie Stewart and focuses on the sportsman's attempt to hold onto his title at the Monte Carlo Grand Prix. For anyone with an interest in motor racing, this film is an absolute must. For the non-enthusiasts, it does go into a lot of detail about which gear you should be in at each turn during the circuit! It was a very special screening however with lots of guests in attendance including Polanski and stars of two of his films' stars Christoph Waltz and Adrien Brody (both sitting just 5 seats away from me!) and lots of people from the motor racing world including Jackie Stewart, Damon Hill and Alain Prost.

Weekend of a Champion

So despite the earlier sunny weather, by the time I dragged myself home at the end of the day after lots of queuing in the rain, I looked like a drowned rat. This Cannes business isn't all glamour you know!

Ross Keane

Read Part One of our Cannes blog. 

IFI's Ross Keane at Cannes 2013: Part 1

I arrived in Cannes this year, for my second visit to the Festival, a few days after its official opening and was instantly playing catch up! With five nights already under the belt for many people, and with reviews flooding in, I quickly scrambled to figure out what I had to see. 

By the time I got settled and registered, there was only time for one screening on Monday, and since we often find many films for the IFI French Film Festival at Cannes, I decided to begin proceedings with Les Rencontres d'apres minuit. It's a film many have been talking about - largely due to its controversial subject matter. The film is set over the course of one night as a variety of guests arrive for an orgy. With guest names including The Slut, The Stud and The Teen, it's not your average dinner party! The cast includes Eric Cantona and Beatrice Dalle. All put in good performances but I wanted the film to engage me more overall. 

Les Rencontres d'apres minuit

Tuesday saw a marathon day of five films. The morning started with another French film and one that had also generated a lot of talk and interest. Playing as part of Un Certain Regard, L'Inconnu du lac/Stranger by the Lake is also causing a bit of controversy. Set in a cruising spot for gay men, the film contains a lot of explicit scenes, but the tone changes when the main protagonist witnesses a murder and the film suddenly becomes a whole lot more engaging. It's beautifully shot and utilises just three locations throughout the film - the car park, the lake and the woods. It's a thought-provoking film by Alain Guiraudie and one that we're all still discussing. 

Cast and crew of L'Inconnu du lac/Stranger by the Lake

Fresh from a lot of media attention, Pussy Riot are the focus of Mike Lerner's doc, Pussy Riot - A Punk Prayer. The film follows the band in the build up to their performance at the Orthodox Cathedral, their subsequent arrest, court case and appeal. With good access to the band and their families, it presents a fairly balanced view of the situation, at times with the girls coming across as extremely naive and foolish, while at the same time exposing religious extremism. 

Pussy Riot - A Punk Prayer

Steven Soderbergh may have said he had made his last film, but Behind the Candelabra - which was made for TV - gives us a good chance to see his work back on the big screen. Telling the story of virtuoso pianist Liberace (Michael Douglas) and his secret five year love affair with Scott Thorson (Matt Damon), it's a thoroughly entertaining watch. The first half is an enjoyable romp, fairly frivolous with its fair share of chuckles. But as their relationship begins to spiral and the cracks begin to show, it starts to become a darker affair. The two leads give great performances. Michael Douglas clearly relishes the opportunity to play the effeminate Liberace, while Matt Damon has the bigger character arc to portray going from wide-eyed country boy to a near-replica of his camp older lover, with a drug habit on the side to add to the effect. A mention has to go to Rob Lowe, the plastic surgeon who works on both leads - his facial paralysis, squinting eyes and inability to take a sip due to his own amount of surgery gives for a wonderfully comic performance. 

Behind the Candelabra

Youth /Jeunesse is a French film from first time director Justine Malle dealing with first love and the looming loss of a parent. It's a good first film and particularly shines during the protagonist's attempts to discover her sexual identity. 

La Grande Bellezza/The Great Beauty

The final film of the day was the red carpet gala of Paola Sorrentino's La Grande Bellezza/The Great Beauty. The whacky world of Sorrentino was a joy to spend just over two hours in. The opening ten minutes - including a frenzied party scene - was a joy to watch and set the tone for the whole film. Toni Servillo was fantastic as main character Jep Gambardella who celebrates his 65th birthday and looks on at the world and characters around him. While it could do with an edit, and doesn't all quite make sense, if you let it wash over you and don't ask too many questions, it's an absolute pleasure. 

Ross Keane

Friday, May 17, 2013

Two anime classics coming to the IFI this May!

A chance to see anything from Studio Ghibli on the big screen is not to be missed and Studio Canal have seized the opportunity of the 25th anniversary of two titles, My Neighbour Totoro and Grave of the Fireflies which were released as a double bill in Japan in 1988, to release them in cinemas on this side of the world. 

If you have never seen Totoro, or you know a small person who has yet to enter the magical world of forest creatures, spirits, brave and curious children that are typical of Japanese master Hiyao Miyazaki’s creations, then do them and yourself a favour, and bring them along to the IFI during these special May screenings, from 24th to 30th of May. 

My Neighbour Totoro

Showing in the dubbed version on May 25th and 26th (voiced by Fanning sisters, Elle and Dakota), Totoro wasn't a hit on first release; Japanese viewers took time to find its appeal. However they and the rest of the world soon recognised the sheer beauty and ingenuity of this hand-drawn rural fantasy world in which the girls wander while seeking comfort for the absence of their hospitalised mother. Totoro, created by Miyazaki for the film, turns out to be a big friendly creature, and his film offers us family life and forest life where the girls' imaginations are allowed to roam and invites the viewer to engage their imagination too. Lovingly crafted, in every corner there is something happening and not one frame of the film is wasted.

Grave of the Fireflies

Look, watch and marvel at the work of a master. His new film, The Wind Rises, opens in Japan in July. 

Alicia McGivern
Head of IFI Education

My Neighbour Totoro and Grave of the Fireflies will screen at the IFI from May 24th to 30th. Book online or call our Box Office on 01-6793477. 

Monday, May 13, 2013

The Neil Jordan Collection at the Irish Film Archive

Coinciding with the IFI’s full retrospective of Neil Jordan’s cinematic work throughout the month of May, the IFI will be displaying rarely-seen documents donated by Neil Jordan to the IFI Irish Film Archive.

Kasandra O'Connell (Head of IFI Irish Film Archive) and Neil when Neil officially donated his research and document collection to the IFI Irish film Archive

In June 2009, coinciding with publicity for director Neil Jordan’s upcoming feature Ondine, it was announced that Jordan had donated the paper material relating to his films to the IFI Irish Film Archive of the Irish Film Institute. The material had been regularly transferred to the Archive since 2006, but the delay in publicising the acquisition means that this fascinating collection has been catalogued and is now fully accessible to researchers.

Jordan’s collection has been delivered film by film, and currently the Archive holds material from The Crying Game (1992), Interview with the Vampire (1994), Michael Collins (1996), The Butcher Boy (1997), In Dreams (1999) and Breakfast on Pluto (2005). Documents relating to other productions are being delivered and made accessible on an on-going basis.

Storyboard from 'Michael Collins'

The material for each film includes documents relating to background research, production and set design, location scouting and photography, visual effects, soundtrack and sound mixing, awards, press, storyboards, shot lists, production schedules, draft scripts and screenplays, and stills. Together the material gives an insight into the working methods of one of Ireland's foremost directors.

Jordan initially had success in the 1970s as an author, before beginning his film career as script consultant on John Boorman’s Excalibur (1981) and directing the documentary The Making of Excalibur: Myth into Movie. He also wrote the script for Joe Comerford’s Traveller which premiered at the Cork Film Festival in 1981. In 1982 he wrote and directed his first feature film, Angel, funded by the newly-established Irish Film Board. This was followed in 1984 by The Company of Wolves, and subsequently Mona Lisa (1986), High Spirits (1988), We’re No Angels (1989) and The Miracle (1991).

In 1992 Jordan directed The Crying Game which brought him international acclaim and was nominated for six Academy Awards, winning Best Original Screenplay. Jaye Davidson was nominated for Best Supporting Actor for his portrayal of Dil, but the Archive’s collection reveals the range of other actors who had originally competed for the role. Headshots of these actors made up as women are present, and seem strangely jarring dressed as the character made famous by Davidson’s outstanding performance.

The Crying Game head shot of Jaye Davidson

Following the international success of The Crying Game, Jordan went to America to direct an adaptation of an Anne Rice novel, resulting in the Oscar-nominated film Interview with the Vampire: The Vampire Chronicles. As in the The Crying Game collection, the possibility of other potential actors in key roles are presented in the Archive's collection. Various (uncast) A-list actors are beautifully sketched as the vampires Louis and Lestat, as well as the film’s stars Tom Cruise and Brad Pitt. Research material for the vampires' look includes a grotesque file of images of corpses in various stages of decomposition.

Jordan returned to Ireland in 1996 to make Michael Collins, a project which he had been working on since the 1980s. Around 100 versions, fragments and rewrites are held under various alternative titles, spanning years of script development. Once completed the film was nominated for two Academy Awards, validating the unusually long time the project spent in pre-production.

Casting polaroid shot of Eamon Owens for The Butcher Boy

Following the success of Michael Collins, Jordan worked on an adaptation of Pat McCabe’s novel The Butcher Boy (1997). Again the script exists in multiple rewrites and revisions. A key issue with the adaptation appears to have been the colloquial language used, with the collection including various lists of Irish slang terms and their “translations” for American audiences. Following The Butcher Boy Jordan returned to the US once again in 1999 to make In Dreams and the The End of the Affair. This was followed by The Good Thief (2002), filmed in the South of France.

Jordan then set up the production company Company of Wolves which produced Intermission (2003) and The Actors (2003). In 2005 he adapted another Pat McCabe novel for the screen, Breakfast on Pluto. One script used by Jordan during the making of the film includes handwritten amendments made on set, showing that even during the shooting changes could be made.

Neil Jordan and Ian Wilson on set of The Crying Game

Overall, the Neil Jordan Collection gives a fascinating insight into the practicalities of the production of major feature films. Seemingly mundane items build a picture of the work involved in bringing the production together, including documents like prop lists, logs tracking tides, sunrise and sunset times, arrangements for shooting “behind-the-scenes” footage, and files of photographs taken by location scouts around Ireland and the UK. Such documents may be of interest both to film fans wishing to contextualise Jordan’s body of work, and to budding filmmakers curious to see the approach taken by a veteran Irish film director.

The Collection is an incredibly rich resource for Irish film researchers, and in time should be completed with the addition of material relating to all of Jordan’s films mentioned in this article. The collection is available for researchers at the Irish Film Archive by appointment. Many of the films mentioned are also available to view at the Archive's viewing facilities.

Rebecca Grant
IFI Librarian (2006 - 2012)

See our exclusive collection of production files, stills, draft scripts, set design and storyboards, all of which give a fascinating insight into the creative process of one of Ireland’s most acclaimed directors is now available online.

Neil Jordan Retrospective runs throughout May at the IFI. His new film, Byzantium, opens on May 31st.

This article was first published in Film Ireland in 2009 and it has been made available online with their kind permission.