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denimbex1986 · 2 months

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'EXCLUSIVE: Passing the time between Oppenheimer takes in a New Mexico bunker one morning at about 4 a.m., Cillian Murphy and Matt Damon sowed the seeds of a future collaboration. Fast-forward to today, and Small Things Like These is opening the Berlin Film Festival.

Murphy stars in and produced Small Things Like These alongside his Big Things Films partner Alan Moloney. Damon is also a producer — his and Ben Affleck’s Artists Equity financed the film that’s based on Claire Keegan’s acclaimed novel and was adapted for the screen by Enda Walsh. Tim Mielants directs.

Though it deals with a serious subject matter, the road to making the movie was “blissful,” and married “kismet” with “serendipity,” Damon and Murphy told me recently in a conversation that also touched on how Artists Equity acts as “facilitator” and not “babysitter” (according to Murphy, it also has an “undervalued superpower”), the importance of trust and whether or not the mutually admiring duo will work together again.

In Small Things Like These, Murphy plays a devoted family man who discovers the local convent is in fact a cruel institution that takes in so-called ‘fallen girls and women.’ This revelation forces him to confront some hard truths about the convent, his hometown — and his own life. Eileen Walsh, Michelle Fairley and Emily Watson also star.

Murphy had previously executive produced three seasons of Peaky Blinders, but this was his first feature producing role. So how did he step up to the plate, and what gave Damon the confidence to make this the fifth film his and Affleck’s nascent studio would finance? (Hint: It certainly wasn’t dinner conversation.)

Here’s our chat which has been edited and condensed for clarity.

DEADLINE: How well did you guys know each other before you worked on Oppenheimer?

MATT DAMON: We hadn’t met. I was a big fan, and because he had done Quiet Place II with John (Krasinski) and Em (Emily Blunt) — we all live in the same building in Brooklyn — I’d heard quite a bit about him.

When Oppenheimer came along, before I even met him, Em was just going on and on about how much fun we were gonna have.

And then of course I met him and he was no fun at all [Damon and Murphy laugh] because he was totally focused. He was a lot of fun to work with, but we joke that he never accepted a single dinner invitation — you know, we were out in the middle of Santa Fe, there was one place to eat and we’d go, “Cill, come meet us for dinner” and he just never, he’d go home and eat like a handful of almonds and get ready for the next day.

CILLIAN MURPHY: I just want to say about Matt — and I’m going to embarrass him, and I’ve done it before but it’s too late now — I’ve admired him from a distance for-ever as an actor.

DAMON: [laughing] Don’t put any of this in the article, Nancy.

MURPHY: Do put it in Nancy — but also as a human being, and I’ve told him this so I’m gonna leave it at that, but for a long, long, long, many, many years.

DEADLINE: Cillian, take me back and tell me what clicked for you with Small Things Like These, what made it the first feature you were going to produce?

MURPHY: So, I’d read the book and it really connected with me and I felt I could see it as a film, you know? And miraculously the rights were available and myself and Alan Moloney managed to get the rights and then we were in the process of getting it going along, and then Oppenheimer came along.

I remember Matt and myself were out in the desert on a night shoot, I think it was that big rain scene, and we were sitting in like a bunker at like 4 o’clock in the morning and Matt was telling me about Artists Equity and about what himself and Ben were doing, and it was kind of staggering what they were setting out to achieve.

Then I said to him, “You know, I have this story…” and he said “Tell me about it,” so I told him about it and he loved the sound of it.

Then, I don’t know when you got the script, Matt, but it was quite quickly after that and then it all sort of happened really, really quickly.

Also at the same time, Matt was working with Alan on Kiss the Sky, so there was a kind of serendipity about it and kind of good timing about it all.

DEADLINE: Matt, how good a pitchman is Cillian?

DAMON: It’s pretty easy when he says it’s a Claire Keegan novel and he’s gonna be in it. Now, in my position as somebody who’s like running a studio — quote-unquote — that was kind of music to my ears.

I was watching what Cillian was doing on Oppenheimer, and Small Things Like These was exactly the kind of movie we want to make. What will keep us successful as a studio is going to be making really good things and that’s what we knew this was going to be.

And as Cill said, because I was coincidentally working with Alan already, the whole thing just seemed like kismet and it came together really, really quickly — and they had a great script too, the adaptation was beautiful. Cillian had the director he wanted, it was just very, very easy to get it going.

DEADLINE: Cillian, can you talk a little bit about why the aspect of this dark time in Irish history and the impact it has on your character intrigued you?

MURPHY: When we all talked about the story, it is kind of very specific and set in this town in Ireland in the 80s, but there’s a huge universality to it.

It is about how all these women were incarcerated and locked up and it was this terrible trauma that Ireland is still kind of trying to process, but it’s a very common kind of story in that one person decides to — I don’t even know if he’s doing it consciously or not — sort of call it out and stand up, and we see that everywhere in the world now, at this point in time, and then in Ireland. The reason I think this story resonated in such a huge way is that if it wasn’t you who has a story, it’s your friend that has a story or your cousin or whoever it might be — and Tim, our director who’s from Belgium, there’s similar stories there, and obviously in America there’s all sorts of stories as well.

So we knew that it was very specific, but that was where its universality came from.

DEADLINE: Matt, can you talk me through the collaboration?

DAMON: It was embarrassingly easy for Artists Equity, it really was, and that’s part of the way we’re set up is that we’re not babysitters, we’re facilitators really — and we had a group of really fantastic professionals. It was really about facilitating so they could do their work.

We’ve got a different pay structure, depending on the movie, but what we try to do is make sure that everybody who makes the movie — crew and cast — are participating in the eventual sale and in the profit. So it really becomes about everybody’s own accountability; we don’t need to kind of put out fires or field phone calls cause there just aren’t any. You know, you leave a group like this together that they’ve got a great script, they’ve got an incredible cast and a great director and Alan and Cill, they know exactly how to make it.

We all have to look at the realities of what can we make it for realistically — it’s a period movie, what is the movie and what can it hold? — because we have our eye on eventually selling it, but other than those kind of constraints that exist everywhere in the movie business… We’re not a kind of finger wagging group — the whole point is to partner with people who are great, and clear the deck so they can do their work.

It was really blissful, from our perspective back in America, it was a very light lift.

DEADLINE: Cillian, you’ve told me previously you couldn’t have asked for better partners; that kind of freedom must feel terrific…

MURPHY: Oh, completely and it’s because they’re filmmakers and so you’re working with actual filmmakers and they speak the same language as us and they have such incredible experience in this business and such taste — which I think is sort of an undervalued superpower which these guys have.

The biggest compliment we can say to them is that they let us make exactly the movie that we wanted to make, but we did that completely in tandem, do you know what I mean? As Matt said, there wasn’t any of people calling you in the middle of the night or people arriving on set.

We all shared the dailies, we all shared the cuts and we discussed it, but they knew the script we were trying to make from the beginning so that’s what they got on board with.

DAMON: Yeah, I think that’s the biggest thing is that there’s none of the kind of subterfuge that normally exists with a studio where you’re trojan-horsing in one idea and you’re selling it as another — which happens a lot in our business. With us, it’s just “What do you want to make?” So there’s a lot of trust that I think might be difficult for other people. But, as Cillian says, for people who do what we do, and we all know kind of how to do it, the conversations are just very blunt and that way you end up with no surprises. There was no need for us to go hustling over and babysit their set, they were doing exactly what they told us they were gonna do and that makes everything really go pretty smoothly.

DEADLINE: It’s clearly not always like that…

DAMON: It’s not, but it should be and that’s what Artists Equity is trying to do. We’ve done five movies now and they’ve all been really joyful experiences and that’s by design. You kind of get everything out of the way beforehand so everybody’s expectations are realistic and then you just hold hands and go into it together. And if you do that there really shouldn’t be… there’s always unforeseen issues — I just did a movie with Doug Liman and Artists Equity is responsible for the overages; my salary and Doug’s salary were tied to the overages too. It was a bigger movie, there was a lot of action, and so we just kissed up against the black/red line, we came closer than we wanted to because things happen — you’re still making movies — but by and large we try to give enough of a cushion, if we can, to the budget so that everybody can comfortably operate within it, and more importantly can make exactly the thing that they want to make.

These guys knew exactly what they wanted to do. The book is incredible, the script is fantastic and so there weren’t really any questions — it was really about executing it and we had no doubt they were gonna do that and there were no surprises.

DEADLINE: Cillian had already exec produced three seasons of Peaky Blinders, but this is his first feature producing gig. Did you give him any advice in that regard?

DAMON: [Laughs] He doesn’t need my advice.

MURPHY: Working with Matt on Oppenheimer, we all know what an extraordinary actor he is, but he understands every single facet of the moviemaking machine or apparatus or whatever you want to call it.

I remember at one point we were doing takes and Chris would say to you, Matt, “Just stop trying to help, Damon. Just do the work” (both laugh). Matt would always be like, “What if I come here? I can do this,” because he just lives and breathes it, so that’s very inspiring to see.

While Matt was chatting there, I was thinking himself and Ben have known each other since they were kids and I think that sort of trust and bond is very important and it’s very important to me. Like me and Alan, this is our fifth movie together — we’ve known each other for 20 years.

Myself and Tim, he did Season 3 on Peaky, we’re about to do another movie. Myself and Eileen (Walsh) have known each other for 27 years, a lot of the crew we got in Ireland I had worked with since I started acting. So there was a lot of trust in the process of making this whole thing cause it’s quite a delicate little film and you need to trust the people that you’re making it with.

DEADLINE: Exactly. Cillian, you and I spoke about that last week, and I was going to also ask Matt because he seems to value that too…

DAMON: Among all the things about that actually — and there are a lot of different wonderful benefits of working with the same people repeatedly, professionally and personally — but one of my favorite things is the kind of utter abandonment of diplomacy [both laugh]. Like, when you don’t know people there’s a language that’s been invented to protect everybody’s feelings because it’s a collaborative medium. But Ben and I, for instance, because we grew up together, we just say “You know, that take was terrible, you can’t do anything with that!”

So much of filmmaking is actually just practical problem solving and we couch it in these kind of artistic terms because we’re trying not to hurt one another’s feelings, but oftentimes you can just really cut to the chase and solve the problem quicker if you know and love the person, you can be a little more blunt.

DEADLINE: Let’s talk about Berlin. There’s been an awful lot of controversy surrounding the festival this year with boycotts and protests threatened as the organizers invited members of the far-right AfD party. Those invitations ultimately were rescinded after outcry from artists and the local industry. Do you have any thoughts on the situation?

MURPHY: I would completely support all of those artists and filmmakers that came out and I’m really glad that the festival listened to that petition and also to the mood of the general population in Germany.

DEADLINE: You’ve both been to the festival before, but what does the prospect this time feel like?

DAMON: It’s huge for us that we got that slot, we’re really excited about it. We talked a lot just strategically amongst ourselves about what would benefit the film the most and obviously there are festivals all over the place, but this was the one that we had our eye on because it felt like it should premiere in Europe and like this was definitely the place to do it — and obviously Claire’s work has been made into film and done quite well coming out of Berlin before (ed note: The Quiet Girl) so it seemed like the right place.

DEADLINE: Cillian what does opening Berlin represent for you?

MURPHY: This is the first Irish film to open the festival which is a big deal for us.

People ask me the question, “What is it in the water in Ireland and why is there so many good filmmakers and actors coming out at the moment?” and I don’t really know, I don’t have a proper answer.

Part of it is coincidence, part of it is something to do with our culture and its just a good moment, but I hadn’t made a film in Ireland in a long time, even though I’d moved back there I hadn’t made a film in, gosh, like 10 years or more. For me, the geography of the story is always secondary to the quality of the writing but this just happened to have both and it was wonderful to get back and work with all these amazing cast and crew that we have.

I’m really really happy to be part of whatever moment the country is having in terms of film and actors, I’m thrilled.

DEADLINE: Do you guys hope to, plan to, intend to work together again?

DAMON: [Deadpans] I’m never working with him again.

MURPHY: [Laughing] I promise I’ll go for dinner with you, Matt, this time.

DAMON: In that case, if he actually goes out to dinner with me, I’ll work with him as much as I can.'

#Matt Damon #Oppenheimer #Cillian Murphy #Tim Mielants #Peaky Blinders #Small Things Like These #Berlinale #Berlin International Film Festival #Emily Blunt #Artists Equity #Kiss The Sky #Alan Moloney #Claire Keegan #Enda Walsh #Eileen Walsh #Michelle Fairley #Emily Watson #A Quiet Place Part II #John Krasinski

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megabucks85 · 2 years

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Watch the trailer for Marina Carr's Girl on an Altar at Kiln Theatre | WhatsOnStage

"Watch the trailer for Marina Carr's Girl on an Altar at Kiln Theatre | WhatsOnStage" https://www.whatsonstage.com/london-theatre/news/video-trailer-marina-carr-girl-on-an-altar-kiln_56476.html

Just discovered this little gem, and I'm swooning.

#girl on an altar #eileen walsh #david walmsley #marina carr

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spanishrose2002 · 3 months

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Chapters: 1/1 Fandom: The South Westerlies Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Relationships: Breege/Kate Characters: Breege, Kate Additional Tags: Breege x Kate, Harold they're lesbians. Summary:

They were doing everything together, from this moment on.

#The South Westerlies #Breege #Kate #Orla Brady #Eileen Walsh

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intellectures · 3 months

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Berlinale 2024: Schmerzhafte Zeiten

Nach fünf Jahren ist die 74. Berlinale auch die letzte von Mariëtte Rissenbeek und Carlo Chatrian. Einst trat das Duo mit dem Auftrag an, das von Dieter Kosslik heillos überfrachtete Festival künstlerisch und organisatorisch zu reformieren. Am Ende waren es vor allem die Sparmaßnahmen, die zur Verschlankung des Programms geführt haben, dem auch nach fünf Jahren eine klare Handschrift…

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robynsassenmyview · 6 months

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Goodies and Baddies

"Goodies and Baddies", a review of 'The Crucible' screened by the National Theatre Live in SA this week.

I’LL not have such looks, says Abigail (Erin Doherty), in a scene from Lindsey Turner’s The Crucible produced by the National Theatre Live. Photograph by Johan Persson. SHE SAID, HE said and the vulnerable young woman servant without a voice hasn’t a chance in a context where she can be labelled one thing and hung for it. Push anyone far and ruthlessly enough with the threat of their worst fears…

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screenshotingmonstercinema · 1 year

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#wolf #nathalie biancheri #darragh shannon #eileen walsh #20s #directedbywomen

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oughttobeclowns · 2 years

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Review: The Crucible, National Theatre

Es Devlin’s design, plus Erin Doherty and Brendan Cowell, lead a simply stunning production of The Crucible at the National Theatre “We are what we always were in Salem” She may not quite set fire to the rain but what designer Es Devlin does with water in The Crucible makes you think Adele f*cked it up by falling out with her over her postponed Vegas residency. As you enter the Olivier Theatre,…

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ruleof3bobby · 2 years

Video

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THE MAGDALENE SISTERS (2002) Grade: B-

The first scene grabs you in and after that it keeps your attention till the end. Hard to believe it's base off true events. Worth watching.

#The Magdalene Sisters #2002 #B #Drama Films #Based on True Events #Foreign Films #Ireland #Peter Mullan #Inmates #Eileen Walsh #Dorothy Duffy #Anne-Marie Duff #Nora-Jane Noone #Mary Murray #Britta Smith #Irish

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darerendevil · 2 months

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Cillian Murphy: band & theater

Links: X X X X X X

#Cillian Murphy #Eileen Walsh #Disco Pigs #Young Cillian Murphy #Enda Walsh #Padraig Murphy #Sons of Mr Green Genes

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nomilkinmyteaplease · 10 months

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Girl on an Altar strikes back in the Abbey Theatre this month!

#Slightly different cast but most cast from last year return #Eileen walsh #David Walmsley #Girl on an altar #Theatre #Daon broni #Jim findley #Abbey theatre #The terror cast #The terror actors

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denimbex1986 · 2 months

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'**** Cillian Murphy headlines Small Things Like These, an understated drama that’s miniature in scale but not ambition.

Opening the Berlin Film Festival, it arrives just weeks before Murphy heads to the Academy Awards to compete for his first Oscar – for his role in Christopher Nolan’s Oppenheimer.

The two films couldn’t be more different, despite both being anchored by the consummate Murphy’s un-showy presence.

Set in 1985, he plays Bill Furlong, who runs a small coal business in County Wicklow, Ireland. Married to Eileen (Eileen Walsh), he’s a father of five daughters – the quiet one in this all-female household.

Set over Christmastime, his children are naturally excitable, but emotions are swelling inside Bill. When one of his offspring asks what he used to get for Christmas, he replies that he once got a jigsaw. Once. It's a heartbreaking admission, one that allows the film to flash back to a sparse childhood.

At one point, we see the young Bill given a hot water bottle as a present; the disappointment etched into his face speaks volumes.

When his wife asks him what he’d like, he suggests David Copperfield, the classic Charles Dickens novel. And indeed, there is something distinctly Dickensian about this story, where poverty seems to exist on every street corner. Quite literally, in one scene, where Bill sees a small barefoot child lapping from a bowl in the road like an animal.

Adapted from the 2020 novel by Claire Keegan, Small Things Like These really is a character study, as Bill’s childhood trauma begins to catch up with him.

The film’s director, Tim Mielants, who previously filmed Murphy in several episodes of BBC show Peaky Blinders, misses no opportunity to train the lens on Murphy’s face, notably when he mournfully stares out of a rain-lashed window. Shots like these speak volumes of his under-the-surface turmoil.

The film really takes hold when Bill delivers coal to the local convent, run by Sister Mary (Emily Watson, who expertly essays a servant of God you simply wouldn’t want to cross).

Bill encounters a young girl named Sarah (Zara Devlin), who has been locked in the convent’s coal shed, and is in desperate need of help. Without ever really explicitly detailing it, the film alludes to the ‘Magdalene laundries’, Catholic institutions that became notorious for exploiting women who were admitted there, often simply because they had fallen pregnant out of wedlock.

It’s not the first time this has been exposed on film, notably in Peter Mullan’s 2002 Golden Lion-winning film The Magdalene Sisters. But while that was a full and frank look at this horrifying practice, Mielants’s movie is deliberately more subtle.

Gradually, we learn that Bill was the son of an unwed teenage mother who escaped the laundries, making his sympathy towards Sarah understandable. Rarely, though, does the film slip into melodrama; expect no grandstanding from Murphy or his co-stars here.

Scripted by playwright Enda Walsh (whose play Disco Pigs was previously adapted on screen, and gave Murphy an early, show-stopping role), Small Things Like These really scores highly in the way it’s been shot.

Mielants and his cinematographer Frank van den Eeden beautifully capture rural Ireland in the mid-'80s, in a way that suggests how little has changed since Bill was a boy in the 1950s.

With much of the film shot around dusk or nighttime, even the sight of carol singers in the street comes with an eerie tint.

At the heart, of course, is Murphy, who gives a performance of great stillness and control. It’s unlikely to catch Hollywood’s eye in the way Oppenheimer has, but it’s another reminder of what a fine and nuanced actor he is.'

#Cillian Murphy #Oppenheimer #Small Things Like These #Frank van den Eeden #Berlinale #Berlin International Film Festival #Eileen Walsh #Claire Keegan #Tim Mielants #Peaky Blinders #The Magdalene Sisters #Enda Walsh

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brian-in-finance · 1 year

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Apple TV+

Irish Film, TV Nominations 2023: ‘The Banshees of Inisherin,’ ‘Bad Sisters’ Lead With Most Nods

“The Banshees of Inisherin,” starring Colin Farrell and Brendan Gleeson, led the nominations for the Irish Film and Television Awards (IFTAs) as the full list of nominees was unveiled on Monday night local time, picking up 11 nods in the film category.

“Bad Sisters” – Sharon Horgan’s Apple TV+ mystery series – led the pack in the drama category with 12 noms.

Coming off the back of a stellar year for Irish film and television, the nominations include a number of familiar names and titles, including Paul Mescal, who has been nominated for best lead actor in a film for “Aftersun” and best supporting actor in a film for “God’s Creatures” while Farrell is also competing in both categories, both for his star turn in “Banshees” and his supporting role as Penguin in “The Batman.”

“Conversations with Friends” has also scored noms in multiple categories while Aoife McArdle is up for best drama director for Apple TV+ series “Severance.” Sinead O’Connor doc “Nothing Compares” is up for best feature documentary.

The IFTAs are set to take place at the Dublin Royal Convention Centre on May 7. They will be broadcast on local network RTÉ.

FILM CATEGORIES

Best Film

“Aisha”

“The Banshees of Inisherin”

“God’s Creatures”

“Lakelands”

“Róise & Frank”

“The Wonder”

Director – Film

“Aisha” – Frank Berry

“The Banshees of Inisherin” – Martin McDonagh

“It Is In Us All” – Antonia Campbell Hughes

“Joyride” – Emer Reynolds

“Let the Wrong One In” – Conor McMahon

“Róise & Frank” – Rachael Moriarty & Peter Murphy

Script – Film

“Aisha” – Frank Berry

“The Banshees of Inisherin” – Martin McDonagh

“God’s Creatures” – Shane Crowley

“Joyride” – Ailbhe Keogan

“Let the Wrong One In” – Conor McMahon

“Róise & Frank” – Rachael Moriarty, Peter Murphy

Lead Actor – Film

Colin Farrell – “The Banshees of Inisherin”

Daryl McCormack – “Good Luck to You, Leo Grande”

Éanna Hardwicke – “Lakelands”

Liam Neeson – “Marlowe”

Ollie West – “The Sparrow”

Paul Mescal – “Aftersun”

Lead Actress – Film

Alisha Weir – “Roald Dahl’s Matilda The Musical”

Bríd Ní Neachtain – “Róise & Frank”

Danielle Galligan – “Lakelands”

Kelly Gough – “Tarrac”

Seána Kerslake – “Ballywalter”

Zara Devlin – “Ann”

Supporting Actor – Film

Andrew Scott – “Catherine Called Birdy”

Barry Keoghan – “The Banshees of Inisherin”

Brendan Gleeson – “The Banshees of Inisherin”

Colin Farrell – “The Batman”

Paul Mescal – “God’s Creatures”

Pierce Brosnan – “Black Adam”

Supporting Actress – Film

Aisling Franciosi – “God’s Creatures”

Eileen Walsh – “Ann”

Elaine Cassidy – “The Wonder”

Jessie Buckley – “Women Talking”

Kerry Condon – “The Banshees of Inisherin”

Kíla Lord Cassidy – “The Wonder”

DRAMA

Best Drama

“Bad Sisters”

“Conversations with Friends”

“Derry Girls: The Agreement (Extended Special)”

“Smother”

“The Dry”

“Vikings: Valhalla”

Director – Drama

“Bad Sisters” – Dearbhla Walsh

“Conversations with Friends” – Lenny Abrahamson

“Maxine” – Laura Way

“Severance” – Aoife McArdle

“Smother” – Dathaí Keane

“The Dry” – Paddy Breathnach

Script – Drama

“Bad Sisters” – Sharon Horgan

“Conversations with Friends” – Mark O’Halloran

“Derry Girls: The Agreement (Extended Special)” – Lisa McGee

“Smother” – Kate O’Riordan

“The Dry” – Nancy Harris

“Top Boy” – Ronan Bennett

Lead Actor – Drama

Aidan Turner – “The Suspect”

Conleth Hill – “Holding”

Jason O’Mara – “Smother”

Kerr Logan – “North Sea Connection”

Stephen Rea – “The English”

Vinnie McCabe – “The Noble Call”

Lead Actress – Drama

Alison Oliver – “Conversations with Friends”

Caitriona Balfe – “Outlander”

Dervla Kirwan – “Smother”

Roisin Gallagher – “The Dry”

Sharon Horgan – “Bad Sisters”

Siobhan McSweeney – “Holding”

Starz

Supporting Actor – Drama

Brian Gleeson – “Bad Sisters”

Ciarán Hinds – “The Dry”

Daryl McCormack – “Bad Sisters”

Michael Smiley – “Bad Sisters”

Moe Dunford – “The Dry”

Tommy Tiernan – “Conversations with Friends”

Supporting Actress – Drama

Anne-Marie Duff – “Bad Sisters”

Brenda Fricker – “Holding”

Eva Birthistle – “Bad Sisters”

Eve Hewson – “Bad Sisters”

Genevieve O’Reilly – “Andor”

Sarah Greene – “Bad Sisters”

OTHER AWARD CATEGORIES

Feature Documentary

“The Artist & The Wall of Death”

“The Ghost of Richard Harris”

“How To Tell A Secret”

“Million Dollar Pigeons”

“North Circular”

“Nothing Compares”

Live-Action Short Film

“An Irish Goodbye”

“Call Me Mommy”

“Don’t Go Where I Can’t Find You”

“Lamb”

“Wednesday’s Child”

“You’re Not Home”

Animated Short Film

“Candlelight”

“Dagda’s Harp”

“Red Rabbit”

“Soft Tissue”

CRAFT CATEGORIES

Cinematography

“Conversations with Friends” – Suzie Lavelle

“How To Tell A Secret” – Eleanor Bowman

“It Is In Us All” – Piers McGrail

“The Dry” – Cathal Watters

“Vikings: Valhalla” – Peter Robertson

Costume Design

“Aisha” – Kathy Strachan

“The Banshees of Inisherin” – Eimer Ní Mhaoldomhnaigh

“Disenchanted” – Joan Bergin

“Enola Holmes 2” – Consolata Boyle

“Vikings: Valhalla” – Susan O’Connor Cave

Production Design

“Aisha” – Tamara Conboy

“Bad Sisters” – Mark Geraghty

“Mr. Malcolm’s List” – Ray Ball

“Róise & Frank” – Padraig O’Neill

“Vikings: Valhalla” – Tom Conroy

Hair & Make-Up

“Aisha” – Dumebi Anozie, Liz Byrne

“The Banshees of Inisherin” – Orla Carroll, Lynn Johnston, Dan Martin

“Mr. Malcolm’s List” – Eileen Buggy, Sharon Doyle

“The Wonder” – Lorri Ann King, Morna Ferguson

“Vikings: Valhalla” – Joe Whelan, Tom McInerney

Sound

“Aisha”

“The Banshees of Inisherin”

“Conversations with Friends”

“The Sparrow”

“The Wonder”

Original Music

“Good Luck to You, Leo Grande” – Stephen Rennicks

“Lakelands” – Daithí

“Nothing Compares” – Irene Buckley, Linda Buckley

“Róise & Frank” – Colm Mac Con Iomaire

“The Dry” – Sarah Lynch

Editing

“Aisha” – Colin Campbell

“Elvis” – Jonathan Redmond, Matt Villa

“Death on the Nile” – Úna Ní Dhonghaíle

“Nocebo” – Tony Cranstoun

“Nothing Compares” – Mick Mahon

VFX

“The Banshees of Inisherin”

“Marlowe”

“Stranger Things”

“The Woman King”

Best International Film

“Aftersun”

“All Quiet on the Western Front”

“Elvis”

“Tár”

“The Fabelmans”

“Top Gun: Maverick”

Best International Actor

Albrecht Schuch – “All Quiet On The Western Front”

Austin Butler – “Elvis”

Cosmo Jarvis – “It Is In Us All”

Felix Kammerer – “All Quiet On The Western Front”

Josh O’Connor – “Aisha”

Tom Cruise – “Top Gun: Maverick”

Best International Actress

Cate Blanchett – “Tár”

Emily Watson – “God’s Creatures”

Florence Pugh – “The Wonder”

Letitia Wright – “Aisha”

Michelle Williams – “The Fabelmans”

Viola Davis – “The Woman King”

Variety

Starz

Remember the ☘️☘️☘️☘️☘️☘️☘️☘️☘️th IFTA nomination?

#Tait rhymes with hat #Good times #Outlander #Awards #Nominations #Irish Film & Television Academy #IFTA #IFTA20YEARS #Royal Convention Centre #Host #Deirdre O’Kane #7 May 2023 #Dublin #RTÉ #Variety #6 March 2023 #Campaign To Shorten Awards Season

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