This second programme of new Irish shorts was probably the strongest yet, though there were quite a few I'd already seen and perhaps benefited from a second viewing.
FOIREANN CODLADH (Danann Breathnach) is a humourous tale of a man versus a clock. In my second viewing of this I found that the pace dragged a little in a few spots but overall remains very funny, largely due to a likeable lead performance by Tomas O'Suilleabhain.
MEA CULPA (Virginia Gilbert) is a finely crafted tale of jealousy and family relations as a young girl seeks to defend her position from the threat of her dad's new partner. I remember Emma Bolger as a vaguely annoying presence in the TV series PROOF but fair play, she's older and a bit more experienced and turns in an excellent performance here.
FINSCEAL PHAIDI (Colm Bairead) is another one I've covered before which plays on the Gaelic myth traditions to tell a tale of a small boy's relationship with his father and his (possibly evil monster) step-dad. Part comedy, part monster movie, part tearjerker, all brilliant.
CALL ME SON (Louise McCullagh) is a story about a young boy who has been moved between foster homes on more than one occasion and seeks stability in his life. It's got plenty of humour and a likeable young lead but also raises awareness of a very serious issue.
AN COSC (Vincent Gallagher) uses interviews and reconstructions to tell the fascinating tale of how Ireland's first president got banned from the GAA (or at least one theory anyway). Very slickly put together and an intriguing piece of documentary filmmaking.
THE GARDEN (Rick Larkin) is a bit abstract and left me with no idea what the hell was going on. However, it was beautifully shot (having seen this and last year's SATELLITES & METEORITES, Larkin clearly likes his colours) and with a haunting mood hanging over it all. Despite my head-scratching reaction, I loved this one.
THE CHRONOSCOPE (Andrew Legge) is a brilliant mockumentary about one of Ireland's great forgotten historical figures and her startling invention. Exceptionally well done, I genuinely thought for the first minute or so that I was watching a serious documentary. By the end, it's anything but serious, and it's immensely entertaining.
KING OF THE WAVES (Luke Leslie) is like the happier flip side to the feature film DEEP WATER. Full of tension but ultimately a tale of great adventure and a man who wanted to exorcise old ghosts, this film is based on the true story of a retired WW2 veteran who decided to sail the globe single-handedly. The film boasts some terrific water-bound scenes.
THE GOOD DOCTOR (Rick Larkin) - No sooner do I mention Larkin's love of colour than he goes off into darker territory. This is for the most part a simple two-hander between a young man and his dying father, who reveals a long-buried secret about his past. Despite the limited location, the strong script and terrific acting carry it - unfortunately these scenes are so strong that it's only let down by some flashbacks which just don't pack the same punch.
TUFTY (Jason Butler & Brendan Butler) is a delightfully insane piece of action drama that uses puppetry, dramatic music and a barmy central concept to deliver a hilarious film that will result in you never looking at teddy bears in the same way again.
THE MILL (David Freyne) is a story of an ill-fated family outing which signposts its twist very early on but it's so well executed that it still packs a punch when it happens.
TART (Mairtin De Barra) sees an elderly man reminisce about his past, his old flame and the onset of a horrible ailment sees him spending all his time in a nursing home dreaming of those days again. It's a sad, poignant tale that looks terrific, boasts fine acting and might very well leave you with a lump in your throat.
IF I SHOULD FALL BEHIND (Morgan Bushe) is another tale of troubled relationships and bereavement. Executed simply, this is all that is required. With no flashy visual trickery required, the film is carried largely on the strength of a strong cast and script.
THE MAN INSIDE (Rory Bresnihan) is another one I've seen before and I actually enjoyed it a lot more this time. It's a terrific little oddity in which a man becomes locked in his own flat. Bresnihan uses green screen, wonderfully designed backdrops and a cast who all seem to have completely different accents to conjure up the otherworldly feeling of a place that occupies no particular place in the world or in time.
FEILEACAN (Cecilia McAllister) is another film that benefits from a second viewing. I liked it enough the first time, but this time it just seemed to feel totally right. Superb performances by both uncomfortable girl and troubled mother certainly help.
UNCLE BILL'S BARRELL (Eoin Ryan) is another one I'd seen before. Once again, I enjoyed it more second time. The look of the film is pure hammer horror, but when Uncle Bill returns from the dead to protect his booze, the results are full-on comedy and very succesful.
THE GERMAN (Nick Ryan) was also a second viewing for me. I liked it very much first time round, and little has changed. Still some great action sequences at the start of this WW2 action drama, and the twist in the tale is just as amusing second time round.
OUT OF THE BLUE (Michael Lavelle) finishes this selection and also the bunch of films I've seen before. A tale of romance between a man and a mermaid (in a TV), cast and director mine the script for all the humour they can and the results are a wonderfully enjoyable romp.
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