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Lovin’ Spoonful

13/02/2014 by Kim McGuire

Valentine’s Day in an Irish home looks much the same as it does anywhere else. There are the pink and red cards with hearts all over them exchanged, the box of chocolates gooey and sweet, the flowers, the bottle of wine shared over dinner, and plenty of smoochin’ going on {if you’re into that kind of thing…which we definitely are!}.

Being a hopeless romantic and a foodie, I always try to find ways to make the day extra special for everyone. Starting with breakfast.

Valentine Breakfast 2014 1

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My husband likes an egg in the morning. Our girls prefer pancakes. With the aid of my trusty heart-shaped cookie cutter there’s no trouble whipping up both on Valentine’s morning.

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Valentines Day Breakfast Ideas 2014 2

Cranberry Banana Smoothie

All four of us love smoothies, especially this bright-pink and deep-red, healthy cranberry banana blend. Cranberries are one of the most antioxidant-packed berries around. I buy extra bags of them in November when they’re readily available in the supermarket and keep them in the freezer for the rest of the year. You get the most benefits from eating them raw, so adding them to a smoothie is a very healthy choice. Can I get a whoo hoo and a yummm…..?

Valentine's Day 2014 Katie

Valentines Day 2014 Sarah

And, sure, it takes a little extra time in the morning to pull it all together {15 minutes, perhaps} but the smiles I get for the extra effort warms my heart and makes it so very worth it!

From our little Irish home to yours…Happy Valentine’s Day. Cheers!

Cranberry Banana Smoothie

Makes 4

Ingredients

8oz/1 cup apple juice

12oz/2 cups whole cranberries (I use frozen)

1 large banana

2 tablespoons maple syrup

Directions

1. Put all ingredients in a blender and blend until smooth.

2. Taste and add more  maple syrup, if needed. Serve immediately.

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Valentine’s Day Ideas

10/02/2014 by Kim McGuire

With Valentine’s Day right around the corner, there’s a rush in our Irish home to get decorations up and plans made. I don’t know about you, but we don’t buy into the whole commercial-ness of the celebration. We prefer, instead, to get back to our roots and do it “old style”.

Banish the over-priced roses and bring back the free-flowing bouquets of long ago. Forgotten flowers  like calla lilies, peonies, hydrangea, ranunculus, astilbe, and dahlias are simply stunning and less expensive too.

Valentine's Day Flowers 2

Photo Credit: The Knot

Write a letter and fill it with love. Whether it’s you doing the writing or it’s your kids making a card, a personally penned poem or heart-felt sentiment is so much nicer than a Hallmark card.

Great Kids Crafts from Pinterest.

Great Kids Crafts from Pinterest.

Turn up the tunes and dance in your sitting (living) room.  When was the last time you stopped everything and took your beloved in your arms for a good old-fashioned waltz around the kitchen? It may sound silly but it’s those little moments, when we step outside of our comfort zones, that we remember most. A dance is free but the memory is priceless.

Check out this playlist from 8 Tracks Radio. Photo Credit: 8tracks.com.

Check out this playlist from 8 Tracks Radio.
Photo Credit: 8tracks.com

If the weather allows, gather up some comfy blankets, fill up those hot water bottles, grab a bottle of your favourite bubbly (nonalcoholic for the kids…of course!) and head out to the back garden for a bit of stargazing. If you have a small fire pit, all the better, stoke it up and share stories of days gone by and roast marshmallows while you’re at it.

Champagne from Brown Thomas, Blankets from Avoca Handweavers and Hot Water Bottle from Dunnes Stores.

Champagne from Brown Thomas, Blankets from Avoca Handweavers and Hot Water Bottle from Dunnes Stores.

And finally, for a bit of long-forgotten romance with a spiritual twist, attend mass on Valentine’s Day at the Catholic church on Whitefriar Street. The mass in honour of St. Valentine, whose relics have been enshrined in the church since 1836, and a special blessing of wedding rings immediately following is one way to pay homage to the vows you made on the day you wed…and it’s great historical trip for families with young children too.

Photo Credit: The Irish Province of the Order of Carmelites

Photo Credit: The Irish Province of the Order of Carmelites

Notes:

Just in case you couldn’t see the links, here they are again:

Love song playlist at 8tracks.com

Heart-shaped hot water bottle from Dunnes Stores

Details of Valentine’s Day mass at Whitefriar Street Church

Champagne and Lauderee Macarons at Brown Thomas

Gorgeous throws and blankets at Avoca Handweavers

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Getting Back on Track

07/02/2014 by Kim McGuire

How are your New Year’s resolutions going? Mine went out the window because of Sundance, but now, with the bags unpacked, I am desperate to get back to my intentions.

I like the word “intentions” rather than “resolutions”, do you? It feels more positive. ”I intend to worry less/get more fit/be more grateful” rather than “I will worry less/get more fit/be more grateful”….yes, for sure, it’s more positive, less harsh, and more forgiving. Sometimes forgiveness is important where resolutions and intentions are concerned.

I put on 1.3 kilo (3lbs) while at Sundance. I suppose sitting in films all day long, snacking, and drinking more alcohol than usual will do that. 1.3 kilo seems a small amount but you know yourself how quickly it adds up. I am rededicating myself for the next few weeks to getting back to my New Year’s Eve intentions for 2014 {see below}. My target is mid-term break. I’m thinking swimwear…tan…looking good…are you with me?

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My Colourful New Year’s Resolution Reminder

~~~

To help get things back on track, I’ve signed up for a free ten-day subscription to Gaiam TV. Ever heard of it? It’s a streaming video subscription service offering over 5,000 films and documentaries dedicated to yoga, fitness, conscious media, personal growth and spirituality. I’m interested in the yoga, fitness, food/nutrition, and healthy living. If I don’t like it, the cancellation seems as simple as pressing a button. I’ll let you know how it goes.

For years I’ve mostly exercised at home. I’m hopeful the addition of Gaiam TV will help reinvigorate my resolve and keep me moving in the right direction. It takes a lot of discipline to exercise at home but, for me, it beats putting on my runners {sneakers} and driving over to the local fitness centre.

A friend recently asked for a list of the equipment and exercises I use so she too could start her own home-based fitness programme. So, Dawn, me auld segosha, this is for you. You go girl!

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What I love about exercising at home is just how simple it is. From the photo above you can see there isn’t a lot of expense or equipment required.

The equipment above includes a high density foam roller to stretch out tight muscles {it’s the long black skinny thing in the back}, a yoga mat, block and strap, two three-pound weights, Cindy Crawford’s The Next Challenge video. You may be thinking the Cindy Crawford video is not very on-trend but I use it for the segments that focus on toning arms and back. But, you know, if it’s good enough for Cindy…it’s good enough for me! I mean, seriously, have you seen how great the woman looks?! You’ll also see several yoga videos. I especially love Stress Relief Yoga because it’s quick and it does the job. If you no longer have a vcr, all these videos are also available on dvd.

Outside of what you see above, the only other exercise I take regularly is a 45-60 brisk minute walk. I think of it as my “Irish Ladies Exercise” because in Ireland you see women out walking everywhere…the sea front, the hillsides, and the neighbourhoods…no matter the weather.

~~~

My colourful intention/resolution chart above also reminds me to “worry less”, “breathe”, and “be more thankful”. I find these things are only achievable when I slow down. To that end, I have added some meditation to my daily routine.

Years ago I qualified as a Relaxation Response Tutor through the Irish Mind Medicine Academy. If you’re not familiar with the “Relaxation Response”, it is a term coined by Dr. Herbert Benson, professor, author, cardiologist, and founder of Harvard’s Mind/Body Medical Institute. The “response” is defined as our personal ability to encourage our body to release chemicals and brains signals that make our muscles and organs slow down and increase blood flow to the brain.

In layman terms, it’s a helpful way to turn off the fight or flight response our body has to stressful situations {and who doesn’t have some of those every day} and bring the body back to pre-stress levels. Dr. Benson describes the Relaxation Response as a physical state of deep relaxation which, when done regularly, can help with many health problems caused or exacerbated by chronic stress such as fibromyalgia, gastrointestinal ailments, insomnia, hypertension, anxiety disorders, and others.

I have found some very helpful online mediation practices ranging from 3-19 minutes in length through UCLA’s Mindful Awareness Research Center. They are free to use. Perhaps they will be helpful to you too.

~~~

A month into 2014 and I can see {thanks to a WordPress blogging tool} that many of you are also interested in keeping up with your resolutions to stay healthy. I’ve had a good few requests for Irish smoothies, and also for porridge. I’m not aware of any “traditional” recipes as such, but I am happy to share with you the ones that have become popular in our Irish home here and here. Also, the IRFU (Irish Rugby Football Union) has a fact sheet of smoothie recipes you may find interesting here. The latest recipe to be added to our morning routine is the one below. You porridge fans will like this:

Fruit & Oat Smoothie

Serves One

Ingredients

1 tablespoon uncooked McCann’s Quick Cooking Irish Oatmeal

8oz/1 cup skim milk

1 large banana

1 cup frozen fruit (e.g. frozen strawberries, raspberries)

Directions

Place all ingredients in a blender and blend for about 1 minute until smooth.

If desired, sweeten to taste.

~~~

So, there you have it, getting back on track In an Irish Home. What are you doing to stay with your New Year’s Eve resolutions/intentions? Are you on track or have you thrown in the towel. Do tell!

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The Case Against 8: An Irish Connection

31/01/2014 by Kim McGuire

One of the things you notice when you’re an expat living in Ireland is how the Irish media love to take a story from abroad and find a way to connect it back home. Athletes, artists, musicians, politicians…everyone and everything is fair game. So today, in the spirit of Irish journalism, I’m going to do my own “connecting of the dots” and show you how the film The Case Against 8, which premiered at the Sundance Film Festival and won the U.S. Documentary Directing prize, is connected to Ireland.

For starters, you need to know a little bit about the film. The Case Against 8 is a documentary that takes viewers behind the scenes of the high-profile trial that overturned California’s Proposition 8, a controversial constitutional amendment that made marriage between same-sex couples illegal.

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On the steps of the US Supreme Court.
Photo Credit: The Sundance Institute

The case first made headlines when lead attorneys, Ted Olson and David Boies, joined forces to assist the American Foundation for Equal Rights in trying the case. Olson and Boies were once political foes, squaring off against each other in Bush v. Gore back in 2000.

The plaintiffs were two couples, Kris Perry and Sandy Stier, and Paul Katami and Jeff Zarrillo, who found themselves and their families at the centre of the same-sex marriage controversy. Paul Katami, whose sister is married to an Irishman from Dublin, is a charming and well-spoken fitness expert and small business owner who never imagined himself an activist.

Photo Credit: Diana Walker

Kris Perry, Sandy Stier, Paul Katami and Jeff Zarrillo. Photo Credit: Diana Walker

“Jeff and I are ‘accidental activists'”, Katami says. “We really had no idea what we were getting ourselves into when we agreed to get involved.” One can believe it too. From start to finish the case lasted 5 years and during that time the plaintiffs’ lives were open to public scrutiny and, sometimes, outrage.

Katami and Zarrillo were in a committed relationship for 8+ years when Prop 8 appeared on the political landscape in California. Hurt by the negative campaign in support of the amendment, which included a television advertisement created by the National Organization for Marriage called Gathering Storm, the couple took action and made a counter-video called Weathering the Storm. Their video went viral nearly overnight and brought them to the attention of Chad Griffin, then head of the newly formed American Foundation for Equal Rights, and Hollywood activists Rob Reiner, Bruce Cohen and Milk screenwriter Dustin Lance Black.

Griffin liked what he saw and reached out to Paul and Jeff with an offer to get involved. After saying yes and being fully vetted, the two joined Kris Perry and Sandy Stier, mothers to four boys who were also well vetted, as plaintiffs.

Paul Katami, Jeff Zarillo and Ryan White at Sundance after party.

Paul Katami, Jeff Zarrillo and Ryan White at a Sundance after-party.

Filmmakers Ryan White, whose grandfather was Irish by way of Mallow, and Ben Cotner had unparalleled access to key players in the historic case and provided in-depth coverage of a trial the public never saw. “We were not trying to make a film about whether gay marriage was right or wrong, ” says White. “We were making a character film following this team of people and really delving into their lives and using that journey to let people decide for themselves in the end”.

Standing ovation for The Case Against 8 at the world premiere.

Standing ovation for The Case Against 8 at the world premiere.

With over 600 hours of footage, edited down to 112 minutes, The Case Against 8 is a cinematic journey through one of America’s most significant civil rights battles in recent times. It isn’t a boring talking heads movie full of legalese. Nor is it a slanted propaganda piece for the pro-gay-marriage camp. It is an even-handed, deeply personal, account of the events as they occurred.

A quick photo pop with Jeff Zarillo, Paul Katami, Sandy Stier and Kris Perry.

A quick photo opp – thanks Jeff, Paul, Sandy and Kris.

Unfortunately, The Case Against 8 won’t be shown at the Jameson Dublin International Film Festival in February…maybe next year! You can, however, see another of one Ryan White’s films, Good Ol’ Freda, instead. It’s the story of Freda Kelly, the Dublin-born woman who was personal secretary to The Beatles and their manager, Brian Epstein, for eleven years. Kelly had many opportunities to open up and share her tale with the world {and cash in on it too} but she waited until the right person, someone she knew she could trust, came along. Ryan knew Freda his whole life but it was his aunt Sandra who put them together in a way that sparked a film. Good Ol’ Freda is the first independent movie to have successfully licensed original Beatles recordings, and it won an audience choice award for best film at the Cleveland International Film Festival. {I have a copy, given to me by Ryan’s aunt while we were both at Sundance, and I’m looking forward to watching it this weekend.}

So there you have it, Dear Readers…an unexpected Irish connection to an America story.  I am very happy to be sending this post into the world today because, after seeing The Case Against 8, I totally understand why it’s time for marriage equality for all. I’m only ashamed I didn’t consider the importance of it sooner. I’ll be sure to let you know when this terrific film comes to Ireland. And, when it does, I hope you will see it.

Additional Information:

For regular updates on The Case Against 8 follow them on Facebook here.

For regular updates on Paul Katami and Jeff Zarrillo follow them on Facebook here.

Follow Ireland’s campaigners moving towards marriage equality on Facebook here.

Taoiseach Enda Kenny has pledged that he will campaign strongly in favour of the referendum on same-sex marriage. Read more here.

One of the best background articles on the campaign against Prop 8 at http://www.callawyer.com/Clstory.cfm?eid=906575

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Calvary

27/01/2014 by Kim McGuire

Last Sunday week I attended the world premiere of the Irish film Calvary at the Sundance Film Festival. This highly anticipated movie, from John Michael McDonagh, has received nothing but rave reviews and has already been snapped up by Fox Searchlight, for a reported $2.5 million, for distribution in the U.S. and select international territories.

Que for the world premiere of Calvary.

Queuing up for the world premiere of Calvary.

Audience waiting for Calvary to start.

Audience waiting for Calvary to start.

Set in Sligo, Calvary is the story of a tough-minded but good-hearted Irish priest marked for death by one of his parishioners and tormented by the cynical, spiteful members of his village. Given a week to make his peace with God, he ministers to lost souls ~ visits that double as a guided tour of suspects ~ and makes peace with his adult daughter, a child from his marriage before entering the priesthood.

This darkly comedic, and brilliantly layered, drama exposes the ugly side of Catholicism’s contemporary woes (from sexual abuse to waning influence). It is a masterful follow-up to The Guard for writer-director John Michael McDonagh. And, it firmly secures Brendan Gleeson’s place as Ireland’s hottest actor.

John Michael McDonagh, Chris O'Dowd, and during the Q&A session after the film.

John Michael McDonagh, Kelly Reilly, Chris O’Dowd, and Isaach de Bankole taking questions during the Q&A session after the film.

There are so many great things to tell you about this movie but better writers than I have already done so. Please check out Variety’s comments here, The Hollywood Reporter’s comments here, and Collider.com’s comments here. What I’d like to focus on in this post is what has not really been said or written about Calvary.

For starters, thanks to the Director of Photography, Larry Smith, Calvary shows off Ireland in the most beautiful of ways. McDonagh’s script writing is reminiscent of great Irish theatrical productions that still show in the Gaiety, the Abbey, and the Olympia. The gallows humor peppered throughout perfectly relieves the otherwise tense subject matter of child-sex abuse by the Catholic hierarchy that is the focus of the film. Chris O’Dowd, Kelly Reilly and all the cast were ideally suited to each role and played off one-another in ways that pull you back and forth between delight and disgust. And, though the opening line is absolutely repugnant, it draws you into the story so quickly that you are vested long before you realise.

A light moment during the Q&A session.

A light moment during the Q&A session.

Now, all these things being true…I still have something to say that may not be very popular and it is this: though I thought this was a terrific film and would encourage people everywhere to see it, I found myself {about half-way through} wondering…”Why are ALL the characters (bar one) in Calvary caricatures of the worst kind of Irish people?”

Let me give you a run-down of the main characters: There’s the town butcher who is suspected of beating his wife. His slut-wife who is sleeping with her black immigrant lover from the Ivory Coast. There’s the sinister police officer and his saucy male lover; a doctor with violently atheist views; a snobbishly wealthy man who’s part of the recent Irish banking debacle; a sex-starved young Irishman; and an imprisoned-rapist-murderer-cannibal. Even the priest himself has a drink problem, and his poor daughter has recently tried to commit suicide. The minor characters are also grossly exaggerated in the most ugly of ways. For example, there’s the two airport workers callously lounging on a casket before it’s put aboard a plane to France and a man who prejudges and accuses Gleeson’s character of inappropriate behaviour with a minor only because he is a priest walking with a child along a lonely stretch of road leading to a beach.

Maybe it’s hard for me to be impartial {given that my husband is Irish, my children are Irish and most of my friends are Irish…not to mention that my family tree is firmly rooted in Ireland} but I found the total stereotyping of the characters in this film to be somewhat offensive and distracting to the storyline, which is both powerful and moving.

There was also an exchange during the Q&A between McDonagh and a film-goer that was off-putting. McDonagh was asked, “Does this film in any way represent the current feeling in Ireland towards the Catholic church?” To which he replied, “I think if you go to Ireland now the Church, the Roman Catholic Church, is actually dead in Ireland. There’s hardly anyone at Mass….I think it’s almost dead in Ireland.” Personally, I feel McDonagh allowed this viewpoint of Catholicism to colour the personality of all his characters (except a French woman whose husband is killed in a drunk driving accident) and I believe the film would have been better served with a more balanced reflection of the Irish society.

John Michael McDonagh at the Q&A session.

John Michael McDonagh at the Q&A session.

To this, I can only counter with my own experience of Catholicism in Ireland…the Church is not dead. Our Church, in a suburb of Dublin, is standing room only on Sunday mornings and on Holy Days. My children have been Alter Servers, as have many of the boys and girls living in our village.

And, I am sure my brother-in-law, who gave up a successful career in the technology industry to become a priest 15 years ago, would disagree with McDonagh’s comment about the Church. Sure, during the heat of the child-sex-abuse scandal, my brother-in-law would have found himself feeling the outrage of strangers and passersby while wearing his cleric attire, but he would say today that people of faith have stayed true to their beliefs and have not painted him or the whole Catholic Church with the same wicked paint brush. Perhaps like the French woman in Calvary says…{and I am paraphrasing here} “perhaps those who gave up their faith so easily, never had it be begin with.”

I think Calvary would have been better served if it had had less caricatures of ill-tempered, poor mannered, drunken Irish people in it. I also feel the film would have been better served if McDonagh had been more realistic about “faith in Ireland” by showing that while it has been tarnished, battered and bruised, it continues on.

Calvary is a beautifully crafted film. Visually, emotionally and intellectually it is superb. I encourage you to see it. And, I would love to know what other Sundancers thought/felt about it…are my comments ridiculous or valid? Lastly, I wonder how well Calvary will be received at the Jameson Dublin International Film Festival next month. I suppose, we shall see.

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2014 Sundance Film Festival Announces Award Winners

27/01/2014 by Kim McGuire

Last night, the Sundance Institute announced the Jury, Audience and other special awards of the 2014 Sundance Film Festival at the feature film Awards Ceremony, hosted by Nick Offerman and Megan Mullally.

The U.S. Grand Jury Prize: Documentary was presented by Tracy Chapman to:
Rich Hill / U.S.A. (Directors: Andrew Droz Palermo, Tracy Droz Tragos) — In a rural, American town, kids face heartbreaking choices, find comfort in the most fragile of family bonds, and dream of a future of possibility.

The U.S. Grand Jury Prize: Dramatic was presented by Leonard Maltin to:
Whiplash / U.S.A. (Director and screenwriter: Damien Chazelle) — Under the direction of a ruthless instructor, a talented young drummer begins to pursue perfection at any cost, even his humanity. Cast: Miles Teller, JK Simmons.

The World Cinema Grand Jury Prize: Documentary was presented by Andrea Nix Fine to:
Return to Homs / Syria, Germany (Director: Talal Derki) — Basset Sarout, the 19-year-old national football team goalkeeper, becomes a demonstration leader and singer, and then a fighter. Ossama, a 24-year-old renowned citizen cameraman, is critical, a pacifist, and ironic until he is detained by the regime’s security forces.

The World Cinema Grand Jury Prize: Dramatic was presented by Nansun Shi to: To Kill a Man / Chile, France (Director and screenwriter: Alejandro Fernández Almendras) — When Jorge, a hardworking family man who’s barely making ends meet, gets mugged by Kalule, a neighborhood delinquent, Jorge’s son decides to confront the attacker, only to get himself shot. Even though Jorge’s son nearly dies, Kalule’s sentence is minimal, heightening the friction. Cast: Daniel Candia, Daniel Antivilo, Alejandra Yañez, Ariel Mateluna.

The Audience Award: U.S. Documentary Presented by Acura, was presented by William H. Macy to: Alive Inside: A Story of Music & Memory / U.S.A. (Director: Michael Rossato-Bennett) — Five million Americans suffer from Alzheimer’s disease and dementia—many of them alone in nursing homes. A man with a simple idea discovers that songs embedded deep in memory can ease pain and awaken these fading minds. Joy and life are resuscitated, and our cultural fears over aging are confronted.

The Audience Award: U.S. Dramatic Presented by Acura, was presented by William H. Macy to: Whiplash / U.S.A. (Director and screenwriter: Damien Chazelle) — Under the direction of a ruthless instructor, a talented young drummer begins to pursue perfection at any cost, even his humanity. Cast: Miles Teller, JK Simmons.

The Audience Award: World Cinema Documentary was presented by Felicity Huffman to: The Green Prince / Germany, Israel, United Kingdom (Director: Nadav Schirman ) — This real-life thriller tells the story of one of Israel’s prized intelligence sources, recruited to spy on his own people for more than a decade. Focusing on the complex relationship with his handler, The Green Prince is a gripping account of terror, betrayal, and unthinkable choices, along with a friendship that defies all boundaries. 

The Audience Award: World Cinema Dramatic was presented by Felicity Huffman to: Difret / Ethiopia (Director and screenwriter: Zeresenay Berhane Mehari) — Meaza Ashenafi is a young lawyer who operates under the government’s radar helping women and children until one young girl’s legal case exposes everything, threatening not only her career but her survival. Cast: Meron Getnet, Tizita Hagere.

The Audience Award: Best of NEXT <=> was presented by Nick Offerman to:
Imperial Dreams / U.S.A. (Director: Malik Vitthal, Screenwriters: Malik Vitthal, Ismet Prcic) — A 21-year-old, reformed gangster’s devotion to his family and his future are put to the test when he is released from prison and returns to his old stomping grounds in Watts, Los Angeles.Cast: John Boyega, Rotimi Akinosho, Glenn Plummer, Keke Palmer, De’aundre Bonds.

The Directing Award: U.S. Documentary was presented by Morgan Neville to:
Ben Cotner & Ryan White for The Case Against 8 / U.S.A. (Directors: Ben Cotner, Ryan White) — A behind-the-scenes look inside the case to overturn California’s ban on same-sex marriage. Shot over five years, the film follows the unlikely team that took the first federal marriage equality lawsuit to the U.S. Supreme Court.

The Directing Award: U.S. Dramatic was presented by Lone Scherfig to:
Cutter Hodierne for Fishing Without Nets / U.S.A., Somalia, Kenya (Director: Cutter Hodierne, Screenwriters: Cutter Hodierne, John Hibey, David Burkman) — A story of pirates in Somalia told from the perspective of a struggling, young Somali fisherman. Cast: Abdikani Muktar, Abdi Siad, Abduwhali Faarah, Abdikhadir Hassan, Reda Kateb, Idil Ibrahim.

The Directing Award: World Cinema Documentary was presented by Sally Riley to: Iain Forsyth & Jane Pollard for 20,000 Days On Earth / United Kingdom (Directors: Iain Forsyth & Jane Pollard) — Drama and reality combine in a fictitious 24 hours in the life of musician and international culture icon Nick Cave. With startlingly frank insights and an intimate portrayal of the artistic process, this film examines what makes us who we are and celebrates the transformative power of the creative spirit.

The Directing Award: World Cinema Dramatic was presented by Sebastián Lelio to: Sophie Hyde for 52 Tuesdays / Australia (Director: Sophie Hyde, Screenplay and story by: Matthew Cormack, Story by: Sophie Hyde) — Sixteen-year-old Billie’s reluctant path to independence is accelerated when her mother reveals plans for gender transition, and their time together becomes limited to Tuesdays. This emotionally charged story of desire, responsibility, and transformation was filmed over the course of a year—once a week, every week, only on Tuesdays. Cast: Tilda Cobham-Hervey, Del Herbert-Jane, Imogen Archer, Mario Späte, Beau Williams, Sam Althuizen.

The Waldo Salt Screenwriting Award: U.S. Dramatic was presented by Peter Saraf to: Craig Johnson & Mark Heyman for The Skeleton Twins / U.S.A. (Director: Craig Johnson, Screenwriters: Craig Johnson, Mark Heyman) — When estranged twins Maggie and Milo feel that they’re at the end of their ropes, an unexpected reunion forces them to confront why their lives went so wrong. As the twins reconnect, they realize the key to fixing their lives may just lie in repairing their relationship. Cast: Bill Hader, Kristen Wiig, Luke Wilson, Ty Burrell, Boyd Holbrook, Joanna Gleason.

The Screenwriting Award: World Cinema Dramatic was presented by Sebastián Lelio to: Eskil Vogt for Blind / Norway, Netherlands (Director and screenwriter: Eskil Vogt) — Having recently lost her sight, Ingrid retreats to the safety of her home—a place she can feel in control, alone with her husband and her thoughts. But Ingrid’s real problems lie within, not beyond the walls of her apartment, and her deepest fears and repressed fantasies soon take over. Cast: Ellen Dorrit Petersen, Henrik Rafaelsen, Vera Vitali, Marius Kolbenstvedt.

The Editing Award: U.S. Documentary was presented by Jonathan Oppenheim to: Jenny Golden, Karen Sim for Watchers of the Sky / U.S.A. (Director: Edet Belzberg) — Five interwoven stories of remarkable courage from Nuremberg to Rwanda, from Darfur to Syria, and from apathy to action.

The Editing Award: World Cinema Documentary was presented by Sally Riley to: Jonathan Amos for 20,000 Days On Earth / United Kingdom (Directors: Iain Forsyth & Jane Pollard) — Drama and reality combine in a fictitious 24 hours in the life of musician and international culture icon Nick Cave. With startlingly frank insights and an intimate portrayal of the artistic process, this film examines what makes us who we are and celebrates the transformative power of the creative spirit.

The Cinematography Award: U.S. Documentary was presented by Kahane Cooperman to: Rachel Beth Anderson, Ross Kauffman for E-TEAM / U.S.A. (Directors: Katy Chevigny, Ross Kauffman) — E-TEAM is driven by the high-stakes investigative work of four intrepid human rights workers, offering a rare look at their lives at home and their dramatic work in the field.

The Cinematography Award: U.S. Dramatic was presented by Peter Saraf to:
Christopher Blauvelt for Low Down / U.S.A. (Director: Jeff Preiss, Screenwriters: Amy-Jo Albany, Topper Lilien) — Based on Amy-Jo Albany’s memoir, Low Down explores her heart-wrenching journey to adulthood while being raised by her father, bebop pianist Joe Albany, as he teeters between incarceration and addiction in the urban decay and waning bohemia of Hollywood in the 1970s. Cast: John Hawkes, Elle Fanning, Glenn Close, Lena Headey, Peter Dinklage, Flea.

The Cinematography Award: World Cinema Documentary was presented by Caspar Sonnen to: Thomas Balmès & Nina Bernfeld for Happiness / France, Finland (Director: Thomas Balmès) — Peyangki is a dreamy and solitary eight-year-old monk living in Laya, a Bhutanese village perched high in the Himalayas. Soon the world will come to him: the village is about to be connected to electricity, and the first television will flicker on before Peyangki’s eyes.

The Cinematography Award: World Cinema Dramatic was presented by Carlo Chatrian to: Ula Pontikos for Lilting / United Kingdom (Director and screenwriter: Hong Khaou) — The world of a Chinese mother mourning the untimely death of her son is suddenly disrupted by the presence of a stranger who doesn’t speak her language. Lilting is a touching and intimate film about finding the things that bring us together. Cast: Ben Whishaw, Pei-Pei Cheng, Andrew Leung, Peter Bowles, Naomi Christie, Morven Christie.

A U.S. Documentary Special Jury Award for Use of Animation was presented by Charlotte Cook to: Watchers of the Sky / U.S.A. (Director: Edet Belzberg) — Five interwoven stories of remarkable courage from Nuremberg to Rwanda, from Darfur to Syria, and from apathy to action.

A U.S. Documentary Special Jury Award for Intuitive Filmmaking was presented by Charlotte Cook to: The Overnighters / U.S.A. (Director: Jesse Moss) — Desperate, broken men chase their dreams and run from their demons in the North Dakota oil fields. A local Pastor’s decision to help them has extraordinary and unexpected consequences.

A U.S. Dramatic Special Jury Award for Musical Score was presented by Dana Stevens to: The Octopus Project for Kumiko, the Treasure Hunter/ U.S.A. (Director: David Zellner, Screenwriters: David Zellner, Nathan Zellner) — A lonely Japanese woman becomes convinced that a satchel of money buried in a fictional film is, in fact, real. Abandoning her structured life in Tokyo for the frozen Minnesota wilderness, she embarks on an impulsive quest to search for her lost mythical fortune. Cast: Rinko Kikuchi.

A U.S. Dramatic Special Jury Award for Breakthrough Talent was presented by Dana Stevens to: Justin Simien for Dear White People/ U.S.A. (Director and screenwriter: Justin Simien) — Four black students attend an Ivy League college where a riot breaks out over an “African American” themed party thrown by white students. With tongue planted firmly in cheek, the film explores racial identity in postracial America while weaving a story about forging one’s unique path in the world. Cast: Tyler Williams, Tessa Thompson, Teyonah Parris, Brandon Bell.

A World Cinema Dramatic Special Jury Award for the Delightful Ensemble Performance, and How the Director Brought His Own Unique Universe into Cinema was presented by Carlo Chatrian to: God Help the Girl / United Kingdom (Director and screenwriter: Stuart Murdoch) — This musical from Stuart Murdoch of Belle & Sebastian is about some messed up boys and girls and the music they made. Cast: Emily Browning, Olly Alexander, Hannah Murray, Pierre Boulanger, Cora Bissett.

A World Cinema Documentary Special Jury Award for Cinematic Bravery was presented by Caspar Sonnen to: We Come as Friends / France, Austria (Director: Hubert Sauper) — We Come as Friends is a modern odyssey, a science fiction–like journey in a tiny homemade flying machine into the heart of Africa. At the moment when the Sudan, Africa’s biggest country, is being divided into two nations, a “civilizing” pathology transcends the headlines—colonialism, imperialism, and yet-another holy war over resources.

The Short Film Audience Award, Presented by YouTube, based on web traffic for 15 short films that screened at the Festival and were concurrently featured on www.youtube.com/sff, was presented to: Chapel Perilous / U.S.A. (Director and screenwriter: Matthew Lessner) — Levi Gold is paid an unexpected visit by Robin, a door-to-door salesman with nothing to sell. The ensuing encounter forces Levi to confront his true mystical calling, and the nature of reality itself. A metaphysical comedy trip-out with Sun Araw.

The following awards were presented at separate ceremonies at the Festival:

Jury prizes and honorable mentions in short filmmaking were presented at a ceremony in Park City, Utah on January 21. The Short Film Grand Jury Prize was awarded to Of God and Dogs / Syrian Arab Republic (Director: Abounaddara Collective). The Short Film Jury Award: U.S. Fiction was presented to Gregory Go Boom / U.S.A. (Director and screenwriter: Janicza Bravo). The Short Film Jury Award: International Fiction was presented to The Cut / Canada (Director and screenwriter: Geneviève Dulude-Decelles). The Short Film Jury Award: Non-fiction was presented to I Think This Is the Closest to How the Footage Looked / Israel (Directors: Yuval Hameiri, Michal Vaknin). The Short Film Jury Award: Animation was presented to Yearbook / U.S.A. (Director and screenwriter: Bernardo Britto). A Short Film Special Jury Award for Unique Vision was presented to Rat Pack Rat / U.S.A. (Director and screenwriter: Todd Rohal). A Short Film Special Jury Award for Non-fiction was presented to Love. Love. Love. / Russia (Director: Sandhya Daisy Sundaram). A Short Film Special Jury Award for Direction and Ensemble Acting was presented to Burger / United Kingdom, Norway (Director and screenwriter: Magnus Mork).

The winning directors and projects of the Sundance Institute | Mahindra Global Filmmaking Awards, in recognition and support of emerging independent filmmakers from around the world, are: Hong Khaou, Monsoon (Vietnam/UK); Tobias Lindholm, A War (Denmark); Ashlee Page, Archive (Australia); and Neeraj Ghaywan, Fly Away Solo (India).

The Sundance Institute/NHK Award, honoring and supporting emerging filmmakers, was presented to Mark Rosenberg, director of the upcoming film Ad Inexplorata.

The 2014 Red Crown Producer’s Award and $10,000 grant was presented to Elisabeth Holm, producer of Obvious Child.

The 2014 Alfred P. Sloan Feature Film Prize, presented to outstanding feature films focusing on science or technology as a theme, or depicting a scientist, engineer or mathematician as a major character, was presented to I Origins, directed and written by Mike Cahill. The film received a $20,000 cash award from the Alfred P. Sloan Foundation.

 

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An “Aha Moment” at The Notorious Mr. Bout

23/01/2014 by Kim McGuire

Notorious Mr. Bout Photo 2The last few days I’ve been swept away by the “power of Sundance”…the parties, the dinners, the lunches, the cocktails, the meetings with celebrities and industry types. It’s been loads of fun but, with more than a few of these events under my belt, I’m having a fundamental shift in thinking.

What I thought was the power of Sundance is, in fact, just the necessary “social fluff” of the festival. It’s what has to happen in order for filmmakers to recoup the time, energy, and money they put into creating a film. It’s not actually the real “power”.

The real power of Sundance is the films themselves…the stories that are told and what happens after they are shared.

The films, whether funny, sad, humorous or horrific, make us think…and talk. Sometimes we talk with the person sitting right next to us while the credits are rolling. Sometimes we talk with people while waiting for a bus or while sitting in a cab outside our hotel. And sometimes, just sometimes, the story told in a film is so very good that we talk with whomever we are standing with in the line for the loo (bathroom).

Yes, the loo.

At 9.00am this morning, I saw The Notorious Mr. Bout. 90 minutes later, while waiting in line for the loo, I found myself involved in a heated conversation with a group of women about the rights and wrongs, the justice and injustice, of international arms dealings and the trial of arms dealer Viktor Bout, the main character of the film. Such is the wonder and power of Sundance.

If you’ve seen the Nicholas Cage movie Lord of War and think you have a sense of what international arms trading is like…you don’t. You have the Hollywood view of it. When you see The Notorious Mr. Bout, you get a truer look at the inner workings of the business and the characters involved. Turns out, it isn’t all that glamorous.

Photo Credits: Alla Bout

Photo Credits: Alla Bout

Making the most of an extraordinary amount of personal video from the Bout family, and mixing it with their own footage of conversations with Alla Bout, Viktor’s wife, and Viktor himself, directors Tony Gerber and Maxim Pozdorovkin, take us on an incredible journey that ends up raising more questions than it answers.

“Why”, for example:

“…isn’t international arms trading illegal?”

“…did the DEA go after Bout when he, according to Gerber and Pozdorovkin, is one of the smallest, least important, arms dealers in the world?”

“…don’t we think more about the fact that companies like Lockheed Martin, Boeing, and BAE Systems need dealers to resell old missiles, small arms and ammunition so they can make and sell new and improved missiles, small arms and ammunition?”

“…was a Russian the DEA’s sole focus? Why not an American? Was he really a Merchant of Death or just a scapegoat?”

Of course, the ladies in the loo-line and I never did come to any consensus on the above questions but we enjoyed a lively discussion. And, we readily admitted that The Notorious Mr. Bout raised our awareness on an issue that none of us had never given any thought to before.

And that, Dear Readers, is the real “power” of Sundance…films, free from commercial and political pressure, that make us think…question…and talk. Now all that’s left for you to do is see these films when they are released and experience the “power” of Sundance for yourselves.

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Sundance Festival Panels and Conversations at http://www.sundance.org/festival/article/your-guide-to-2014-sundance-film-festival-panels-and-conversations/

Advancing Cultural Dialogue with Sundance Institutes Film Forward program me at https://www.sundance.org/filmforward/about/

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Irish Films at Sundance 2014: Just the Facts

22/01/2014 by Kim McGuire

Today I’m giving you the facts, and just the facts, regarding Irish films at Sundance 2014 as they are reported across various media outlets. None of these are my own opinions.

There are four films at Sundance that have an Irish connection. They have either received funding from the Irish Film Board (IFB), have been filmed in Ireland, have been in post production in Ireland, star Irish actors, or some combination of the above. The films are: Lenny Abrahamson’s Frank; John Michael McDonagh’s Calvary; Ciaran Cassidy’s The Last Days of Peter Bergmann; and Jack Paltrow’s Young Ones.

Currently there are trailers for only three of the films:

http://vimeo.com/84321394

Press coverage, as of today, for the films at Sundance {good, bad and indifferent} includes the following:

Calvary from The Hollywood Reporter: “John Michael McDonagh’s 2011 debut, The Guard, provided the wonderful Brendan Gleeson with a vehicle for some of his best screen work, playing an Irish West Country cop unencumbered by diplomacy skills. But the follow-up collaboration of the writer-director and lead actor is in a whole different league. Gleeson’s performance as a man of profound integrity suffering for the sins of others is the lynchpin of this immensely powerful drama, enriched by spiky black comedy but also by its resonant contemplation of faith and forgiveness. Representing a considerable leap in thematic scope and craft for McDonagh, Calvary deserves to reach the widest possible audience.”

Calvary from Variety: “McDonagh and his collaborators have delivered a technically immaculate work that feels appropriately austere by comparison. D.p. Larry Smith’s widescreen compositions are framed with unfussy precision; as stunning as the rugged landscapes are to behold, particularly the shots of waves breaking against cliffs (the production shot on the east and west coasts), the lighting and color balancing of the interior shots are no less exquisite.”

Calvary from The Guardian: “Calvary boasts a sharp sense of place and a deep love of language. It’s puckish and playful, mercurial and clever, rattling with gallows laughter as it paints a portrait of an Irish community that is at once intimate and alienated.”

Frank from The Hollywood Reporter: “Whimsy and madness mix for an very unappetizing cocktail indeed in Frank, a gently eccentric account of an avant-garde band whose leader wears a large artificial head with a cartoon face painted on it. Irish director Lenny Abrahamson clearly means to beguile with this weird mix of moods and methods — goofy comedy here, sudden slashes of tragedy there, momentary eruptions of musical inspiration overshadowed by admitted mediocrity — but the mash-up of elements combine with a singularly unpleasant roster of characters to create a work of genuinely off-putting quirkiness. Particularly gullible younger audiences and fringe music fans might synch up with the sensibility here to create a modest cult following, but on any serious level this oddball creation doesn’t cut it.”

Frank from Variety: “Of all the acting challenges Michael Fassbender has faced, none quite compares to performing without the use of his face. That’s precisely what’s required in “Frank,” a weird and wonderful musical comedy about an oddball outsider band whose mentally ill frontman insists on wearing an expressionless plaster mask at all times — both onstage and off, in the shower and even to bed. It’s the sort of affectation that gets films labeled as “quirky,” although this one happens to be inspired by a true story. Luckily, helmer Lenny Abrahamson (“Garage,” “Adam & Paul”) puts the pic’s eccentricity to good use, luring in skeptics with jokey surrealism and delivering them to a profoundly moving place.”

Frank from Collider: “Lenny Abrahamson’s Frank is a funny, warm, thoughtful story about crafting an artistic identity, and needing to seize on to someone else’s expression when you don’t have one of your own.  It also provides an insightful look at the fault in trying to forge an identity based on the acceptance of others instead of embracing one’s own oddities and shortcomings even if the world at large sees them as “insane”.”

Young Ones from Collider: “Jake Paltrow’s Young Ones is remarkable in how it does so much right, and yet it leaves the viewer completely cold.  Its strengths are undeniable and its flaws are subtle, so subtle that it can be confusing as to how such a technically superb picture can be so ineffective.

Young ones from Variety: “A hodgepodge of Western, sci-fi and Greek tragedy, “Young Ones” is certainly one of the more unique films at this year’s Sundance Film Festival. But the sophomore effort from Jake Paltrow (“The Good Night”) gets so bogged down in its primal tale of murder and revenge that the most intriguing elements become little more than futuristic window dressing. Unfolding in three distinct chapters, each featuring a different protagonist, the visually rich and dramatically spare pic plays a bit like a cinematic graphic novel. A cult following could be in the offing, but commercial prospects otherwise appear limited.”

Young Ones from The Hollywood Reporter: “Ponderous, self-important and thematically narrow, Jake Paltrow’s dystopian future Western set in a Dust Bowl where water is controlled by the state and monopolized by industry is all oppressive mood and atmosphere with not much on its mind beyond an old-fashioned tale of murder, retribution and a robo-cow. Young Ones is visually commanding and not without inventive ideas, plus its pared-down narrative at least rescues Michael Shannon from the thudding memory of Man of Steel. But otherwise this lethargically paced, dehydrated update on There Will Be Blood will be strictly for artsy minimalist sci-fi enthusiasts.”

Commenting back in December on the early Irish line-up for Sundance 2014, James Hickey, Chief Executive, of the Irish Film Board said: “Irish film has performed very well at Sundance over the last number of years. Films such as The Guard, Once, His and Hers, and The Summit have all been discovered at the festival and have gone on from there to be distributed internationally.” “Both Frank and Calvary showcase the excellent work happening right now in the Irish industry and they include a world-class line-up of Irish stars including Michael Fassbender, Brendan Gleeson. Chris O’Dowd, Domhnall Gleeson, Aidan Gillen and Killian Scott. It is a very positive start to 2014 for the industry and a great representation for Ireland internationally.” 

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Whiplash and Camp X-Ray

18/01/2014 by Kim McGuire

Screen Shot 2014-01-18 at 10.55.34 AM

Photo Credit: Daniel McFadden

Yesterday was tough. I’m not used to partying into the wee hours of the night…but that Day One Sundance kick-off event sure was fun!! After only four hours sleep, I dragged my sorry self out of bed and dressed quickly for the 9.00am premiere of Whiplash.

Here’s what the Sundance catalogue says about Whiplash:

Andrew, a promising 19-year-old drummer at a cutthroat Manhattan music conservatory, has little interest in being just a musician. Haunted by his father’s failed writing career and plagued with the fear that mediocrity just might be genetic, Andrew dreams of greatness. Determined not to follow in his father’s footsteps, he practices daily until his hands literally bleed. The pressure of success ratchets into high gear when he is picked to join the school band led by the infamous Terence Fletcher, a brutally savage music instructor who will stop at nothing to realize a student’s potential. Under Fletcher’s ruthless direction, Andrew begins to pursue perfection at any cost—even his humanity.

The truth is, this film is so much more than the description above lets on…which is part of why Sundance is so great…you never know what you’re going to actually get until you sit through a film.

The Audience Waiting for Whiplash to Start

The Audience Waiting for Whiplash to Start

The Cast and Crew Taking Audience Questions

The Cast and Crew Taking Audience Questions

Gripping, electrifying, potent, and emotionally engaging are words I would use to describe it. Damien Chazelle, the film’s 28-year-old writer-director, drew from his own personal experience for the story. {No wonder he’s not a professional musician!} His short film of the same title and subject won an award at Sundance last year. Actors Miles Teller and J.K. Simmons relationship on screen as student and teacher locks you in immediately and keeps you there the entire time. I won’t give anything away but do want to say two things…1) Towards the end of the film, the plot turns and twists like a wicked roller coaster ride. 2) At the very end, I found myself wanting to shout, “don’t give in, don’t give in!”, it was that damn engaging. When you see Whiplash, and you should, I think you’ll find it a fascinating movie. There’s no surprise it was chosen as the World Premiere Film to kick-off the 2014 Sundance Festival {though I believe in previous years the kick-off film hasn’t always been as good}. I, for one, think it has a very good chance of winning the U.S. Dramatic Competition award.

Two hours later, and back at the Eccles Theatre, I was at the world premiere of Camp X-Ray. This highly anticipated first feature-film from writer-director Peter Sattler sets aside the political controversy surrounding Guantanamo Bay and instead focuses on the personal relationship between an unlikely pair: a recently arrived young female MP (Kristen Stewart) and a long term uncooperative male “detainee” (Payman Maadi). It is the film that has had everyone abuzz for weeks and the speculation was that this would be the box office smash of Sundance.

Photo Credit: Beth Dubber

Photo Credit: Beth Dubber

The truth is that while the film is very good…it is not great. It lacks a certain “refinement”, feels slow at times, and could benefit with some minor tightening, particularly in scenes where Kirsten Stewart’s character, Amy Cole, is interacting with characters other than the those living on the base.

Many of the online reviews for Camp X-Ray say the film received a standing ovation but, the fact is that it was only those sitting immediately around Stewart who were standing. Her performance {and that of Payman Maadi, Lane Garrison, John Carroll Lynch, and others} is good…very good. For Stewart, in particular, this role confirms she is an actress to watch and elevates her far and above the Twilight series she became famous for.

The Line to see Camp X-Ray World Premiere

The Line to see Camp X-Ray World Premiere

The Cast and Crew of Camp X-Ray Taking Audience Questions

The Cast and Crew of Camp X-Ray Taking Audience Questions

Overall, Camp X-Ray is a very good film…one to see…but don’t expect to walk out having been bowled over by it.

Today I am all about The Case Against 8 film, which is having its world premiere at Sundance. I am fortunate to be attending as a guest of Paul Katami and Jeff Zarillo, two of the plaintiffs (along with Kris Perry and Sandy Stier) in the challenge to California’s Proposition 8 case.

Diana Walker

Photo Credit: Diana Walker

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Day One Party Sundance 2014

17/01/2014 by Kim McGuire

Oh good Lord! I just rolled in from the Sundance 2014 Day One Party and just have to say…it was AMAZING! No, I did not go to the An Artist at the Table event up at Stein Erikson Lodge in Deer Valley, where the meal was prepared by celebrity chef Giada De Laurentiis. At $1,500 per person it was a little too rich for my pocketbook. Nor did I go to the Eccles Theater, where guests were welcomed by Robert Redford and then watched the opening night premier movie, Whiplash. Nope…though I did hear both events were very well done this year.

Day One Party 2014

DSC02442

Instead, I was over at the Legacy Lodge at Park City Mountain Resort having an absolutely brilliant time dancing my heart out and sipping on ice cold beverages courtesy of Stella Artois and Ketel One. Billed as “annual celebration where filmmakers and Festival friends reunite or meet for the first time” it didn’t disappoint.

I was thrilled to say “hello” to Michael Rossato-Bennett, Director/Producer of the film Alive Inside, right off the mark, and many other people I met today {or is it yesterday?} while walking on Main Street. And, as I was leaving the party, I had a lovely chat with Ryan Patrick McGuffey about raising the Irish presence a wee bit higher at Sundance next year {Ryan, I’m not letting you off the hook…you said you were “in” and I have witnesses!}.

All in all, it was great craic (fun)…just sorry I didn’t get more/better photos!

Film news to follow tomorrow…from Sundance 2014…goodnight.

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