Donald ClarkeWhen the programme for this year’s Dublin International Film Festival arrived, I, among other people, was immediately bullish about one, as yet unseen, title. It was the publicity still that did it. Aw, look at the lady having dinner with her dog in Róise & Frank. If that isn’t great, I’ll give up cinema forever. Happily, Rachel Moriarty and Peter Murphy’s film did turn out to be a delight.
“The scheme was announced and it felt very exciting,” Moriarty says. “Because it looked in a different direction. It looked at subtitled films. So we sat down to write something specifically for that. And we tried to come up with a story that would be very true to a place that genuinely had an Irish-speaking community. So that was definitely a part of forming the story.”
“That hoary old cliché gets brought up every time, and every time we say we only ever work with children,” Murphy says. Róise & Frank is, of course, part of a thrilling new wave in Irish-language filmmaking. Cúán Mac Conghail, the experienced producer of the film, was also behind the chilling historical drama Arracht from 2019. This year Colm Bairéad’s An Cailín Ciúin has broken records in cinemas and now looks like a plausible nominee for the best international feature Oscar.
Not only are films in Irish being flogged successfully at home, but they are also connecting overseas. It was an achievement to get Róise & Frank into the Santa Barbara film festival. Its victory in the audience choice prize was more remarkable still. I wonder what the American audiences made of the picture. They must surely detect different beats and rhythms in the action. It may even feel somewhat exotic to them.“The response has been amazing,” Murphy says.
Source: Entertainment Trends (entertainmenttrends.net)
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