Now in its fourth year, the Dublin International Film Festival has a lock on the February movie calendar. Donald Clarke previews the highlights
You know a festival has gained some traction when it picks up a little of that oh-it's-that-time-again feel. Though only in its fourth year, the Jameson Dublin International Film Festival already seems to have mapped out a little bit of February all for itself. What do the capital's film enthusiasts do between the Oscar nominations and the ceremony? They defy tempests to scurry madly between four cinemas in search of diversion and amusement.
The Arts Council seems to have accepted that Diff, which is related only by marriage to the old Dublin Film Festival, has become part of the nation's cultural furniture. Last week the Council revealed that the event's grant was to be increased by 60 per cent, to the respectable sum of €97,000.
"What that shows is that the Arts Council realises we have an event that is serving a very definite need," says festival chairman David McLoughlin. "There is obviously an appetite for the best in international cinema and for the associated talks and events. People also have a great fondness for seeing the stars, who are associated with the films, coming in."
An impressive array of stars and film-makers has already been confirmed for this year's event. Indeed, festival chief executive Rory Concannon reckons that over half the 100-odd screenings will be attended by an appropriate guest.
Daniel Day-Lewis and his director wife, Rebecca Miller, will be there to support their collaboration The Ballad of Jack and Rose, which closes the festival. Richard Jobson, rock star, TV presenter and, now, film director, will be in town for a screening of his A Woman in Winter. Vinnie Jones, star of the comic thriller Johnny Was, will be lurking about. There will be a public interview with Ralph Fiennes, who headlines The White Countess, the final Merchant Ivory film. And Julie Walters, one of those rare actors nobody dislikes, is flying in to chat about her new comedy, Driving Lessons.
The programme appears to live up to the high standards set in previous years. It includes quasi-mainstream pictures destined for cinemas. Elsewhere, we find more obscure films from such foreign climes as Taiwan, Romania and Hong Kong. Many will be excited at the prospect of seeing Lars Von Trier's latest Brechtian tirade, Manderlay - even if festival director Michael Dwyer, no fan of the Dane's recent output, had to wear a clothespeg on his nose while booking the film.
All good stuff. But how exactly has the festival evolved since its birth (or resuscitation)?
"One of the things we have found interesting is that, with certain films - with certain seasons - we have now begun targeting particular ethnic groups in the city and abroad," McLoughlin says. "In particular, Michael is very keen on Asian cinema, and we have been promoting films to those groups. With certain films that we feel will appeal to particular communities, the Chinese for example, we will take excerpts from the programme and distribute them as flyers. It is important that it be a festival for all Dubliners."
McLoughlin is also keen to emphasise attempts to reach out to the film production sector. Though Diff has always been aimed at the movie fan, the organisers realise that the event does act as a meeting place for players and shakers.
"We want to be more connected with the industry and to serve the industry more," he says. "Of the three big festivals - us, Cork and the Galway Film Fleadh - Galway has always been particularly successful in having an industry input. Cork has to an extent as well. But to date we have not focused on the industry as much. We have decided this year to have an International Film Industry Conference, which will look at the issue of European film financing."
The conference begins on February 23d and features contributions from such luminaries as Peter Carlton, head of the Film Four Lab; Mark Herbert, a producer at Warp Films; and Simon Perry, the recently appointed chief executive of the Irish Film Board.
Other events abound. But, as before, there will be no prizes awarded. McLoughlin cautiously suggests that this situation may change in future years. Might we eventually get to see Mr Dwyer handing Lars Von Trier a Golden Diffie?
The Jameson Dublin International Film Festival runs from February 17th-26th, with screenings at the Screen, Savoy, Cineworld and Irish Film Institute. The box office, which is situated in Filmbase, Curved Street, Dublin 2, is now open. Phone: 01-672 8861. Tickets can also be booked via the website. www.dubliniff.com
