1 Chair’s Note Chair’s We want to ensure that our commitment to gender equality, diversity and inclusion goes further than our funding decisions and is fully visible across the whole of the screen content production sector. We believe there is a responsibility on those who are in receipt of public funding from Screen Ireland to ensure gender equality, diversity and inclusion are at at the heart of their productions. We remain committed to the principle of dignity in the workplace, so that every member of the industry can work without fear of intimidation, which is crucial to building the future of the Irish film and television sector. Therefore, we are calling on those in receipt of Screen Ireland funding to ensure they are committed to providing a safe working environment free from bullying, harassment and any forms of intimidation. Earlier this year a film critic wrote about the Fís Through the newly branded Screen Skills Ireland, we Éireann/Screen Ireland-supported filmRosie , calling it are fully committed to the career development and a “call to arms that should be fully embraced.” He was training of those working within the industry, across of course talking about the importance of a film that all areas of production and development. We want to addressed the major social problem of homelessness see upskilling, mentorships and shadowing integrated in a thoughtful and meaningful way, which could into all of the productions that we fund. We also connect with audiences both at home and abroad. want those in receipt of funding from Screen Ireland to ensure that they make a commitment to climate Looking back over the Screen Ireland-supported films sustainability across our productions and we will be produced this year, it is inspiring to see such a range introducing further guidelines in this area next year. of diverse and socially conscious stories embraced by audiences and critics alike. From Carmel Winters’ Irish stories, told through the medium of film, award-winning Float Like a Butterfly and Lance Daly’s television and animation, are integral to our nation’s massive box-office hitBlack ’47, to Frank Berry’s cultural identity. Our industry is consistently delivering Michael Inside and Nora Twomey’s Academy Award® award-winning content which is resonating with nominated animated feature The Breadwinner, we are audiences worldwide. As we look to the future, which seeing a diverse range of content being produced. offers huge potential for growth and opportunity, this is our call to arms, which we hope will be fully This year Bord Scannán na hÉireann/the Irish Film embraced by the industry that we support. Board was rebranded to Fís Éireann/Screen Ireland, in order to recognise the wider remit of the agency. Lastly, I would like to pay tribute to James Hickey, our Our aim was to ensure that the name of our agency Chief Executive who will be stepping down at the end reflected the wide diversity of content that we of his term this year. James has been an incredibly are supporting including features, animation and committed Chief Executive during his time here at TV drama, and the ways in which audiences are Screen Ireland and has dedicated his entire career engaging with this content. to the film and television industry. He will be missed by both staff and Board, and we wish him well in his At Screen Ireland, we place gender equality at the future endeavours. heart of what we do and who we are. We acknowledge that there is more work to be done on diversity and Dr Annie Doona inclusion, so that these principles can be embedded at Chair, all levels throughout our industry. Fís Éireann/Screen Ireland 2 About Us About Contents Fís Éireann/Screen Ireland is the national development Animation TV 60 Low Tide 96 agency for Irish filmmaking and the Irish film, Hopscotch & The Trap 96 television and animation industry, investing in talent, The Christmas Tree 62 The Vasectomy Doctor 97 creativity and enterprise. Screen Ireland’s mission is to support and promote Irish film, television and Sir Mouse 63 The Butcher 97 animation through fostering Irish artistic vision and Boy Girl Dog Cat Reality Baby 98 our diverse creative and production talent, growing Mouse Cheese 64 Bending Glass 98 audiences, and attracting filmmakers, international Alva & The Trolls 65 Psychic 99 productions and investment into the country. The Lost Letter 66 Bainne 99 Screen Ireland is committed to providing leadership, Critters.TV 67 — direction and advocacy for the Irish screen industries, — Released in 2018 100 as well as supporting writers, directors and production Feature Documentaries 68 Black ’47 102 companies through investing in Irish filmmaking talent. Songs For While I’m Away 70 Rosie 102 The agency also manages Screen Skills Ireland, the national training and development resource, created Gaza 72 The Breadwinner 103 specifically for the Irish screen sectors. A Dog Called Money 73 Michael Inside 103 Chief Executive Introduction 04 Best Before Death 74 Damo & Ivor: The Movie 104 Chief Executive James Hickey Deputy Chief Executive Teresa McGrane Industry Highlights 2018 06 Prisoners Of The Moon 75 The Cured 104 — Folkland 76 The Lodgers 105 Business Affairs Administration — — Irish Features 16 To The Moon 77 Kissing Candice 105 Financial Controller Celine Forde Executive Assistant Niamh O’Reilly Sea Fever 18 Citizen Europe 78 I, Dolours 106 Business Affairs Manager Cian McElhone Rialto 20 Castro’s Spies 79 Dublin Oldschool 106 Business Affairs Executive Aileen McCauley Training Extra Ordinary 22 The Sheriff 80 Keepers of the Flame 107 Business Executive Assistant Jade Murphy — Business Affairs Coordinator Grace Gannon Skills Development Manager Gareth Lee Finky 24 Breaking Out 81 The Meeting 107 Vivarium 26 Pure Grit 82 Katie 108 Production, Development & Distribution Skills Development Executives Wildfire 28 Citizen Lane 83 Belly Of The Whale 108 — — Rose Plays Julie 30 The Curious Works A Mother Brings Her Project Managers Lesley McKimm, Creativity and Creative Collaboration Celine Haddad, Dearbhla Regan, Jackie Larkin Gráinne Bennett Arracht 32 Of Roger Doyle 84 Son To Be Shot 109 Production & Distribution Manager Emma Scott Film and TV Drama Production Fran Keaveney Ooops! Back In The Deep End 34 Windmill Lane 85 The Little Stranger 109 Development Executive Eimear Markey Apprenticeships & Traineeships Emer MacAvin The Last Right 36 Land Without God 86 The Lonely Battle Schemes & Applications Coordinator Jill McGregor TV Non Fiction Críona Sexton Here Are The Young Men 38 When All is Ruin Once Again 87 Of Thomas Reid 110 Production & Development Coordinator Jennifer Smyth Finance Executive Susanne Cassells Papi Chulo 40 — Camino Voyage 110 Animation, VFX & Games Coordinator Greta 42 Short Films 88 Under The Clock 111 Inward Production Sorcha Scully Rosie 44 Procession 91 The Silver Branch 111 — Marketing & Communications Coordinator Wolfwalkers 46 Frida Think 92 Good Favour 112 Inward Production Manager Steven Davenport Sharon O’Hara Inward Production Assistant Gráinne Kernan — Mary 92 Citizen Lane 113 Production Catalogue Coordination Assisted by Creative Co-Production 48 Q4L (Quest For Love) 93 The Delinquent Season 113 Marketing & Communications Fiona Walshe Dirty God 50 Honest 93 Film Directory 114 — Animals 52 The Wiremen 94 Marketing & Communications Manager Louise Ryan Board Members Marketing Executive Mags O’Sullivan — Calm With Horses 54 An Gadhar Dubh 94 Digital Marketing & Dr Annie Doona (Chair), Kate McColgan, Larry Bass, The Castle 56 Lady Black Eyes 95 Communications Assistant Jamie Tuohy Katie Holly, Mark Fenton, Rachel Lysaght, Marian Quinn Sweetness In The Belly 58 Day Out 95 02 03 Introduction This provides opportunity for strong growth, both Irish films such as Paddy Breathnach’sRosie , Aoife will support a wider variety of screen content and culturally and economically, within the Irish screen McArdle’s Kissing Candice, Dave Tynan’s Dublin provide additional incentives to increase Irish and industries. The vital overview of the sector published Oldschool and Frank Berry’s Michael Inside revealed international production activity outside of the within the Olsberg/SPI with Nordicity Report, diverse portraits of Irish culture that struck a chord Dublin/Wicklow region. along with the strategic recommendations of the with critics and audiences alike. At the Irish box Audiovisual Action Plan following on from the Report, office, Lance Daly’s epic revenge thriller,Black 47 — There are, of course, challenges ahead. Historically, should provide a guiding light for the challenges and which marked the first time the Irish Famine had indigenous Irish TV drama has been underdeveloped opportunities that lie ahead. ever been depicted on the big screen — grossed and underfunded. The Steering Group, which over €1.8 million at the all-Ireland box-office. was established on foot of the Olsberg Report, is These developments, alongside the extension of working on a cross-departmental basis to bring to Section 481 and Screen Ireland’s capital funding Screen Ireland’s 2019 slate will present a series of fruition the strategy for the sector as a whole and in for 2019 of €16.2 million will allow us to bolster debut features including Sea Fever from award- particular, for funding indigenous TV drama over the our commitment to Ireland’s already-thriving film, winning director Neasa Hardiman, two new Irish- next period. Screen Ireland will also be looking to television and animation production sector. They will language features, and the eagerly anticipated the widest audience access for the work it supports also facilitate in unlocking the full potential of Irish third feature from John Butler, Papi Chulo. across all screens. creative talent in new and exciting ways. Upcoming documentaries include Emer Reynolds’ Songs For While I’m Away, exploring the life of There are also changes to be made at the regulatory Throughout 2018, Screen Ireland embarked on a legendary Irish rock musician, Phil Lynott, and level with the implementation of the Audiovisual number of inaugural initiatives and partnerships Gaza from Garry Keane and Andrew McConnell, Media Services Directive.