written by Oscar O'Sullivan
Over two hundred films, eleven days, three venues, one city—it could only be the Cork International Film Festival. Marking its landmark 70th edition, Ireland's oldest film festival has plenty of cause to celebrate. Not only was this one of their most impressive programmes to date—with new blockbusters, indie gems and returning classics—they've also enjoyed some of their highest attendance numbers ever. Demand was so high for some events, they were moved to larger screens and even, in the case of Sentimental Value, screened twice. Cork, the ‘People's Republic', has always been proud of their artistic history, so it comes as no surprise that this landmark edition of a Cork institution brought people out in droves. Below are just a few highlights from the programme, most of which will be coming to cinemas near you over the next few months.
Saipan
If ever there was an audience perfectly matched to a film, it was the hundreds of people packed into Cork's Everyman Theatre to see Saipan, the semi-fictionalised retelling of Corkman Roy Keane's infamous 2002 World Cup blow-up. The film's liberal use of archive footage will bring back memories of that cultural moment for any Irish audience member. Eanna Hardwicke (Normal People, Vivarium) is suitably commanding in the lead role, the frustrated superstar who knows he deserves better and isn't afraid to kick off about it, no matter the consequences. Steve Coogan (of Alan Partridge fame) plays second fiddle as manager Mick McCarthy, an affable, decent fella, completely incapable of confronting his temperamental captain. Don't worry if you haven't done your homework beforehand, as the muscular filmmaking and strong narrative drive will draw you into the national tragedy as if you were right there in Saipan yourself. As the credits rolled, a chant of “Keane-O!” sprang up around the auditorium—says it all, really.
That Summer in Paris
To be lost in a huge crowd and suddenly struck by the feeling that you are more alone now than if you were sat in a room by yourself—this is the primary emotion explored by That Summer in Paris, a slight but endearing little dramedy that came highly recommended by the Festival's Young Programmers. Set during the 2024 Olympics in Paris, we follow Blandine, a young woman visiting the city. From the start, she faces setback after setback—cancelled events, hostel evictions, police mix-ups—but retains an unassuming positivity that shines through the film. The focus is not on the shortcomings of life, but on the happy moments, the quiet resilience that it takes to set out by yourself and enjoy your own company. Nor is it overly sappy. Blandine reconnects with her half-sister and meets her niece for the first time, but this is portrayed simply as pleasant rather than cathartically life-changing. In a world of extremes, both positive and negative, it's a nice change to simply drift along as a bystander. This is the first feature from acclaimed short film director Valentine Cadic, and it's as promising a debut as any.
Sentimental Value
Films about filmmaking can be great fun, but also run the risk of becoming “insider baseball”; too winking or referential for their own good. Joachim Trier's latest film, Sentimental Valu,e handily avoids that pitfall by focusing not on the hows of making the movies, but the whys. Why has Stellan Skarsgard's (Dune (2021), Mamma Mia!) ageing director character written a film clearly based on his mother's life to be performed by his estranged daughter? Why does said daughter, played by Renate Reinsve (The Worst Person in the World, A Different Man), refuse to take part, forcing him to cast Hollywood starlet Elle Fanning (A Complete Unknown, Predator: Badlands)? The story plays out like a series of vignettes, charting Skarsgard and Fanning's progress on the film and Reinsve's struggles with her theatrical career, interspersed with mundane moments and family drama. Understated and confident, Sentimental Value is a drama in the classic mould and a strong acting showcase for the whole cast.
Read our London Film Festival review, and check out our red carpet interview with Reinsve.
Sirat
There's a lot of talk about films that demand to be seen with an audience, usually due to the scope or scale of their imagery. Sirat does fit that bill, with its vast desert landscapes, pounding rave soundtrack and intense driving scenes. For our money, there's a single moment in the film that makes it essential viewing, an instant so stark and shocking you could feel the air rush out of the theatre. We wouldn't dare even hint towards it, which rules half the film out of bounds for discussion, but the premise alone does plenty to recommend itself. Set in the Moroccan desert, a Spanish father and his young son are searching for a missing family member, and fall in with an eclectic gang of outcasts on their way to a rave. Cue a difficult journey through a hostile landscape, complicated further by friction between the various travellers and the looming threat of a war in the region. The film is dense with meaning, both political and spiritual, but never feels uninviting or obscure. Just be prepared for the mood to get heavy after the relatively upbeat opening act.
Is This Thing On?
What better place to wrap things up than with the Closing Gala film, Bradley Cooper's Is This Thing On?. This is Cooper's third film as a director, and a departure from the epic scope of A Star is Born and Maestro, telling an intimate story about a failed marriage and the strange ways people deal with change. This is also the first time Cooper has not played the lead in his own film, instead bringing in Will Arnett (Arrested Development, The Lego Movie) as the protagonist who stumbles into becoming a stand-up comedian by chance. Anyone who watched Netflix's Bojack Horseman won't be surprised by the fact that Arnett has some serious dramatic chops, completely holding his own alongside screen icon Laura Dern (Marriage Story, Blue Velvet). The entire film is set in the aftermath of an amicable split, as the two leads separately try to figure out what happens next. Arnett's character proves to be a so-so comedian, but the comfort and confidence it gives him in his daily life are far more important than how big a laugh he gets, and the rest of the film is funny enough besides to keep the audience in stitches. Cooper is especially hilarious in his supporting role as a friend of the couple, seemingly lampooning his own star persona as a loopy method actor. It's far from the flashiest or most original film of the year, but it still comfortably sits among the very best, an intelligent comedy with a good heart and a great cast.
Read our Is This Thing On? London Film Festival review.
Even from the small fraction of the festival we personally experienced, there is so much more to celebrate. Legendary director John Boorman was the second-ever recipient of the Honorary Disruptor Award, and the screening of his sci-fi masterpiece Zardoz was preceded by touching messages from such stars as Liam Neeson, Brendan Gleeson and Jamie Lee Curtis. Cork director Brendan Canty, fresh from the release of his first feature film Christy earlier this year, won the Best New Irish Feature Award for his hip-hop documentary Gealtra. Festival patron Lord David Puttnam, the Oscar-winning producer behind Chariots of Fire, The Killing Fields, and so many other acclaimed films, sat down with the group of University College Cork students he personally mentored at the premiere screening of their short film Cardboard Oceans. Earlier, at the Opening Gala, Puttnam mused that he's sorry he probably won't be around for the 80th edition—a reminder that we should be grateful not only for these milestone events, but for every year we get to experience this celebration of film, culture and Cork itself. David Puttnam may not be there, but the audience always will be.
