10th Annual Dublin University Film Festival

“For student filmmakers, the idea of their work being screened in a professional cinema seems like a sort of pipedream, or perhaps a distant future goal to step towards if the occasion should one day arise. However, it seems the dream has now become a reality for those at the Dublin University Film Festival, hosted by Trinity’s DU Film Society. Celebrating its 10th anniversary at the Lighthouse Cinema in Smithfield on March 29th, this highly ambitious student-run event offered students a taste of professional film exhibition, screening 12 short films from seven different institutions. Established in 2017, DUFF has since positioned itself as a key meeting ground for filmmakers across Irish universities to not only showcase their own material, but to also glance at the films of their peers. The festival indeed exceeded expectations in both its organisation, and the quality of films being screened, and there was an undeniable sense of admiration felt from those watching in the fully-packed cinema. Chairperson of DU Film, Rachel Conway explained the festival’s invaluable position as an incentive for students to produce more films. Armed with the knowledge of a tangible possibility of exhibition, an idea which seems often less than palpable to aspiring artists, students are further motivated to participate. As well as this, submission costs are completely free, unlike many other local festivals, removing economic limitations while also perhaps softening the blow of production costs. Aside from the obvious achievement of seeing your work displayed to an audience on the big screen, there is of course a level of collective inspiration across the filmmakers. Exhibitions Officer of the society, Diarmuid O’Dwyer, mentioned to me the benefits of networking horizontally along the ladder of experience rather than solely looking vertically for valuable connections. This advice is more than welcome at an event such as this, where a multitude of talent is seen throughout the day’s programme, across various budgets and access to equipment, yet at an equal level of care and determination. Adding to the sense of industry-based recognition, the festival included an award ceremony following its screenings. Robin Wolfe’s Ár N-Arán Laethiúil (TCD) was nominated for Best Screenplay and won the Irish language award. This religious horror short captivated the audience with its melodic use of language accompanied by incredibly thoughtful costuming and extremely effective use of location. From the University of Galway, Assistant, directed by Celeste Kassautzki, took home the award for Best Sound. In a subtle yet well executed technical display, Assistant tells the story of the ever-looming postgraduate existence and its expected difficulties. Rémy, an experiment in images and movement, directed by Octavian Albu, also received a nomination for sound, ultimately winning Best Editing for its flowing imagery and visual effects. Heart & Soul, directed by Donagh Walsh of Dundalk IT, explored the simple idea of the inner workings of the body, elevated through exceptional camera work and colour grading. The camera, joined by a singular actor, triggered a host of emotions, earning it the award for Best Cinematography. Among the three documentaries (and one mockumentary), Seán Mullaney’s A Hawker Story (TCD) took home the award in this category. An incredibly intimate portrait of everyday and honest entrepreneurship, Mullaney tackles his subject matter with the admiration and comfort of any professional documentary maker, creating a relationship with the main character that seems familiar and well worn. The award for Best Screenplay was no doubt heavily debated, with many stand out pieces of film across genres. However, the award went to Process, directed by Na Nguyen (TCD), which was a decidedly star display in the art of dialogue. Nguyen spoke of the excitement of seeing her own work being recognised and shown at the festival, having only filmed the short in February. Process’s script clearly shines in its smooth and natural conversation, and is ready to hit you with feelings at any moment. Finally, the time came to award Best Picture. After so many enjoyable and distinct films, it was Moving On, directed by Niall Daly (Dundalk IT) that deservedly brought home the title. The final screening of the festival, Daly’s heartfelt documentary on growing up, changing, and maintaining sentimental value packed an incredibly emotional punch. Moving On reminds us of the steady companions many of us carry throughout our lives without even realising: stuffed animals. Cleverly casting the toys as the owners themselves through expert camera sequences and use of voiceover, this film reveals the given personalities of these beloved objects, and the deep connections formed through shared journeys in life alongside one another. Other films screened included True Love, directed by Sofia Machado (ATU), a documentary on the secrets to a relationship’s longevity, despite somewhat unconventional circumstances. Incredibly funny and undoubtedly real, this short provides an insight into a marriage spanning decades, and is reminiscent of When Harry Met Sally (Rob Reiner, 1989), in its intimate interview format. Heavy Focus, directed by Katherine Alabama and Eva O’Donnell (TCD) showcases innovative camera techniques in its atypical narrative revolving around nostalgia, memory, and loss, and is edited seamlessly to blend two differing types of camera footage into a cohesive short. Fish by Tobias O’Brien (DFEI), a short, experimental film on substance abuse, told through the eyes of a fish, takes a bizarrely comical figure through multiple stages of intoxication using interesting visuals and quick editing to signal a quick demise. The festival’s only other film including no audible dialogue was A Paper Doll, by Seán óg Burke (DBS), which tells a seemingly mythical tale against incredible, almost Bond-like mountainous backdrops. Burke’s short brought the fun of silent films into the festival, creating something entirely different, yet tributing a classic and fundamental form of filmmaking. Lastly, Samuel Kennedy’s The Last Western Druid (DCU), inhibits the mockumentary genre with humorous ease, including witty and hilarious dialogue which bends the limits of belief, perhaps not for the audience, but certainly for the crew of characters. The success of DUFF, and its proving of what a film exhibition can look like, is possible because it is backed by passionate belief and ambition. It is clear that Ireland’s student filmmakers belong to an exceptional talent pool who are just waiting to take on the industry, and with such a constructive and rewarding experience under their belt, it seems that the festival has undoubtedly lit the spark for further and even more wonderful achievements.

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