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A Father’s Letter

Year2016 Duration11m 32s ProducerSwansong Films
On the eve of his execution on May 7th 1916, Michael Mallin’s two-year-old son Joseph was brought to see him in Kilmainham Gaol. That night, his father wrote a letter that would change Joseph’s life forever. In it he tells his family that he loves them and asks his little boy to be a priest. Funded by Fís Éireann/ Screen Ireland (formerly Bord Scannán na hÉireann/the Irish Film Board), After ’16 is a creative response by Irish filmmakers to the events of Easter 1916. This collection of nine short films is a mixture of live-action, animation and documentary, telling stories from the eve of the Rising all the way to the Troubles in 1970s Northern Ireland and beyond.

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Dublin Rebellion

In this newsreel British Troops march through the streets of Dublin and stand guard over the ruins of buildings in Dublin’s main thoroughfare, Sackville Street (two years after these events the street would be renamed O’Connell Street after the nationalist leader Daniel O’Connell). The city of Dublin is in ruins and smoke continues to billow from the GPO, the Four Courts and the Metropole Hotel. Civilians stand on piles of rubble and observe the destruction far more closely than they would be allowed to today… This footage was first screened in public on May 6th 1916, just one week after the events of the Easter Rising (April 24th -29th ). The Easter Rising was an armed insurrection in Ireland during Easter Week, April 1916. The Rising was launched by Irish Republicans to end British rule in Ireland and to establish an independent Irish Republic while the United Kingdom was heavily engaged in the First World War. It was the most significant uprising in Ireland since the rebellion of 1798, and the first armed action of the Irish revolutionary period (which would ultimately lead to the creation of the Irish Free State).

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A Million People Kneel in Worship

The Eucharistic Congress, one of the largest public events to ever take place in Ireland, occurred between the 22nd and 26th of June 1932. As part of the 31st Congress clergy and lay people from all over the world came to celebrate the ‘Holy Eucharist’ in Dublin. The vast scale of the final Congress mass was filmed by many Irish and international filmmakers and newsagencies and showcased the piety of the Irish people. A large crowd gather to pray at Phoenix Park, Dublin, as Michael Joseph Curley, Archbishop of Baltimore begins a mass service. At O’Connell Bridge, on a specially erected altar, Papal Legate, Cardinal Lauri gives benediction. O’Connell Street is thronged with people and political figures Éamon de Valera, newly elected president of the executive council, and Minister Seán T. O’Kelly join the devotions. This film is part of The Irish Independence Film Collection – The Early Irish Free State that explores facets of Irish society after the War of Independence and up to the birth of the Irish Republic.

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Women in Focus

Women in Focus is a curated selection of films by five wildly independent female amateur filmmakers: Margaret Currivan; Agnes Heron; Flora Kerrigan; Beres Laidlaw; and Sister Maureen MacMahon.   Women's creative work has been under-reported and under-recognised and can be challenging to catalogue due to a lack of recorded primary information. This is exacerbated when dealing with amateur or non-professional filmmaking, where the work of individual women filmmakers has been even more invisible. In 2021, the IFI Film Archive acknowledged a limitation in the IFI Film Archive research resources and put a request out to academic partners to assist in developing new tools that would highlight the work of female filmmakers within the collection. This resulted in a collaborative research project  that developed new approaches to cataloguing the creative contribution of women filmmakers in local, regional, and national archives.  Funded by the Arts and Humanities Research Council and the Irish Research Council, as part of the UK-Ireland Digital Humanities scheme, the project is a UK-Ireland collaboration between the University of East Anglia, Maynooth University, and the University of Sussex, with the IFI Irish Film Archive and East Anglian Film Archive as archive partners.  The project has resulted in the creation of a cataloguing toolkit that helps archives with moving image collections to create clear, relevant, and easily accessible records about female filmmakers. The work presented here formed case studies for the toolkit and was digitised by the IFI Irish Film Archive.  A larger selection of films from the project will be made available on the IFI Archive Player in 2025.

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Statistic - Trish McAdam Filmmaker Playlist

Our second IFI Filmmaker Playlist is curated by filmmaker and visual artist Trish McAdam. Since the production of her early shorts in the 1980s, Trish has created a vibrant and varied body of work, embracing a range of forms and subjects and retaining a singular, independent voice. We're delighted to welcome Trish to the Irish Film Institute to select her top picks from films preserved in the IFI Irish Film Archive and presented on the IFI Archive Player. ‘Who needs a pregnant waitress?’ is just one of the questions that fills Ellie Connolly’s mind when she discovers she is pregnant in 1980s Ireland. Statistic was made by film student Alison Kelly in 1983, the year which saw the passing of the Eighth Amendment to the Constitution Act (which effectively criminalised abortion in most circumstances). Ellie (Edel McCrann) is pregnant as “the result of a drunken screw between two people who hardly knew each other”.  She broods in her flat and discusses her predicament with her good friend Anne – she must tell her boyfriend Paul but she knows ’In the end it’s inside me, not him’.  She finds information in a magazine about abortion services in the UK and Anne accompanies her to the ferry – following the footsteps of the many women before her. Statistic is invaluable as a contemporaneous response to events in 1983 – the film includes newspaper headlines and filmed sequences of pro and anti-abortion marches and dramatizes the plight of a young woman dealing with a crisis pregnancy. It is also a vivid record of the sights and sounds of Dublin in the 1980s  - not least in the colourful cameos from mime artist Raymond Keane and indie band The Cuba Dares.