Underground Cinema was formed in back in 2009 initially to showcase the work of independent film makers from all over Ireland. Since then Underground Cinema has gone on to become one of the most diverse and innovative businesses in the entertainment and film industry.
Below are a list of services and events that the Underground Cinema team are responsible for.
Underground Cinema are the country's leading producer of open air cinema events. Our screenings follow one simple formula: a classic film on a big screen in a beautiful or prestigious setting. We use state of the art screens, digital projectors and bespoke sound equipment to provide a cinema quality visual and audio experience, but with the magic of being under the stars.
What a fantastic night Underground Cinema provided for all on behalf our residents association. The screen and sound was brilliant,so good we didnt hear a word from all the children who were totally enthralled by the" Goonies" ,we cant thank Underground Cinema enough and we are looking forward to the next great movie night.
Our team have a vast experience and strive for brilliant cinematic experiences, at the heart of which is the belief that the setting in which you experience the film is as important as the film itself.
We couldn't believe how successful the event was. The team at Underground Cinema set up in a public green area where we screened Back to The Future to 300 local residents as part of a community day. The feedback from the whole community was fantastic. It brought people of all ages together and brought such a great buzz to the village. I'd highly recommend the guys at Underground Cinema to anyone and look forward to organising our next event with them!
Drive In Cinema
The Drive In Cinema will reopen in July 2016 in the beautiful city of Kilkenny. we have just launched our summer line up. Click below for more details
New Irish Feature Film
Review by editor of Scannain Niall Murphy
Five years ago Irish playwright and scriptwriter Ciaran Creagh wrote a strong , if melancholy, little Irish drama about homelessness, friendship, and the will to survive adversity, called Parked. Featuring the always excellent Colm Meaney the film was well received on its initial release. Now he returns as writer and director for another sombre tale, with In View, a project which had a difficult path to the big screen.
In View is the story of the implosion of Ruth Donnelly a happy married and accomplished Garda detective who, following a drunken indiscretion is revealed loses both her child and her husband in quick succession.A couple of years have passed and Ruth’s life of burdening guilt is dominated by rage, alcoholism, depression and self-loathing, leaving her to eventually conclude that there is only one way for her to reimburse the world.
One look at the poster for In View and you can see its strongest card, as the lead performance from Caoilfhionn Dunne is nothing short of extraordinary. Ruth is a character filled with enormous remorse, regret, self-pity, and self-loathing, and Dunne ensures that the audience can see and feel her pain, but also that they can see and feel, in brief glimpses, the fun, jokey Ruth that existed prior to her tragedy. In View is very much Ruth’s story so the success of the film rests on her shoulders, and Dunne rises to the challenge. When the sombre tone threatens to completely envelop the narrative Dunne, and Creagh’s script, offer moments of humour and levity that allow the audience to relate to Ruth’s emotional journey. These moments of levity are most prevalent with her Garda colleagues, played skilfully by Stuart Graham and Tristan Heanue. Graham is essentially cast in the older brother/protector role, and he brings a gentle, caring persona into play. Likewise Ciarán McMenamin as Denis has a nice soft nature that counterpoints Dunne’s sharpness well. His character has his own guilt and remorse, but unfortunately that is never explored in any measurable way. Other interesting characters that are under-developed are Ruth’s in-laws, played by Gerard McSorley and Maria McDermottroe. They each have an interesting relationship with Ruth following the death of their son and grandson, but in focusing on Ruth so heavily their characters are never more than broad sketches. The best of the minor characters is Joe Mullins’ Magella. Here is a man completely adrift from the world in a haze of his own despair (and with good reason), and Mullins absolutely sells it with just one speech.
In View marks Creagh’s feature directorial debut, and in working from his own script he is on safe ground. Wisely knowing that the film exists entirely in the script and performances he steers away from any directorial flourishes and directs with a relaxed and steady hand. He is ably assisted by cinematographer David Grennan and editor Tony Cranstoun in crafting a film that makes the most of its modest budget, and captures Dublin in a different light than most. There are some wonderful shots of the Phoenix Park and the graveyard scenes are quietly moving, while the colour-grading perfectly matches the tone throughout. Other than Dunne, the strongest element of the film is Creagh’s script. The film unfolds in a measured way, with the story, and the reason for Ruth’s despair, being gradually revealed as the audience moves with her deeper into her depression.
Studies of depression and suicidal thoughts may not be everyone’s cup of tea, but when they are well-written, and superbly performed they can be a worthwhile experience. In View is such a film, and as a result comes highly recommended.
Dallas International Film Festival Review by Steven Jones
Not all films are fun to watch. The most important and meaningful ones, in fact, tend to be difficult to take in. Human experience runs the gamut of emotions, with sorrow often weighing more heavily on us than joy ever could. In View is devoted to capturing and exploring the pain and confusion of loss and subsequent depression. It will not warm your heart, but suffering through it will give you a new understanding of the broken side of our world. It’s the good kind of suffering: the kind that makes us stronger.
.Reeling from the loss of her husband, Irish police officer Ruth (Caoilfhionn Dunne) ekes out a meager existence alone in her now-empty home. She’s distant and unfocused at work, detached in personal relationships, and distraught in the silent moments she has to herself. Despite the efforts of her friends and coworkers, she remains an island to herself; inconsolably self-destructive and in denial about it. Alcoholism and self-loathing begin to take hold, driving her deeper into an aggressive seclusion. This is a woman who is haunted by her past; who floats around in her home as a wraith among the ashes of a once-joyful life.
Determined to make something of her life, Ruth decides to pursue a gruesome heroism: to take her own life and, in so doing, donate her organs. The shift that follows is telling and familiar to anyone who has ever seen the slow spiral to suicide in person. Ruth begins to give away her possessions, to develop an unnatural cheer that her closest friends, Denis (Ciarán McMenamin) and Donny (Stuart Graham), recognize as false. With every passing moment, however, she moves closer to her irreconcilable choice. Time and tide are against them all, especially given that one of them is the man Ruth cheated on her husband with years before his death. It’s difficult to find family or friends who don’t remind her of her demons, and there’s no telling whether they will get through to her in time.
Creagh has set out to begin and carry an important conversation without shying away from the unsavory side of the issue at hand. Suicide is an ugly concept, but one that looms over individuals across the globe. It’s vitally important that we confront the harsh realities of a topic like this rather than dress it up in platitudes. To that end, In View is pointed and focused on dissecting and tearing into the emotional and psychological intricacies of depression.
From start to finish, this film is meant to convey the same sense of isolation that plagues its protagonists. Every beat comes to us as Ruth experiences it, her neighbors and friends distant forces that meander into and out of her downtrodden existence. Still cameras and wide angles emphasize her loneliness, stretching the slow build of the film into a long, tense patchwork of trying scenes. The overall effect is an emotionally suffocating experience that, while uncomfortable, is incredibly potent. Creagh wants us to feel his heroine’s struggle, and he emphasizes that connection by sprinkling whispers of tragedy throughout the script and set.
Rather than spell out the stakes and sorrows at play in his film, Creagh subtly hints at the tragedy haunting Ruth. Her home is littered with little testaments to the past, from the abandoned nursery to the damaged bannisters, with each detail hovering significantly in the background until pointed-but-reserved dialogue brings it hurdling to the forefront. There’s nothing forced here; no words wasted or carelessly strewn about. Men and women as eaten away by despair as Ruth rarely communicate with depth and empathy, and so the film spares just enough detail to maintain its detached connection to us while building a full and intimidating world.
At the center of this carefully sculpted experience, Dunne is magnificent. A trained stage actress with a short film resume, Dunne carries In View with the confident strength of a Hollywood star. She’s a ball of raw emotion, exploding with rage and dipping into crushing sorrow on a thin line. Every swing and tear is carried on her face, twisting and turning through the field gamut of grief on the way to the stunning conclusion of her journey. She devours every scene, right up to the final, devastating frame.
Audiences looking for a nice night out should avoid this one. That’s not a statement on the quality of the film, in any way: it’s a stern warning that In View is meant to be watched in earnest, not passively taken in. It’s emotionally draining, and it’s meant to be. This is an experiential, character driven statement piece and it comes with the arsenal to match. You may not enjoy the viewing experience, but it will doubtless stay with you. And in films like this, that’s vastly more important.
Short Film Screenings
Our new season of short film screenings started in February this year and will run up until September.
All of the films selected to be screened at Underground Cinema are considered for nomination for the Underground Cinema Awards which are held in the Royal Marine Hotel in Dun Laoghaire.
If you would like to submit you work to us, please click on the button below and fill in the submission form.
Corporate Video Production
Underground Cinema have put together a team of award winning film makers that are specialists in corporate video production. For more details on what we can do for you and your business just click on the button below.