
Muide Eire / We are Ireland documents the history of Ireland on screen. From the horse drawn carriages of Dublin's yesteryear, to the latest summer blockbuster, this film takes an intimate look at film making in Ireland - as a visual expression of Irish culture, celebrating contemporary filmmakers in both the Irish and English languages. From the glamour of the red carpet to behind the scenes 5am starts, We are Ireland invites the viewer into this world where art and industry exist in delicate balance. The heart of this documentary is our investigation into representations of Ireland and the Irish - how the Irish have been viewed abroad, and how we represent ourselves on screen.
This is ambitious horror filmmaking, and in a lot of ways, I fully admire its ambitions. For me, the film’s sloppiness defines its overall quality.
At Coopers Chase, murder isn’t just tragedy—it’s Thursday’s entertainment. Chris Columbus’ The Thursday Murder Club transforms Richard Osman’s bestselling series into a cozy, clever whodunit where Helen Mirren, Pierce Brosnan, Ben Kingsley, and Celia Imrie prove that life’s sharpest twists don’t stop with age. With llamas on the lawn, cakes at the ready, and secrets around every corner, this star-powered mystery balances charm, humor, and heartache, reminding us that friendship, resilience, and reinvention might just be the ultimate clues.
Not only does the system prevent upward mobility, but it makes it incredibly easy to slide from comfortably middle class to unhoused.
In the shadow of towering film production companies lived dozens of grindhouses, genres, and low-budget films deemed too “unclean” for the modern film audience.