Father and son Brendan Gleeson and Domhnall Gleeson are set to go head-to-head for the Best Actor prize at this year's (14) Irish Film and Television Awards (IFTAs). Gleeson senior has been nominated for his role as a troubled priest in Calvary, while his 30-year-old son is up for the same prize for his turn in Richard Curtis' romance About Time. They face competition from Ciaran Hinds (The Sea) and Andrew Scott (The Stag).
Calvary is also up for the Best Film trophy, alongside Byzantium, The Stag, Run & Jump and The Sea, while Saoirse Ronan (Byzantium), Antonia Campbell-Hughes (3096 Days), Jane McGrath (Black Ice) and Kelly Thornton (Life's A Breeze) will battle it out for Best Actress.
Big names make up the Best Supporting Actor category. Colin Farrell and Michael Fassbender are nominated for their respective roles in Saving Mr. Banks and 12 Years A Slave, alongside Edward MacLiam (Run & Jump) and Peter McDonald (The Stag).
Sinead Cusack (The Sea), Fionnula Flanagan (Life's A Breeze), Amy Huberman (The Stag) and Orla O'Rourke (Calvary) will compete for the Best Supporting Actress prize.
The winners will be announced at a ceremony in Dublin, Ireland on 5 April (14).
Timing, and timeliness, is everything. Especially when it comes to films. No one is more aware of that than Kieran Evans, the writer/director of Kelly + Victor, and its two leads Antonia Campbell-Hughes and Julian Morris, respectively. While their harrowing indie drama was filmed over the course of around six weeks (in what Morris described as "a hot, lovely summer in Liverpool"), it began to hit the festival circuit in late 2012 and early 2013 — including here at SXSW — right when the Fifty Shades of Grey frenzy hit a fever pitch.
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So how does E.L. James soapy saga factor into Kelly + Victor, Evans' big screen adaptation of Niall Griffiths' gritty novel of the same name? Kelly + Victor follows the story of a young couple who meet at a Liverpool nightclub and begin an intense emotional and sexual relationship, one that includes S&M. But don't mistake Kelly and Victor for Anastasia Steele and Christian Grey: theirs is a thoughtful, more realistic, and ultimately tragic tale.
That doesn't mean Evans and his stars don't appreciate the timing though. "It's been surprising," the writer/director said. "American audiences are not usually open to this kind of topic. But I think with [Fifty Shades of Grey]...maybe it's a zeitgeist thing. With taboo sex, the lid is kind of being lifted. We seem to be in the right place at the right time."
For Campbell-Hughes, who plays the titular Kelly — a woman she described as seeing as "a puppy that keeps getting kicked... it's sweet, but it will bite back" — exploring her character's intrigue with S&M had no taboos. "I met Kieran and I knew it was going to be handled well," she said. "The rawness of it is the fact that its very honest."
"Nudity has never really bothered me that much, but I'm learning it should more," the actress added. "It's not about how much you see, its about how it's shown. The movies that we see all the time are filled with violence and nudity, but its sort of saccharine, it's glorified, its fake, its glycerin, it's horrible."
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While Kelly and Victor's sexual relationship, one which does not shy away from realism, is a major aspect of the film, it's the emotional one that really drives the film. (And, much like 2012's sex drama Shame, while Kelly + Victor has plenty of sex, it can often be decidedly un-sexy and hard to watch at times).
That very relationship at the core of the film — which Morris (who describes his character Victor as "quite a gentle soul" who finds his outlet in Kelly, while Campbell-Hughes sees him as someone who "gets off... on stepping into the void") likened to "obsessive love they have for each other, this frantic physicality that you get in any sort of new relationship when you're just clawing at each other" — is what drew the stars and the writer/director to the project the most. "What's interesting is the relationship between Kelly and Victor isn't about the consequences of S&M," Evans said, "It's about the consequences of what they do and what happens if two atoms collide at such a great speed. "
Another aspect that played into the film, was what Morris described as a "massive character" in the film: the city of Liverpool. "This [shoot] was really unique because to get that essence of Liverpool and the characters for it to be quite engulfing, we really lived Liverpool and the characteristics of the people. That's where the intensity was, it was everywhere in Liverpool,"Campbell-Hughes said, adding that the location is much like an analogy for Kelly and Victor's love: "Liverpool is shown as such a beautiful place, but its full of cracks."
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The actress also described "Kelly and Victor are wanderers in their home land" and Morris himself took to wandering the streets of Liverpool to get into character, both for Victor and the city itself, by going on a pub crawl. "It was the most informative thing to me, under the slight haze of alcohol," he said. "I met the local lads, got down the dialect, [learned] the politics, just walked around."
But, in the end, the film is not about S&M, or Liverpool, or even relationships. It is, as Evans simply said: "Ultimately the whole thing is about human needs."
[Photo credit: SXSW]
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The Northern Irish star signed up for the harrowing role in new movie 3096 and insisted she intended to "suffer" as much as Kampusch, who was snatched at the age of 10 and held captive in a dingy cellar for eight years.
Campbell-Hughes has since gone on a dramatic diet and she drew gasps from stunned onlookers at a movie premiere in London this week (beg08Oct12) when she unveiled her skeletal frame.
A medical expert has now warned the actress she could suffer dangerous health issues as a result of her preparation for the role.
Dr. Julian Spinks tells Britain's Daily Star newspaper, "I understand people want to suffer for their art, but if you go too far you face the same risks as someone who is anorexic. You can lose muscle, particularly in the heart, so you're more prone to heart problems. And you can lose bone mass, which causes osteoporosis. You've also got mental health issues that go with it."
Not to be confused with the 1979 ghost story The Changeling this Changeling is a horror story of a very different stripe. Based on a long forgotten case buried deep in the L.A. crime files this true tale revolves around the mysterious 1928 disappearance of 9-year-old Walter Collins. Set in an election year and with heavy political pressure on city officials and a corrupt LAPD they find a child five months later who they claim is Walter and arrange to reunite him with his mother Christine (Angelina Jolie). Only problem is she says this is not her kid. When she asks the police to continue trying to find her son she finds herself victimized and accused of being insane and unfit for not going along with the PR campaign informing the public that the police have solved the case. With the help of a community activist Reverend Briegleb (John Malkovich) she begins to fight the city and the police who try in every way to silence her even committing her to a mental institution. The film details not only her valiant quest to right a wrong and find her real son but serves as a probing indictment of the police state 1920’s Los Angeles had become. As in her searing portrayal of the pregnant Marianne Pearl in last year’s A Mighty Heart Angelina Jolie once again connects with her maternal side. In another challenging role she must exhibit a wide emotional range going from fear to anguish to anger to pure resolve in an effort to uncover the mystery of her son’s abduction. Splendidly outfitted in ‘20s garb Jolie delves deep into the soul of a woman who dared to go against the grain and challenge a corrupt police department in Prohibition-era L.A. She’s simply remarkable in the most intense determined and heartbreaking role of her career. As the man who helps out in her cause Malkovich is perfectly matched to Jolie. As the merciless Captain Jones who heads the investigation to find Walter Jeffrey Donovan (TV’s Burn Notice) is properly frustrating and imposing while Colm Feore gets the evil side of his LAPD police chief down pat. Nailing her few scenes Amy Ryan (Gone Baby Gone) plays a fellow psycho-ward inmate who helps Christine when she is institutionalized. Particularly impressive is Eddie Alderson as the 15-year-old nephew of the serial killer who leads police to a grisly crime scene and his uncle played a bit over the top by Jason Butler Harner. And filling out their juvenile roles nicely are Gattlin Griffith as Walter and eerie Devon Conti as the young man impersonating him. Clint Eastwood knows his way around ominous foreboding material so it’s no wonder he was instantly attracted to J. Michael Stracynski’s immaculately researched script. After Million Dollar Baby and Mystic River Eastwood exhibits a strong understanding of the dark side of human nature. Changeling fits right in with his oeuvre and he delivers yet another superbly crafted and acted film -- one that exists on two separate levels as a look at the corruption that crept into the LAPD of the era and as an impassioned journey of a woman trying to find a happy ending for herself and her son. Shot with the director’s usual ease Eastwood seems comfortable letting the almost unbelievable facts of the story speak for themselves and remarkably didn’t change a word of Stracynski’s fascinating screenplay. He doesn’t have to. The fact that it’s a true story that all really happened is simply incredible by itself. This is an unforgettable triumph for everyone involved.