Saturday, March 18 - March 23
BUDAWANNY
124 S 3rd St, Brooklyn, NY 11249, USA
$5
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BUDAWANNY
dir. Bob Quinn, 1987
79 mins. Ireland.
In English & Silent w/ English Intertitles.
SATURDAY MARCH 18TH, 7:30PM
THURSDAY MARCH 23RD, 7:30PM
COILIN AND PLATONIDA was in made with close connection with Irish cinema’s ‘First Wave’, a loose collective of filmmakers, including Joe Comerford, Thaddeus O’Sullivan, Cathal Black and Pat Murphy, who made a string of subversive films in the 70s, 80s and beyond. Comerford was Scott’s DP, and a gifted director in his own right, and there’s a cameo appearance from an instigator of this most radical period, Bob Quinn.
Like Scott, Quinn is a multi-hyphenate: a filmmaker, a novelist, a cultural critic, a visual artist, an anthropologist and, in all these avenues, a maverick. Quinn came to moving images in the 1960s through making documentary shorts and series for the fledging national broadcaster RTÉ. After very public departure from RTÉ, in protest over the station’s increasing commercialization, and period of rest and travel abroad, led to a creative resurgence in the 1970s as an increasingly experimental, independent filmmaker. The trigger was a relocation, from the cultural center of Dublin where he was born and raised, to a geographic and political periphery, Connemara where his appreciation and then close studies of the Irish language as well as traditional music and craft forms would become a significant line of inquiry and influence in his work.
BUDAWANNY, his first film intended for theatrical distribution, is in significant part a silent film as well. Set on remote Clare Island, off Ireland's Atlantic coast, it recounts the tale of a priest (the great Donal McCann, in perhaps his finest performance), his forbidden love affair and the lives of the local community, in black & white with silent film techniques. This melodrama is reflected on, in retrospect and in color and sound, with scenes featuring the local bishop (Peadar Lamb) who finds himself caught between protocol and his own crisis of faith. The muteness but visual precision of Quinn’s form, aided by Roger Doyle’s extraordinary electro-acoustic score, evokes the wordless yet deeply expressive forces of nature, desire, and regret, as well as the oppressive regime of the Catholic Church, which favors silence and buried transgressions over dissension.
Programmed in collaboration with Ruari McCann. Special thanks to Bob Quinn, James Scott and ZDF (Germany).
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dir. Bob Quinn, 1987
79 mins. Ireland.
In English & Silent w/ English Intertitles.
SATURDAY MARCH 18TH, 7:30PM
THURSDAY MARCH 23RD, 7:30PM
COILIN AND PLATONIDA was in made with close connection with Irish cinema’s ‘First Wave’, a loose collective of filmmakers, including Joe Comerford, Thaddeus O’Sullivan, Cathal Black and Pat Murphy, who made a string of subversive films in the 70s, 80s and beyond. Comerford was Scott’s DP, and a gifted director in his own right, and there’s a cameo appearance from an instigator of this most radical period, Bob Quinn.
Like Scott, Quinn is a multi-hyphenate: a filmmaker, a novelist, a cultural critic, a visual artist, an anthropologist and, in all these avenues, a maverick. Quinn came to moving images in the 1960s through making documentary shorts and series for the fledging national broadcaster RTÉ. After very public departure from RTÉ, in protest over the station’s increasing commercialization, and period of rest and travel abroad, led to a creative resurgence in the 1970s as an increasingly experimental, independent filmmaker. The trigger was a relocation, from the cultural center of Dublin where he was born and raised, to a geographic and political periphery, Connemara where his appreciation and then close studies of the Irish language as well as traditional music and craft forms would become a significant line of inquiry and influence in his work.
BUDAWANNY, his first film intended for theatrical distribution, is in significant part a silent film as well. Set on remote Clare Island, off Ireland's Atlantic coast, it recounts the tale of a priest (the great Donal McCann, in perhaps his finest performance), his forbidden love affair and the lives of the local community, in black & white with silent film techniques. This melodrama is reflected on, in retrospect and in color and sound, with scenes featuring the local bishop (Peadar Lamb) who finds himself caught between protocol and his own crisis of faith. The muteness but visual precision of Quinn’s form, aided by Roger Doyle’s extraordinary electro-acoustic score, evokes the wordless yet deeply expressive forces of nature, desire, and regret, as well as the oppressive regime of the Catholic Church, which favors silence and buried transgressions over dissension.
Programmed in collaboration with Ruari McCann. Special thanks to Bob Quinn, James Scott and ZDF (Germany).
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