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Dónal Foreman

@donalforeman

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Irish filmmaker living in NYC, director of @theimageyoumissed and @thecryofgranuaile, professor at The New School and Brooklyn College

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My three feature films will be launching on the @CriterionCollection’s streaming site from December 1st!!!

My collaborators and I put our hearts and souls into these films and I am so happy that they will have a chance to find a new audience on the best streamer in the business.

Thanks so much to @_ash_clark and everyone at Criterion for their support. by @donalforeman

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2 years ago

I’m honoured to be included in the Korean Film Archive’s new 18-film retrospective of Irish cinema, covering over 70 years of film history from The Quiet Man to The Quiet Girl! My film The Cry of Granuaile will screen in Seoul alongside work by Pat Murphy, Ken Loach, Lenny Abrahamson, Neil Jordan, Jim Sheridan and John Ford. Many thanks to Choi Young Jin Eric at @koreanfilmarchive and Eleanor Melinn at @irishfilminstitute for their support. See link in bio for more info. taken in Korean Film Archive by @donalforeman

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3 years ago

I’ll be in London this weekend for a retrospective of my films at the Irish Cultural Centre @myicclondon! Thanks to Sé Merry Doyle and Rosalind Scanlon for their support. by @donalforeman

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2 years ago

Excited to have my writing published in a book for the first time! I contributed an essay to “Peter Watkins: No Shortcuts”, a collection of essays on the great English filmmaker published by the Turkish collective @gorultu, in which I narrate a series of encounters with Watkins and his work over the years, including that one time he tried to strangle me with his bare hands in Paris. Thanks to @nilkural for inviting me to contribute! by @donalforeman

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4 months ago

There is a 24-page analysis of The Image You Missed in last autumn’s issue of Screen, the long-running British film journal that first published Laura Mulvey’s “Visual Pleasure and Narrative Cinema” back in 1975!

(Link in bio) by @donalforeman

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6 months ago

Ever since I stumbled across the climactic scene of What Happened Was… on late night Irish TV as a teenager, Tom Noonan’s films and teachings have been foundational for me as a filmmaker and a human being.

He made two of the greatest films of the ‘90s, forged a career as one of the most singular and memorable character actors in American cinema, and inspired so many artists through his work and his teaching. He was, simply, one of the best to ever do it.

Here is a small sample of his writing, saved from the depths of his website, circa 2002:

“In the end it doesn’t really matter how talented or together you are, or how good your work is… it’s how you play the cards you’ve been dealt — it’s how hard you work on your writing — on the fundamentals — the everyday ‘doing’ of it that gives your life value.

So, please, write for yourself. Write for the sake of writing. I believe that to write for any other reason is fraught with peril — to you and to your audience. Set up your life so you feel like shit if you don’t write everyday. Write to become more alive — write to allow your authentic self to emerge — write to come to terms with untenable conflicts in your life — write to confront your worst fears — write to have fun and entertain yourself and celebrate life… You may or may not succeed in writing the way you would like to or think you should, but having made the effort you will have become a more human, more alive person. And isn’t that what we’re here for?” by @donalforeman

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6 months ago

The Image You Missed is now streaming on @metrograph as part of a collection of personal documentaries! by @donalforeman

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6 months ago

Alternate poster designs for The Image You Missed by my uncle, Brendan Foreman by @donalforeman

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6 months ago

Last month my uncle Brendan died. Brendan was a brilliant and beloved graphic designer, tour manager, music producer, publisher and book seller. I grew up with his posters on the wall and his favourite musician, Michael Hurley, literally living in my house, playing my piano, for a couple weeks every few years, on tours that Brendan organized.

Brendan’s eclectic tastes – from Samuel Beckett to Captain Beefheart – had a formative influence on me growing up, and I was honoured that we eventually got to collaborate. He designed the posters, postcards and titles for my last two films (apparently the first films he had done titles for since My Left Foot in 1989!) I still think his posters for the Abbey Theater – which are currently on display in an exhibition at the @nationalprintmuseum – are some of the coolest I’ve ever seen. They always managed to evoke the essence or spirit of a play while still being unexpected, idiosyncratic and sometimes very personal – his poster for Gina Moxley’s Danti Dan used a photo of my aunt Bairbre as a teenager taken by their artist uncle Seán, and in another post he used my great-grandad Séamus’ 1916 mugshot.

Growing up without a dad, I think Brendan also modeled a kind of fatherhood for me. Always present, available, gentle, kind, patient, non-judgmental – always working on something interesting, with an album I never heard before playing in the background. by @donalforeman

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6 months ago

It’s been four months since Danny died and I still cannot believe he is gone.

Danny was one of my oldest friends. We were in school together from the age of four, and I distinctly remember our friendship beginning on the school bus when he defended me against kids who were mocking me for always staring out the window and not talking. I was a shy kid and Danny had a charm and confidence and way with people that was way beyond me, but he was always generous with that energy, always sharing it and inviting people into it.

I remember going over to his house after school, a home that always seemed full of art and activity. Danny’s house is where I first watched Nic Roeg’s Don’t Look Now, where I first heard the Pixies, and where I first picked up a video camera. When we first started hanging out, we would draw together for hours and hours. Around age ten, we started writing stories together. We wrote a series of stories about an old man named Herman who lived in a town in New Mexico called Winter Wonderland. We wanted to adapt it into a movie, until we realized that would require a budget of millions which we did not have.

But pretty soon we did start making our own movies together, first with Danny’s best friend Luke, who is also no longer with us, then with a cohort of our pals. From the age of 11 to 18 Danny was our star actor and my co-director, and I think I’ve been chasing the fun and freedom we had in that collaboration ever since. I probably have fifty hours footage of him acting the maggot and I’m grateful for every minute of it.

I saw less of Danny in recent years, but every time we got together it felt like no time had passed. I always felt at ease sharing my struggles with him and I hope he felt the same way. I was proud to see all the ways he grew into himself, all while managing to spin the best yarns I ever heard and making me laugh every time. I wish I had told him that I loved him a lot before he died but I am hoping he knew. by @donalforeman

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7 months ago

My slippery first feature Out of Here got a nice mention in the Irish Times over the weekend, including deserved praise for @fionn_o_fada_loingsigh’s lead performance and @piers_mcgrail’s cinematography!

The film is available to rent or buy on Vimeo on Demand, IFI@Home (www.ifihome.ie) and IFI International (www.ifiinternational.ie). by @donalforeman

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7 months ago

Este viernes nos acompaña Dónal Foreman @donalforeman , una de las figuras más reconocidas del cine irlandés contemporáneo, para compartir su trabajo y el de su padre, Arthur MacCaig, destacado por sus contribuciones audiovisuales a la lucha republicana.

Arthur MacCaig, IRISH VOICES, 1995 (13min)

Tras la masacre del Domingo Sangriento de 1972, el Gobierno británico restringió el acceso a la radio y la televisión al Ejército Republicano Irlandés (IRA) y a sus simpatizantes. Sin embargo, hubo algunas lagunas extrañas en esta iniciativa. Por ejemplo, se permitió que las noticias mostraran el rostro de Gerry Adams, presidente del Sinn Féin, pero no se pudo retransmitir su voz. Para solucionar este problema, se contrató a actores para que sincronizaran los labios con las palabras de Adams. Con entrevistas a Adams, periodistas y una de las innumerables “voces” de Adams, IRISH VOICES es una introducción única a la guerra mediática que formó parte de la lucha irlandesa.

Dónal Foreman y Arthur MacCaig, THE IMAGE YOU MISSED 2018 (1h 10min)

Basada en más de 30 años de imágenes únicas y nunca antes vistas, THE IMAGE YOU MISSED es una película documental que entrelaza la historia del conflicto norirlandés con la búsqueda de un hijo por encontrar a su padre. En el proceso, la película crea un encuentro sincero entre dos cineastas nacidos en momentos políticos diferentes, revelando sus distintas experiencias del nacionalismo irlandés, el papel de las imágenes en la lucha social y las reivindicaciones contrapuestas de la responsabilidad personal y política. Esta película es parte de la serie “It May Be That Beauty Has Strengthened Our Resolve”, producida por Nicole Brenez & Philippe Grandrieux.

Subtítulos en español. by @donalforeman

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10 months ago