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FOR CRYING OUT ALLOWED: KISSES

Director: LANCE DALY

IRELAND-SWEDEN • 2008 • COLOUR/BLACK AND WHITE • ANAMORPHIC • DOLBY DIGITAL STEREO • 73 MIN


FOR PARENTS MAROONED WITH THEIR BABIES, STARVED OF THE CHANCE TO SEE EXCELLENT FILMS FOR MONTHS ON END, COMES FOR CRYING OUT ALLOWED. ONCE A MONTH, THE IFI WILL PUT ON A SPECIAL SCREENING FOR PARENTS-WITH BABIES.
Simply bring your bundle with you, park your buggy or pram with us, and enjoy the best film we have on that week. As the title suggests, there is no need to worry about the noise. Baby-changing facilities are provided, and we have a cafe for lunch afterwards. Babies must be 12 months or younger, and adults pay normal admission price. RESERVATIONS STRICTLY REQUIRED: 01-6795744

NOVEMBER SCREENING:KISSES

ALREADY A SUCCESS ON THE INTERNATIONAL FESTIVAL CIRCUIT, KISSES IS A GRITTY ROMANTIC FABLE ABOUT TWO KIDS ON THE LAM IN DUBLIN CITY DURING CHRISTMAS TIME. IT’S THE BEST FILM TO DATE FROM DIRECTOR LANCE DALY, WHOSE PREVIOUS FEATURES — LAST DAYS IN DUBLIN AND THE HALO EFFECT — BARELY HINTED AT THE TALENT ON DISPLAY HERE.
In a bleak Dublin suburb, young pre-teenage neighbours Kylie (Kelly O’Neill) and Dylan (Shane Curry) are subjected to various forms of abuse from their adult family members. Following an altercation with his violent, alcoholic dad, Dylan makes his escape with the help of Kylie, who insists on joining him in what proves to be an exhilarating, if dangerous, adventure.
Childhood is one of the great universal themes, in part simply because of its appeal to common experience. What’s interesting about Daly’s approach is the way it combines elements of fantasy and romance with a realistic depiction of young people in a harsh modern environment. The hyper-realism of the film’s opening is followed by scenes straight out of Mark Twain, as Dylan and Kylie hitch a ride on a boat piloted by a harmonica-playing immigrant who introduces the kids to the music of Bob Dylan. As the youngsters approach the centre of Dublin, the film’s images gradually morph from bleak black and white into colour and the city becomes a kind of winter wonderland before night descends and the spooks come out. These shifts in tone are handled with the lightest of touches by Daly, who also deserves credit for coaxing wonderfully naturalistic performances from his inexperienced young actors. — Peter Walsh.

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