A of crowd of perhaps a few hundred packed on to two patios, where they were served Guinness-battered fish and chips, “not so traditional” Irish lamb stew, and Kerrygold cheeses desserts included bread-and-butter puddings and Irish whiskey coffees. The atmosphere was celebratory as attendees drifted from the green carpet into the party. He recalled visiting his Irish family: “My grandad didn’t have a TV or radio – people would come around, they’d be telling us old ghost stories … they’re just natural entertainers. Mark Swift, producer of Puss in Boots: The Last Wish, which is nominated for an Oscar for best animated feature film, echoed Martin’s sentiments on storytelling. Photograph: Alberto E Rodríguez/Getty Images for US-Ireland Alliance “We’re known for our arts, for our culture, for creativity” – not to mention locations that are “second to none”. So how did such a small island develop such an outsize presence in the entertainment industry? “I think we are a nation of great storytellers,” said Catherine Martin, Ireland’s minister for tourism, culture, arts, Gaeltacht, sport and media, speaking on the green carpet. This year’s Oscar Wilde award winners were Kerry Condon – nominated for the best supporting actress Oscar for her role in The Banshees of Inisherin – as well as the actors Jessie Buckley, who starred in the best-picture nominee Women Talking, and Eve Hewson. The event is laid-back, the dress code casual, but there’s no shortage of big names walking the “green carpet” at the start of the night. It’s hosted by the US-Ireland Alliance, a non-profit that fosters ties between the countries, at Bad Robot in Santa Monica, California – the production company belonging to Abrams and his wife, the producer Katie McGrath. Their first feature film made it to ACID, the independent distributors programme on the sidelines of the main official Cannes Film Festival.The director and producer was speaking at the 17th Oscar Wilde awards, an annual party celebrating the work of Irish people in film. Two young French people, Hanna Laddoul and Marco La Via had set off to discover the US and Hollywood a few years ago. The two up and coming actors are spot on. In between the couple's pitfalls and the less pretty parts of the city are mischief, beats, Jake's laid-back style, an endearing happy-go-lucky friend and a dose of good fortune. All in a day's normal life adventures when you're new in town. The camera follows the two young adults as they try to find work, somewhere to sleep, get their car towed away and their money stolen. They appear to be incompatible but are in fact delightfully complementary. The two 20-somethings have just moved across the country to the West coast, to Los Angeles to follow their dreams. Amanda is in love with Jake and is pent up. Jake (McCaul Lombardi) is in love with Amanda (Morgan Saylor) and apparently carefree. The locations in France and Italy are beautiful, and French actress Béatrice Dalle adds a litle jenesaisquoi as the punchy cabaret mistress. Colin Firth plays loyal pal, Reggie Turner, Edwin Thomas as the adorable Robbie Ross is the most tender, and Emily Watson as Constance, Wilde's estranged wife and the mother of his two sons is gracious and romantic. However, three solid second roles, shore-up their performances. The two of them take up most of the screen time as they travel from Dieppe to England and to France. Oscar's lover, Alfred Bosie Douglas is played by Irish actor Colin Morgan, quite transformed as the beautiful blond boy. The first-time director's acting experience creates a captivating and beautiful cinema story about love, as if Wilde might have predicted that his life would be fit for film.Įverett gives Wilde the expected enfant terrible attitude, and distills the character and the story with serious stuff which strikes a chord or two today. Then he delves into the trials and tribulations of the legendary literary figure, juggles with the exuberance of a person who has become an icon of wit as well as of gay rights. Director and leading actor for The Happy Prince, Rupert Everett, takes on the challenge of engaging cinema-goers with yet another interpretation of 19th century writer Oscar Wilde.Įverett's rendering is framed within Wilde's fairy story of the same name by way of introduction Wilde is seen as storyteller and loving father.
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