It’s weird and wonderful to be halfway around the world, enjoying the incredible talents of people back home. Attending the San Francisco Film Festival last week, I had an opportunity to take in several recent Irish features, including Good Vibrations, The Irish Pub and Natural Grace. What really impressed, though, was the often-overlooked art-form at which Ireland truly excels: the short film. Curated by Richard O’Connell, the Tall Tales Short Film Programme presented a wealth of talent and stunning stories, ranging from hilarious to heartwarming to utterly tragic.  

Ian Fitzgibbon’s (Death Of A Superhero) Breakfast Wine sees Dylan Moran, Pat Shortt, David Pearse and Ruth Bradley star in a hilarious and beautifully observed tale of a small rural publican whose regulars find their lives interrupted when a mysterious woman blows in like a tragic tornado. Ciaran Cassidy’s The Last Days of Peter Bergman is a disquieting documentary about an Austrian John Doe who arrived in Sligo, and spent his final days ensuring no-one would ever discover who he was, where he came from, or why he decided to take his own life. On the animation front, Paul O’Muiris’ quirky The Ledge End of Phil (From Accounting) is the uplifting tale of an introverted man on the ledge of his office, who must decide whether to take a leap of faith or be trapped forever. Irish animator Eoin Duffy’s dark and hilarious short The Missing Scarf captivated audiences with its exploration of fear and the cosmos. Narrated by George Takei, it’s easy to see why this short has been shortlisted for an Academy Award. Meanwhile, our own Olaf Tyaransen and Paul Duane’s Don’t You Know Who I Am? went down a storm, as audiences lapped up the biting meditation on fame, loss and Irish culture.
With six other incredible films rounding out the programme, and many audience members immediately asking where they could see them again, the question arose: Why aren’t shorts afforded the same respect, attention and coverage as features?
After all, Irish directors consistently prove themselves internationally with their shorts, and have bagged an impressive number of Academy Awards. From Terry George’s 2012 Oscar winner The Shore and Michael McDonagh’s 2006 Academy Award garnering Six Shooter, to past Oscar nominees such as Granny O’Grimm’s Sleeping Beauty, Give Up Yer Aul Sins and Juanita Wilson’s The Door, we’re consistently punching above our weight.
Alas this success is not widely recognised at home. Time, then, for the Irish Film Board and Irish cinema in general to promote the work of these great directors.