CineCola's picks for the 2016 Irish Film & Television Awards

A feature on the IFTAs? Sure, why not. CineCola picks its winners for most of the film categories of this year's Irish Film & Television Awards.

CineCola usually doesn't particularly follow award shows, in order to focus more on a wider type of promotion of, rather than plain film viewing, cinephilia, leaning more towards arthouse that mainstream one. That is the reason why, aside from a few notable exception, we don't pay too much attention to award shows, which we have reason to believe actually harm the exposure of some titles that are released throughout the year, some of which may never see the light of day via mainstream, or even limited distrubution, outside of the festival circuit. 

 

Nevertheless, when it comes to the IFTA Awards, the awards of the Irish and Television Academy, we have made the selfish decision to devote some attention to it. Why? Because CineCola was born in Ireland, and to pay the blooming Irish film industry some attention, and industry that has been prolific and interesting particularly in terms of international co-productions, is our absolute pleasure. 

 

Due to time constraints, our "picks of" feature for the IFTAs will not be as expansive as the one we did for the Oscars. We have also refrained from picking a winner in the animation and documentary category, due to the respect for the majority of the films in those categories, which we have not seen. (This was a spur of the moment decision, and the awards are on tonight, April 9, at the Round Room of the Mansion House in Dublin. But the awards aren't really the focus. It is more about paying tribute to a job well done by the Irish industry in the past cinematic year. So, without further ado...here are CineCola's IFTA Awards picks (feature film nominees only.)

 

BEST INTERNATIONAL ACTRESS: Brie Larson - Room

Brie Larson's turn in Lenny Abrahamson's Room was indeed quite delicate. As a mother, she had to grow her son in the extreme and difficult trappings in which she was placed by her kidnapper. As a woman, she was denied her right to live her late adolescence, and therefore in re-connecting with the outside world, she picks up where she left off, she struggles to fit the patterns of the outside world. Despite the film being driven by the childlike perspective of young Jacob Tramblay's point of view, Larson's character developement is just as fascinating as the kid's, and the fact that it is just as complex and painstaking for the viewer to go through is also very much to her credit.

 

BEST INTERNATIONAL ACTOR: Jacob Tremblay - Room

There is a reason why so many people were somewhat outraged by Tremblay being left out of the race for the Oscar in the Best Actor category. From the Academy's perspective, it is fair enough that it should not award a child, particularly given the fact that it is becoming more and more a lifetime achievement award, especially in its acting categories. It's hard to argue however, against the fact that despite it certainly being to the credit of Abrahamson's direction, Tremblay's child acting role in Room is not exactly your average Nickleodeon production role. And he dominates the narrative structure of the film as well as its storyline. It was so important for young Jacob to deliver the performance of a lifetime, even at this early age, and it is indeed one that will set a standard for similar roles in future productions.

 

BEST INTERNATIONAL FILM: Mad Max: Fury Road

Yes, Spotlight was a good choice for Best Film at the Oscars, and one that resonates with Irish culture particularly, as does any film that represents a dark side of teh Church. But it would be nice to see Mad Max: Fury Road get credited for being a deeply influential, creative, exciting, adrenalitic fugue, the likes of which do not populate its genre enough. It's a crossover film between mainstream and arthouse that has rightfully been praised by critics and audiences alike, and we also hope the IFTAs will have enough cojones to praise it as the past year's best International Feature - although the fact that none of these films are subtitled kind of makes the category a bit of a joke.

 

BEST SCRIPT: Emma Donoghue - Room

Emma Donoghue adapted her own novel for the cinematic rendition of Room. And did an excellent job. Aside for the balance of the story being absolutely remarkable, and Room presenting some of the best character development in recent cinematic history, it is also the very structure of the film that remains unhinged. Anyone walking into the film, not knowing exactly what it is about, will be positively surprised and intrigued by its narrative split, and its good to see that the nature of the novel was not betrayed, as it often is, even in a structural sense. As a side, but pretty important note, even the amazing use of narration is worthy of praise, as it takes us inside the mind of the kid in a most rewarding, humane and impressionistic way.

 

BEST DIRECTING: Lenny Abrahamson - Room

At this point it does seem like the IFTAs would be a little Room-centric, naming it the winner of everyone of the categories it is nominated in. Sure, to celebrate the success of Viva, it too should get something. But as far as CineCola is concerned, Room was one of the best films of 2015, and an incredible cinematic experience. And the way in which Abrahamson balanced all of its delicate subjects, directed Jacob Tremblay into what risks being his best turn ever, and used a contrast between dark realism and the impressionistic outlook on life through a child's eye, makes him the best director of the year, especially as far as Irish productions and co-productions are concerned.
 
 
 

BEST SUPPORTING ACTRESS: Jane Brennan - Brooklyn

It's kind of crazy to see The Callback Queen nominated for anything. That film is dreadful. Nevertheless, an award for Jane Brennan's performance would also be paying tribute to the fine performances in Brooklyn, possibly the finest feature in the film as a whole. As a mother figure in the film, she is a meaningful presence who represents an older generation of Irish women. And even when she is not on screen for long stretches of the film, her character's memory remains pivotal in shaping the story's events.

 

BEST SUPPORTING ACTOR: Domhnaill Gleeson - Brooklyn

Another nomination for The Callback Queen. Hard to believe there was nothing better. Without beating around the bush too much, Domhnall Gleeson doesn't need to win the award, but nevertheles should. He is becoming one of the best actors on the planet at the moment, and his ability to adapt to various roles and different personality is incredible. In Brooklyn, we find him tastefully restrained, and arguably at his most charming. His role is vital to Brooklyn, but not central. He still manages to make it special.

 

BEST ACTRESS: Saoirse Ronan - Brooklyn

In fairness, why not just make it a trio. Brooklyn is not a film that probably should have been nominated for the Oscars. It seems rather bland and standard, despite its maturity and admirable restrained brand of melodrama. But it is still an Irish film set around the times an Irish film should be set in if it wants some degree of success, and doesn't exactly revolutionize the genre. Despite this, the acting in the film is absolutely sublime, and there's also a feeling that even the supporting characters' turns are great thanks to the lead actress Saoirse Ronan, a soft-spoken average girl who finds herself a stranger in a strange land. Composed, endearing and shy, Ronan delivers her best performance to date in Brooklyn, and it there are reasons to believe that it was her who charmed the film's way among the Best Picture nominees.

 

BEST ACTOR: Michael Fassbender - Steve Jobs

There is no point in denying that this category is a lot more meaty than the Best Actress one. 2015 didn't exactly set the world on fire with female representation. Here, however, there are at least three actors who would deserve the award. Our final choice, however, is Michael Fassbinder in one of many of his incredible performances. He is a fully formed actor who never, ever fails to deliver, and his magnetic presence, focused intensity, rapid fire confident delivery of his dialogue makes for a praise worthy portrayal of Steve Jobs throughout three different eras, in a film that should probably have gotten more attention than it deserved.

 

BEST PICTURE: Room

Viva would perhaps have been a worthy winner, if it hadn't been for Room. Room is a film that Ireland shoudl be proud of having co-produced (with Canada). It is also the culmination of the career of one of the best directors in the world today, Lenny Abrahamson, whose films are always unmissable, and whose films have indeed been Irish productions. But aside from the meaning Room's victory would have within the film industry, it is a downright incredible film. Having talked extensively about its many aspects in previous categories, and in previous features, the only thing left to say to anyone reading this and who hasn't seen it yet, is to watch it. And watch it as soon as possible.