BEAT THE LOTTO wins Best Film Award

BEAT THE LOTTO wins Best Film Award

BEAT THE LOTTO wins Best Film Award

Ross Whitaker’s BEAT THE LOTTO has scooped the BEST FILM Awards at this year’s Dublin International Film Festival. In a nation where parents once joked about robbing banks to afford their children’s desires, the 1980s introduction of Ireland’s National Lottery transformed wishful thinking into a new colloquialism: “Maybe if we win the Lotto.” For Cork mathematician Stefan Klincewicz, however, this wasn’t merely hopeful phrasing—it was a mathematical certainty waiting to be proven. When the Irish Lotto debuted in 1988, promising to turn a £1 ticket into a potential £1 million windfall, Klincewicz saw beyond the nearly two million combinations to envision something revolutionary: a system that could guarantee victory.

The audacious tale of Klincewicz’s lottery conquest takes center stage in Ross Whitaker’s utterly riveting new documentary BEAT THE LOTTO. The film masterfully chronicles how a dorky mathematician, initially laughed off during an appearance on Pat Kenny Live while promoting his book “Systems to Help You Win the Lotto,” would eventually orchestrate one of Ireland’s most ingenious financial maneuvers. Kenny’s present-day recollections of the encounter—claiming journalistic determination and engineering knowledge helped him expose a charismatic con man—stand in stark contrast to archival footage showing an irritable presenter sneering at Klincewicz, a man who would soon prove his skeptics spectacularly wrong.

BEAT THE LOTTO transcends its surface-level entertainment value by exploring the fascinating public relations battle that ensued. As Klincewicz’s syndicate implemented their plan, the National Lottery—which had emerged as one of Ireland’s few trusted institutions during economically depressed times—attempted to thwart their efforts, framing the mathematicians as cheats undermining a system that funded good causes. Meanwhile, the syndicate publicly positioned themselves as exposing flaws in the Lottery’s operations while being unfairly prevented from participating. This “Catch Me If You Can” scenario played out in newspapers across Ireland, dividing public opinion—some viewed the syndicate as clever rogues deserving admiration, while others considered them chancers exploiting a beloved institution.

While the documentary maintains a light, engaging tone through its upbeat music and stylish editing, thoughtful viewers might contemplate deeper implications about wealth, privilege, and systemic inequalities. As syndicate members recount stories of everyday punters cheering them on and letting them skip queues, as Paddy Power co-founder Stewart Kenny reflects that the thrill outweighed the financial gain, we’re left wondering: are these money men really playing the same game as ordinary lottery hopefuls? The film provides a vicarious thrill of outsmarting a system, but it stops short of questioning whether beating one system truly challenges the larger socioeconomic order.

BEAT THE LOTTO premiered at Dublin International Film Festival on February 26th, 2025, offering audiences an entertaining caper that simultaneously serves as an insightful examination of Irish cultural attitudes toward luck, chance, and institutional authority. Whether viewed as a mathematical triumph, a daring financial coup, or a reflection of Celtic Tiger-era attitudes, Whitaker’s documentary delivers a compelling narrative that remains utterly captivating from the first lottery ticket to the final ball drop.

Irish Film

FRAN THE MAN in theatres Apr 11

FRAN THE MAN in theatres Apr 11

FRAN THE MAN in theatres Apr 11

Football’s favorite underdog is heading to the big screen as FRAN THE MAN prepares for its world premiere at the Dublin International Film Festival this Saturday, March 1st, before hitting Irish cinemas nationwide on April 11th.

This feature-length spin-off of the cult mockumentary series FRAN which originally captivated audiences on Setanta Sports and TV3 from 2009 to 2011, promises to deliver laughter, heart, and a uniquely Irish take on the beautiful game.

In FRAN THE MAN, an Irish football club’s first-ever FAI Cup appearance turns chaotic when they become entangled in an international match-fixing scandal, thrusting their hapless assistant manager Fran Costello (reprised by Darragh Humphreys) into unexpected detective work. Out of his depth but determined, Fran sets out to identify the culprits on his beloved St. Peter’s Celtic team, with everyone becoming a suspect in this hilarious whodunnit. Complicating matters further is Fran’s blossoming romance with Jackie Charlton, the mother of one of his players—forcing a man who has long used football to avoid life’s complexities to face them head-on.

The film boasts an impressive ensemble of Irish comedic talent including Ardal O’Hanlon, Amy Huberman, Risteárd Cooper, Toni O’Rourke, and Deirdre O’Kane. Written by Richie Conroy (CRÁ, MALORY TOWERS) and directed by Stephen Bradley (LAST ONE LAUGHING, NOBLE), FRAN THE MAN represents Conroy’s debut original feature. “It’s such a privilege that my debut original feature will soon be available to an Irish cinema audience,” Conroy remarked. “FRAN THE MAN is a rare thing—a four-quadrant movie—that is the perfect tonic for anyone who is looking for a laugh, an engaging scéal, and a bit of feel-good escapism.”

Irish Film

Rich Peppiatt’s KNEECAP journey

Rich Peppiatt's KNEECAP journey

Rich Peppiatt's KNEECAP journey

 

From tabloid whistleblower to provocative filmmaker, Rich Peppiatt’s journey to potential BAFTA glory is as unconventional as they come. His latest film KNEECAP, which has garnered six BAFTA nominations and 17 IFTA nods, marks an extraordinary transformation for the London-born journalist who once made headlines exposing questionable practices at the Daily Star.

After his high-profile resignation in 2011 and multiple mentions in Lord Leveson’s phone-hacking inquiry, Peppiatt channeled his experiences into a stand-up show about tabloid culture. This caught the attention of Hugh Grant and Steve Coogan, both prominent figures in the Leveson inquiry, who encouraged him to adapt it into his first film. “If you are a person who doesn’t really know what the hell you are doing in life and Hugh Grant and Steve Coogan come up to you and ask you to make a film, you go: ‘Yeah, I’ll give it a go,'” Peppiatt recalls. This baptism by fire ignited his passion for filmmaking.

The path to KNEECAP began after Peppiatt moved to Belfast with his wife, who hails from the republican suburb of Andersonstown. Two weeks into his new life, he encountered the Irish-language rap trio in a pub and was immediately captivated. The film tells their semi-autobiographical story, featuring the band members DJ Próvaí, Mo Chara, and Móglaí Bap, alongside Michael Fassbender as an IRA operative on the run.

The film pushes boundaries with its provocative content, including a controversial line referencing the 1984 Brighton hotel bombing that funders wanted removed. Peppiatt stood his ground, believing that “comedy and art should be pushing up against a line of acceptability.” His dedication to authenticity led him to learn Irish and immerse himself in the culture, understanding the profound significance of the language to young people in Belfast. “You can draw a border on my land, but I will still dream in the language I want,” he reflects on the film’s underlying message.

KNEECAP transcends mere entertainment, emerging as a movement that challenges stereotypes about working-class representation in media. The film showcases young people who can be both street-smart and politically engaged, wearing tracksuits while articulating complex political views. The real-life band has already made waves, with their debut single C.E.A.R.T.A banned by Irish state radio for its explicit content.

Never one to rest on his laurels, Peppiatt is already developing his next project – a controversial satire about Caribbean tourism tackling racial politics. His creative philosophy remains unchanged: “Unless there is some element of ‘I might be absolutely cancelled’, or ‘it might be the last thing I ever do’, then I can’t really get out of bed for it.” It’s this fearless approach to filmmaking that has transformed him from tabloid whistleblower to one of cinema’s most daring new voices.

Irish Film

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BOYZONE: NO MATTER WHAT prems Feb 2

BOYZONE: NO MATTER WHAT prems Feb 2

BOYZONE: NO MATTER WHAT prems Feb 2

In the annals of Irish pop music history, few stories capture the essence of fame, friendship, and fate quite like the tale of Boyzone, as beautifully chronicled in Sky Documentaries’ NO MATTER WHAT. While their music may not have pushed artistic boundaries, the human drama behind Ireland’s most successful boyband proves far more compelling than their catalogue of hits ever could.

The three-part documentary weaves a narrative worthy of Shakespeare, complete with ambition, rivalry, triumph, and tragedy. At its heart stands Louis Walsh, a puppet master whose calculated manipulation of the media included fabricating tabloid stories – even a fictional plane crash – to keep his Dublin protégés in the spotlight. His strategy worked brilliantly: from their awkward debut on THE LATE LATE SHOW, where five unpolished lads stumbled through a hastily assembled dance routine, to commanding an audience of 100,000 at Hyde Park just five years later, Boyzone’s ascent was meteoric.

That Hyde Park concert marked a pivotal moment in the band’s history, as Stephen Gately, the group’s natural frontman and heartthrob, faced a personal crisis. Confronted with The Sun’s ultimatum to come out as gay or be outed, Gately chose to tell his truth. The crowd’s response? Pure love, amplifying rather than diminishing his star power. This poignant chapter is recounted through multiple perspectives – bandmates, Walsh, Gately’s sister Michelle, and even the Sun journalist responsible for breaking the story. Gately’s absence from the narrative, following his tragic death from a congenital heart condition in 2009, adds a bittersweet undertone to these memories.

The documentary’s remarkable access reveals the band members in startling clarity. Ronan Keating emerges as simultaneously insecure and nakedly ambitious, while Shane Lynch’s intensity is tempered by thoughtful reflection. Keith Duffy’s charm masks an underlying vulnerability, but it’s Mikey Graham who proves the revelation. Now more resembling a contemplative family friend than a former pop idol, Graham’s struggle with being typecast as “the quiet one” clearly weighs heavily on him, contradicting Walsh’s dismissive assumption that he was content in that role.

Through never-before-seen footage and raw, emotional interviews, NO MATTER WHAT transcends the typical pop documentary format. It tells a universal story about the price of fame, the burden of secrets, and the enduring bonds forged in the crucible of shared experience. Three decades after five Dublin boys were catapulted from obscurity to global stardom, their story resonates not because of the 25 million records they sold, but because of the very human drama that played out behind the perfectly choreographed performances and carefully crafted public image.

Watch BOYZONE: NO MATTER WHAT from Feb 2 here.

Irish Film

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HOUSEWIFE OF THE YEAR now playing

HOUSEWIFE OF THE YEAR now playing

HOUSEWIFE OF THE YEAR now playing

In an era when Ireland’s social fabric was woven with strict gender expectations, an unlikely television phenomenon emerged that would both celebrate and ultimately help expose the constraints placed on women’s lives. From 1969 to 1995, HOUSEWIFE OF THE YEAR captured the nation’s attention, broadcasting live competitions where women showcased their domestic prowess in pursuit of the coveted grand prize: a luxury gas stove. Director Ciaran Cassidy’s masterful documentary peels back the layers of this peculiar cultural touchstone, revealing far more than just a quaint competition about cookery and household management.

Through intimate interviews with former contestants, the film unveils a complex tapestry of lived experiences that defined a generation of Irish women. Their stories, told with remarkable candor and often unexpected humor, paint a vivid picture of a society in transition. These women faced systematic obstacles that seem almost unthinkable today: marriage bars that forced them to abandon their careers upon wedding, the absence of legal contraception that left them without reproductive autonomy, and the looming shadow of the Magdalene laundries that served as a stark reminder of the consequences of defying social norms.

What makes Cassidy’s documentary particularly compelling is how it weaves together the surreal spectacle of the television show—where women performed their domestic duties before a live audience—with the raw reality of these contestants’ private lives. The competition, which was broadcast on RTÉ from 1982, created an unprecedented window into Irish domestic life, capturing not just the staged performances but also intimate footage of contestants in their homes, creating an unintentional time capsule of an Ireland in flux.

Perhaps most poignant is the self-reflection of these former contestants as they look back on their participation. With the wisdom of hindsight, they share their bewilderment at their own acceptance of such restrictive social structures, while simultaneously demonstrating the resilience and wit that helped them navigate and ultimately challenge these constraints. Their stories are punctuated by moments of both heartbreak and triumph—tales of financial vulnerability and marital breakdown intertwined with accounts of personal growth and hard-won independence.

As the documentary unfolds, it becomes clear that HOUSEWIFE OF THE YEAR was more than just a television show—it was a mirror reflecting Ireland’s complex relationship with gender roles, domestic life, and social change. Through the lens of this seemingly frivolous competition, Cassidy has crafted a powerful testament to the courage and determination of women who, while competing for a gas stove, were unknowingly participating in a broader narrative of social transformation. Their collective story stands as a reminder of how far Ireland has come, and the resilient spirits who helped forge that progress, one domestic challenge at a time.

 

KNEECAP dominates BIFA Awards

KNEECAP dominates BIFA 2024

KNEECAP dominates BIFA 2024

The Irish-language film KNEECAP has made history at the 27th British Independent Film Awards (BIFA), securing seven prestigious awards, including the coveted Best British Independent Film. The film, which dominated the ceremony at London’s Roundhouse, arrived with an impressive 14 nominations and emerged as the night’s standout success.

The movie, based on a semi-fictionalised account of the west Belfast rap trio’s formation, garnered additional accolades including Best Debut Screenwriter for Rich Peppiatt and Best Joint Lead for the trio’s members Liam Óg Ó Hannaidh, Naoise Ó Cairealláin, and JJ Ó Dochartaigh.

Originally formed in 2017 by three friends using stage names Mo Chara, Móglaí Bap, and DJ Próvaí, the group has been known for their politically-charged lyrics and controversial approach. The film’s origin traces back to 2019 when director Rich Peppiatt was inspired after watching the group perform in Belfast.

Set in west Belfast in 2019, KNEECAP offers a dramatised, comedic exploration of the group’s beginnings, with Peppiatt describing it as “definitely more controversial than the usual movies that come out of Northern Ireland.”

The film’s multiple BIFA wins represent a significant milestone for Irish-language cinema and the group’s artistic journey.

THE BRIDE revealed at Comicon

Jessie Buckley has electrified the film world once again as she stepped into the role of the titular character in Maggie Gyllenhaal’s sophomore directorial feature, THE BRIDE. During Warner Bros.’ presentation at the Colosseum inside Caesars Palace, Buckley joined Gyllenhaal on stage to unveil the first look at this groundbreaking reimagining of Mary Shelley’s classic…

Continue Reading THE BRIDE revealed at Comicon

The Beatles biopic cast revealed

In a bold cinematic venture unlike any other, Sam Mendes has assembled an all-star cast of today’s most captivating young actors to bring the legendary story of THE BEATLES to life. This unprecedented project, officially titled THE BEATLES – A FOUR-FILM CINEMATIC EVENT, will feature Paul Mescal as Paul McCartney, Harris Dickinson as John Lennon,…

Continue Reading The Beatles biopic cast revealed

FOUR MOTHERS in theatres Apr 4

Darren Thornton, a filmmaker from Drogheda, is returning to the big screen this April with FOUR MOTHERS, a new Irish comedy opening in cinemas on April 4. Co-written with his brother Colin, the film has already garnered awards at major international film festivals and will screen locally at Omniplex Drogheda and other cinemas nationwide.The film…

Continue Reading FOUR MOTHERS in theatres Apr 4

RIVALS renewed for 2nd Season

Disney+’s sultry period drama RIVALS has captivated audiences with its delicious blend of 1980s nostalgia and steamy storytelling, with confirmation of a second season sending fans into a frenzy. The adaptation of Dame Jilly Cooper’s beloved 1988 novel has proven to be the “bonkbuster” of the year, aching with old-fashioned small screen sex appeal that…

Continue Reading RIVALS renewed for 2nd Season

KNEECAP win case against UK govt

Kneecap wins case against UK govt

Kneecap wins case against UK govt

In a landmark legal victory, Irish-language rap group Kneecap has triumphed in their discrimination case against former Conservative minister Kemi Badenoch, challenging her decision to deny them an arts grant. The controversy began when the group was initially shortlisted for a £14,250 grant from the Music Export Growth Scheme, which Badenoch blocked when she was business secretary.


The proceedings took a theatrical turn when band member DJ Próvaí arrived at the courthouse in a repurposed RUC Land Rover, adorned with Palestinian and Irish flags, wearing his trademark tricolour balaclava. The UK’s Department of Business and Trade ultimately conceded that the original decision was “unlawful and procedurally unfair.”


For Kneecap, the victory was never about the money. As the band stated, “This was an attack on artistic culture, an attack on the Good Friday Agreement itself, and on our way of expressing ourselves.” In a gesture of community solidarity, they announced they would donate the entire grant to two Belfast organizations: Glór na Móna and R-City Belfast.


Known for their provocative and politically charged music, Kneecap has consistently challenged political narratives. Their band name references the Troubles-era paramilitary tactic of “knee-capping,” while their music often subverts republican tropes and criticizes British rule in Ireland.
The case highlights tensions surrounding cultural expression and funding in Northern Ireland. The band argues that their music represents a cross-community belief that political institutions often ignore the needs of working-class communities on both sides of the divide.


“They don’t like that we oppose British rule,” the band stated. “We believe that England doesn’t serve anyone in Ireland, and the working classes on both sides deserve better—deserve funding, appropriate mental health services, and the freedom to celebrate music and art.”

Kneecap’s legal victory is more than a personal triumph. It’s a powerful affirmation of artistic freedom, cultural expression, and the principles of equality enshrined in the Good Friday Agreement.

THE BRIDE revealed at Comicon

Jessie Buckley has electrified the film world once again as she stepped into the role of the titular character in Maggie Gyllenhaal’s sophomore directorial feature, THE BRIDE. During Warner Bros.’ presentation at the Colosseum inside Caesars Palace, Buckley joined Gyllenhaal on stage to unveil the first look at this groundbreaking reimagining of Mary Shelley’s classic…

Continue Reading THE BRIDE revealed at Comicon

The Beatles biopic cast revealed

In a bold cinematic venture unlike any other, Sam Mendes has assembled an all-star cast of today’s most captivating young actors to bring the legendary story of THE BEATLES to life. This unprecedented project, officially titled THE BEATLES – A FOUR-FILM CINEMATIC EVENT, will feature Paul Mescal as Paul McCartney, Harris Dickinson as John Lennon,…

Continue Reading The Beatles biopic cast revealed

FOUR MOTHERS in theatres Apr 4

Darren Thornton, a filmmaker from Drogheda, is returning to the big screen this April with FOUR MOTHERS, a new Irish comedy opening in cinemas on April 4. Co-written with his brother Colin, the film has already garnered awards at major international film festivals and will screen locally at Omniplex Drogheda and other cinemas nationwide.The film…

Continue Reading FOUR MOTHERS in theatres Apr 4

RIVALS renewed for 2nd Season

Disney+’s sultry period drama RIVALS has captivated audiences with its delicious blend of 1980s nostalgia and steamy storytelling, with confirmation of a second season sending fans into a frenzy. The adaptation of Dame Jilly Cooper’s beloved 1988 novel has proven to be the “bonkbuster” of the year, aching with old-fashioned small screen sex appeal that…

Continue Reading RIVALS renewed for 2nd Season

KNEECAP leads BIFA nominations

KNEECAP leads BIFA nominations

KNEECAP leads BIFA nominations

The Irish-language rap comedy KNEECAP leads the British Independent Film Awards with an impressive 14 nominations. Set in Belfast, the film secured nominations for Best British Independent Film and Best Joint Lead Performance for its trio of stars – Liam Óg Ó Hannaidh, Naoise Ó Cairealláin, and JJ Ó Dochartaigh, who perform as Mo Chara, Móglaí Bap, and DJ Próvaí respectively.

The film, which features Michael Fassbender alongside the Irish-language rappers, received funding from both the British Film Institute and Northern Ireland Screen’s Irish language broadcast fund. Director Rich Peppiatt earned multiple nominations, including Best Director and Best Screenwriter, along with nominations in both debut categories.

Following closely is LOVE LIES BLEEDING with 12 nominations. This bodybuilding noir, directed by SAINT MAUD filmmaker Rose Glass, stars Kristen Stewart and Katy O’Brian. Glass received nominations for Best Director and Best Screenwriter (shared with co-writer Weronika Tofilska), while Stewart and O’Brian are nominated for Best Joint Lead Performance.

Rounding out the top contenders is THE OUTRUN, garnering nine nominations. This Orkney-set adaptation of Amy Liptrot’s memoir features Saoirse Ronan, who received a nomination for Best Lead Performance.

THE BRIDE revealed at Comicon

Jessie Buckley has electrified the film world once again as she stepped into the role of the titular character in Maggie Gyllenhaal’s sophomore directorial feature, THE BRIDE. During Warner Bros.’ presentation at the Colosseum inside Caesars Palace, Buckley joined Gyllenhaal on stage to unveil the first look at this groundbreaking reimagining of Mary Shelley’s classic…

Continue Reading THE BRIDE revealed at Comicon

The Beatles biopic cast revealed

In a bold cinematic venture unlike any other, Sam Mendes has assembled an all-star cast of today’s most captivating young actors to bring the legendary story of THE BEATLES to life. This unprecedented project, officially titled THE BEATLES – A FOUR-FILM CINEMATIC EVENT, will feature Paul Mescal as Paul McCartney, Harris Dickinson as John Lennon,…

Continue Reading The Beatles biopic cast revealed

FOUR MOTHERS in theatres Apr 4

Darren Thornton, a filmmaker from Drogheda, is returning to the big screen this April with FOUR MOTHERS, a new Irish comedy opening in cinemas on April 4. Co-written with his brother Colin, the film has already garnered awards at major international film festivals and will screen locally at Omniplex Drogheda and other cinemas nationwide.The film…

Continue Reading FOUR MOTHERS in theatres Apr 4

RIVALS renewed for 2nd Season

Disney+’s sultry period drama RIVALS has captivated audiences with its delicious blend of 1980s nostalgia and steamy storytelling, with confirmation of a second season sending fans into a frenzy. The adaptation of Dame Jilly Cooper’s beloved 1988 novel has proven to be the “bonkbuster” of the year, aching with old-fashioned small screen sex appeal that…

Continue Reading RIVALS renewed for 2nd Season