Irish filmmaker Dónal Foreman is relentlessly going through the archives of his late father, documentarian Arthur MacCaig. There is a lot of footage he has shot within a period of thirty years, including interviews.
MacCaig documented the conflict of Northern Ireland along with associated IRA activity. The material is direct and historically significant. Foreman does not share his father’s political views. That is why he points the focus on the other side of the lens – on his father and the world view he had.
The footage filmed by MacCaig is outdated and strongly ideological. Foreman uses the footage selectively to suit his own purposes. He is aware that he is creating a fictitious world with documentary material and claims that his father did just the same. This creates a dialogue in which father and son discuss politics, family life and questions related to filmmaking. The parties in the dialogue belong in different times and see the world through different eyes.
Foreman is never seen in the picture, as if to offer an answer to the mystery in the film’s title.
Dimmu Okulov (Translation: Marko Pyhähuhta)
Language: English, French
Subtitles: English (partly)
- Director: Dónal Foreman
- Country: Ireland
- Year: 2018
- Length: 73 min
- Age limit: K16
- Format: DCP
- Cinematography: Arthur MacCaig, Donal Foreman, Seán Brennan
- Editing: Dónal Foreman
- Music: Ohal Grietzer, Michael Buckley, Christopher Colm Morrin
- Production: Nicole Brenez, Philippe Grandrieux
- Kinopalatsi 5: Tue 29.1. at 18.45
- Kinopalatsi 7: Wed 30.1. at 14.30
- Kinopalatsi 6: Sat 2.2. at 17.15