A showcase of films made by women and about women, and loved by both viewers and critics. The Singapore premieres of two films, Joyride and Nothing Compares, are made possible by the Embassy of Ireland.
Since igniting the punk movement with ex-partner and Sex Pistols’ manager Malcolm McLaren, Vivienne Westwood had been redefining British fashion for over 40 years and was responsible for creating many of the most distinctive looks of recent time. Director Lorna Tucker blends archival footage and insightful interviews to give a portrait of Vivienne’s fascinating network of collaborators, taking viewers on her journey – from a childhood in post-war Derbyshire to the runways of Paris and Milan.
In this sweet and charming odd couple farce directed by Emer Reynolds, Oscar winner Olivia Colman plays the ironically named Joy, a frantic, beleaguered small-town lawyer travelling across County Kerry, Ireland, to give over her newborn daughter to her best friend, Mags, before jetting off to a Canary Islands vacay. Her plan is derailed when she is accidentally kidnapped by a 12-year-old Mully, who is on the run from his scheming father.
This premiere of Joyride is made possible thanks to the Embassy of Ireland Singapore.
This acclaimed and moving documentary by Kathryn Ferguson redeems the Irish iconoclast Sinéad O’Connor who was once ridiculed for championing causes that were ahead of our time. Tracing her career through her rise to fame and exile from the pop mainstream, it makes a compelling case for her genuine talent and vision in music and beyond. A must-watch.
This premiere of Nothing Compares is made possible thanks to the Embassy of Ireland Singapore.
Yes, it’s the indie film that pulls you in with its undertow when you least expect it. Nothing is as it seems in first-time director Charlotte Wells’ elliptically-shot, semi-autobiographical film about a young, idealistic father Calum (in an Oscar-nominated turn by Paul Mescal) and his 11-year-old daughter Sophie (newcomer Frankie Corio) on vacation in Turkey. Already garlanded with accolades (including being crowned The Guardian’s Best Film of the Year in 2022), it’s a slow-burning beauty on the chasm between good intentions and tragedy, redemption and loss.