"A fierce, authentic portrait of Ireland's underclass." Cluster Fox Films has revealed a promo trailer for an Irish indie film titled The Black Guelph, made by Irish actor / filmmaker John Connors. After premiering at the 2022 Oldenburg Film Festival last year, this is currently playing at the Dances With Film Festival now in LA, and it also played at the 2023 Dublin Film Festival earlier this year. Kanto (also spelled "Canto" in the US synopsis), a small time drug dealer trying to get off the streets whose long absent father Cormac, an industrial school survivor, returns home looking for forgiveness and reconciliation. He is forced back to the streets for help as he always has done. Graham Earley stars as Kanto, along with Paul Roe, Tony Doyle, Denise McCormack, Lauren Larkin, John Connors, Kevin Glynn, and Casey Walsh. This actually looks like it might be good - some solid footage. Very good...
- 6/27/2023
- by Alex Billington
- firstshowing.net
Click here to read the full article.
In The Black Guelph, John Connors, said to be the first filmmaker to come from the ethno-cultural group called Irish Travellers, dramatizes the blight of childhood sexual abuse, imagining a dense tapestry of hurt in which one boy’s victimization by a priest transforms into enough crime, addiction and anger over decades to wreck a small community. Intriguing characters and elements of crime fiction prevent the film from being a dour slog, but there’s not much hope to be found here, especially for victims who, due to payoffs and court-ordered silence, can never share their trauma with an outraged public.
Commercial prospects may be hurt a bit by the film’s needlessly obscure title, whose reference to 14th-century Italian history will be lost on most viewers unless they have access to producers’ notes (which also explain, kind of, the meaning of drawing...
In The Black Guelph, John Connors, said to be the first filmmaker to come from the ethno-cultural group called Irish Travellers, dramatizes the blight of childhood sexual abuse, imagining a dense tapestry of hurt in which one boy’s victimization by a priest transforms into enough crime, addiction and anger over decades to wreck a small community. Intriguing characters and elements of crime fiction prevent the film from being a dour slog, but there’s not much hope to be found here, especially for victims who, due to payoffs and court-ordered silence, can never share their trauma with an outraged public.
Commercial prospects may be hurt a bit by the film’s needlessly obscure title, whose reference to 14th-century Italian history will be lost on most viewers unless they have access to producers’ notes (which also explain, kind of, the meaning of drawing...
- 9/15/2022
- by John DeFore
- The Hollywood Reporter - Movie News
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