‘71, named after the year in which it is based, is director Yann Demange’s striking début feature, which follows a British soldier left abandoned in the middle of Belfast at the height of the conflict in Northern Ireland.

The film is told from the perspective of Gary Hook (Jack O’Connell), a brand new recruit in the British Army, who is sent to Northern Ireland after barely having time to finish his basic training. Cook is clearly not the only soldier out of his depth, as his commander makes the perilous mistake of sending his troops into the middle of a riotous Belfast, without protective gear. When the British Army arrive in the heart of the Republican part of Belfast there is an immediate hostility towards them. An encounter between the British troops and a mob of protesters quickly becomes violent and the resulting skirmish leads to Hook being separated from the rest of the British Army and subsequently trapped behind enemy lines.

Quickly becoming apparent in the opening scenes of the film, Demange is reluctant to let ‘71 become bogged down in the complexity of political context to the conflict. Rather than explore the Republican’s motivations for seeking independence for Northern Ireland, or the Protestants opposing arguments, we are instead thrust straight into the heart of the conflict. This may frustrate political ‘anoraks’, but it gives the film a sense of urgency that propels it forward with a compelling frenetic energy.

After being dropped behind enemy lines, Cook is trapped like a rat in a maze as a group of menacing young IRA soldiers drive around searching for him, as well as a group of British undercover officers, whose true loyalties are ambiguous. As with all great thrillers ‘71 is at times unbearably, painfully tense. This is due to fantastic performances throughout the cast, but especially from Jack’ O’Connell, who is in a terrific run of form at the moment after his mesmerizing performance in Starred Up. The cinematography is also excellent as Tat Radcliffe (who unsurprisingly worked on BBC’s dark and stylish The Shadow Line) gets the maximum amount of drama and suspense out of Belfast’s narrow, dark, cobbled streets; dusty, smoked filled pubs; and imposing apartment blocks. Added to ‘71’s dramatic cinematography is a pulse-pounding soundtrack to ratchet up the tension.

Demange strives to convey those caught within the conflict as ordinary people simply trying to survive. One of the effects of the film in following a single soldier and one who appears seemingly apolitical, is to convey the chaos and the senselessness of the violence on both sides of the conflict. There are some particularly provocative scenes in the film, juxtaposing the speed with which shocking violence can occur, arising out of seemingly ordinary and familiar situations which will undoubtedly stay with the audience. Occasionally, Demanges’ naturalism can come across as a little contrived but this is rare with the director more often than not delicately balancing nuanced performances from his actors with all the thrills that you would expect from a genre film.

With ‘71 Demange has created a distinctive film which is undoubtedly one of the best British thrillers of the year. Whilst the film does have political messages, most notably conveying the chaos of war, as a political film its arguments, whilst truthful, are simplistic. As such, whether or not ‘71 possesses the political weight to be counted among British classics dealing with the Northern Ireland conflict, such as Paul Greengrass’s Bloody Sunday, is debatable, but as a piece of genre fiction it is first class.

Originally published on Oct 21, 2014

Celebrating its 5th Anniversary (just like us!), The Toronto Irish Film Festival, established to help promote Irish film within Canada, is exhibiting a unique collection of Independent Irish films over the course of three days.

The Toronto Irish Film Festival runs from Friday March 6-Sunday March 8th for more info visit: http://torontoirishfilmfestival.com/

The Festival opens with Standby, a gentle romantic comedy based in Dublin. It stars Brian Gleeson as Alan, a musician with a passion for skiffle music. Alan is fed up, stuck with a boring job in a tourist office in an airport, being perpetually single and living alone with his father. His life appears to take a turn for the better when he runs into his former fling Alice (Jessica Pare, Mad Men), who is grounded in the city after a delayed flight and needs somewhere to stay. Standby is a charming, naturalistic comedy, and the perfect opening to the festival. (The screening also features a Q&A session with Brian Gleeson) (Screening: Friday, March 6, 2015 at 7pm)

Also showing at TIRFF is the uplifting Good Vibrations, which tells the story of Terri Hooley, a man who, in the midst of the ‘troubles’ in 1970s Northern Ireland, opened the record store ‘Good Vibrations’. Hooley and ‘Good Vibrations’ was hugely influential in establishing the Belfast Punk scene, and the film features great music from punk bands of the era including The Undertones and lesser known bands such as the The Outcasts. It also offers an honest account of life in Belfast during one the most difficult moments in its history. (Screening: Saturday March 7, 2015 at 3pm)

Also based in Belfast in the heart of the conflict in the 1970s is the outstanding ’71 which I raved about back when it was released in the UK. Starring Jack O’Connell, it follows a British solider separated from his unit and left to survive the night in a hostile West Belfast. It’s a fantastic debut from director Yann Demange, one that shouldn’t be missed. Consider this a sneak preview screening too, since it’s showing a week before its theatrical release in Toronto. (Screening: Saturday, March 7, 2015 at 5:30pm)

Finishing off the Saturday evening is Irish Film and Television Award winning comedy Gold, a film which sees Ray (David Wilmot) trying to reconnect with his ex-girlfriend and her daughter (Maisie Williams), now a potential track and field star, who is under the thumb of her controlling PE coach stepfather (James Nesbitt). (Screening: Saturday, March 7, 2015 at 8pm).

The festival finishes on the Sunday with Rebuilding the World Trade Centre, an observational documentary by Belfast artist and filmmaker Marcus Robinson, which chronicles construction on the new World Trade Centre. The film uses a mixture of time lapse photography and interviews with those working on the build, offering insights into this important attempt to rebuild one of New York’s most iconic buildings. (Screening: Sunday, March 8, 2015 at 7pm)

The festival also includes a series of 6 short films highlighting the work of new and upcoming Irish film directors as part of TIRFF 2015 IRISH Shorts Programme. (Screening: Sunday, March 8, 2015 at 4pm)