The Irish Times view on the Oscars: a remarkable advance for Irish film

The current international success of Irish talent undoubtedly owes much to ongoing State support for the local industry.

James Martin, Ross White (left), Tom Berkeley (2nd right), and Seamus O'Hara (right) accept the Best Live Action Short Film award for An Irish Goodbye at the Oscars in Los Angeles. Photograph: Rob Latour/Shutterstock
James Martin, Ross White (left), Tom Berkeley (2nd right), and Seamus O'Hara (right) accept the Best Live Action Short Film award for An Irish Goodbye at the Oscars in Los Angeles. Photograph: Rob Latour/Shutterstock

It’s a sign of the remarkable advance of the Irish film industry in recent years that the haul of two Oscars at Sunday night’s Academy Awards ceremony in Los Angeles was the source of mild disappointment in some quarters. How far Irish film has come from its initial breakthrough in 1990, when My Left Foot achieved an unprecedented five nominations.

This year’s 14 nominations reflected the full gamut of Irish talent, from the remarkable five acting contenders to the record-equalling nine nods for Martin McDonagh’s The Banshees of Inisherin. Richard Baneham’s second win in the special effects category shows that Irish technical skills are represented at the highest level, while in winning best live action short, An Irish Goodbye suggested the conveyor belt of talent continues to roll (and provided a high point of the evening with the audience of movie aristocrats singing “Happy Birthday” to actor James Martin).

Special mention must be made for the small marvel that is An Cailín Ciúin, the first ever Irish-language film to make it to this ceremony. Its progression from premiering at last year’s Berlin film festival to Hollywood’s red carpet this week is a resounding vindication for recent initiatives investing in Irish-language drama.

As for the awards themselves, the Oscars have struggled in recent years to remain relevant in the age of the comic-book franchise. The sweeping success of Everything Everywhere All At Once, a sprawling fantastical comedy that plays off several contemporary themes, offers some hope of a new middle way between the blockbuster and the micro-budget indie. At a time when debates over diversity – or the lack of it – continue to rage in the industry, it also represents a breakthrough for Asian-American voices at Hollywood’s top table.

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As Oscar-winning screenwriter William Goldman famously pointed out, when it comes to defining the formula for a successful film, “nobody knows anything”. But the current international success of Irish talent undoubtedly owes much to ongoing State support for the local industry. Long may that continue.