Expired June 19, 2022 3:59 AM
Already unlocked? for access
Protected ContentThis content can only be viewed in authorized regions: Maryland, District Of Columbia, Virginia.

Set in Dublin after the pubs close. While telling God what he really thinks of him Ronan aggravates a bunch of Púca who were having a few drinks in a nearby dimension. From that point on, they do what they can to lure him onto the Nightlink to the afterlife.

Director Biography - Aidan O'Sullivan

Creative Director at Radii Animation, Aidan has worked across the spectrum of animation roles, ran the animation portfolio preparation course at the National Film School of Ireland for 10 years and has led the development of Radii's animation wing since joining the company in 2015.

As well as corporate and educational content Radii has worked to produce high quality broadcast and artistic content like Nightlink and Radii's previous short film The IFTA winning Her Song.

More of Aidans work and that of the amazing team at Radii can be found at Radii.ie and on his Instagram account @sullysdrawin

Director Statement

I've always been fascinated with the city at night - the empty streets and orange light, an entirely different but parallel plane of existence from daylight hours. Part of what I'm trying to capture in this film is how a person can find isolation in the middle of the of the city. A bereaved and depressed person can place themselves in the heart of the capital in the hopes of being completely alone. On top of that, I wanted to draw on some of the historical and mythological foundation of the setting not so much as antagonist but as reactive agent.

We have a man trying to process his position in life and his relationship with spirituality in Ireland and, however idly, he questions the validity of faiths old and new. The spiritual and supernatural elements of Ireland are a very specific blend of Christian, Norse, Celtic, and older beliefs. Much of it has been amended, adapted, and repurposed over the years. Even those attempting to simply document it, whether it’s Yeats, lady Gregory, or the Medieval monks transcribing oral traditions, have brought an element of their own intentions to their telling to the mythology. This, in some regards, makes the mythology fairly flexible. Writers, graphic artists, and filmmakers like Garth Ennis, Mike Mignola, or Guillermo Del Toro have have interpreted these creatures and characters in a modern context; often just going about their days in London or operating a troll market under the Brooklyn Bridge. Similarly the films of Hayao Miyazaki present the world of the supernatural as part of everyday life. In Irish myth, the Púca is a fairly well known figure - a shapeshifter, with a wide range of forms that can help or hinder the traveler on the road. With such a broad scope for representation of this character he becomes a very versatile force.

The sound in the film consist of atmospheric soundscapes and an escalating score. As the journey becomes more unusual and supernatural, the score builds to the climax of the bus journey and shatter away to leave Ronan back in the real world with just the sounds around him. The unnatural nature of the Púca and the unnatural nature of the cinematic score will go hand in hand.

There are a number of artists and filmmakers that I use as touchstones in concepting the visual approach to this film - illustrator Mike Mignola’s graphic sense and use of black, the colour styling and sense of place of the film Chico and Rita, and the framing and use of space in Michael Mann’s Collateral to name a few.

  • Year
  • Runtime
  • Language
  • Country
  • Director
    Aidan O'Sullivan
  • Screenwriter
    Aidan O'Sullivan
  • Producer
    Greg Connolly
  • Cast
    Moe Dunford, Peter Coonan