Screenings Near You?

Coming Up Soon ….

**NEW YORK PREMIERE** at 7pm Sat 19 Aug 2017, Interference Archive, Brooklyn
followed by Q&A with filmmakers Treasa O’Brien and Mary Taylor


WICKLOW FILM FESTIVAL, 10 Sept 2017, 1pm, Mermaid Arts Centre Cinema, with Q&A with Treasa O’Brien and Dr Harvey O’Brien from the Department of Film, UCD


More screenings coming up soon … watch this space.

If you would like to organise a screening in your festival / community / town, drop us a line to

or contact Access Cinema who are distributing the film in Ireland


Previous Screenings (2015-16)

Jameson Dublin International Film Festival: 2pm Sunday 22 March, 2015 at the Screen Cinema on D’Olier st.

Irish Film Institute, Dublin: Sunday 12 April, 1pm

Triskel Arts Centre, Cork: Thursday 16 April, 6.30pm

Limerick Spring Festival of Politics and Ideas: 6pm, Friday 17 April

Belfast Film Festival: 7pm, Sunday 19 April at Queens’ Film Theatre

Killarney Cinema: 8.45pm, Thursday 23 April

University College Cork, Conference on ‘Women and Austerity’, 13 June 

Inisheer Film Festival, Aras Eanna, Inisheer Island, 8.30pm, 24 July

Guth Gafa Documentary Festival, Kells, Co. Meath, 2pm, 3 October

Athens Ethnographic Film Festival, 28 November 2015

Newry Film Club, 2 March 2016

An Spailpín Fánach, Cork, 25 October 2016

The New Theatre, Dublin, Progressive Film Club Autumn Season, 29 October 2016

Roscommon, Radical Actions Seminar, Kings’s House Boyle, 2 Dec 2016, 12.15pm, followed by seminar Evolution of Protest with dir. Treasa O’Brien and Paula Geraghty (Trade Union TV), chaired by Johnny Gogan (filmmaker)

West Cork Arts Centre,  Skibbereen, Cork, curated by Art Manouevres, 4 May 2017





Roy Foster on resistance in Irish literature in 1916

Eat Your Children to premiere in March

Eat Your Children will premiere on Sunday March 22 at the Jameson Dublin International Film Festival. Screening will take place at 2pm at  Screen Cinema on D’Olier Street at 2pm.

A film essay…

“The film essay enables the filmmaker to make the ‘invisible’ world of thoughts and ideas visible in the screen. Unlike the documentary film that presents facts and information, the essay film produces complex thought – reflections that are not necessarily bound to reality, but can also be contradictory, irrational, and fantastic.”

– Hans Richter in Nora Alter, “Memory Essays”

Eat Your Children – as provocative as it sounds

Eat Your Children is a provocation, an inside-out activist film, a film that attempts to document the invisible. It is a road-trip quest by two friends who emigrated from Ireland during the financial crash of 2008 and who have now returned to probe Ireland’s so-called acceptance of debt and austerity.

The film uses formal observational footage, voxpop, archive material and a visual-essay style to create a rich and accessible tapestry of audiovisual material. It immerses the viewer into world of the protagonist-film-makers – two Irish women living and working in London and Barcelona who return home to find themselves uncovering the modern incarnations of Irish identity, post-colonialism, nationalism, globalization and resistance.

The film takes its title from Jonathan Swift’s 1729 satire, ‘A Modest Proposal’, where he proposes poor families sell their youngest children to rich landlords on a meat market as a means of tackling Ireland’s economic problems. The title hints bluntly at the infamous promissory notes of contemporary Ireland; the debt burden that will be carried by children today well into their adulthood and for an economic crisis not of their making.

In 2010, the Irish government was on the verge of bankruptcy. In an emergency all-night meeting two years previously it had decided to take responsibility for the debts of its main banks. When the enormity of the debts became apparent Ireland sought a bailout from the EU, IMF and European Central Bank. The €67.5 billion bailout is to be paid back through revenue raised by cuts to education, health and wide scale privatisation, forcing Ireland’s younger population into unemployment, insecurity and emigration. And even when the architect of the ECB package admitted that austerity was ‘not a reasonable way to go’, the Irish people are repeatedly praised in the international press for their stoicism in accepting austerity without anything like the protests and riots seen in Spain, Greece, Portugal and Italy.

They travel to a gaelic football match, music festivals, ghost estates, the circus, and sites of protest in urban and rural Ireland. Through the road trip, they try to understand Ireland’s identity crisis in the wake of the ‘Celtic Tiger’ and how history and culture affects their attitudes to resistance. Our protagonists meet Irish people on the streets, at protests, and seek answers from sociologists, politicians, historians, economists and activists. Are Irish people really content to pay off private debts of a dead bank? And pass that burden onto their children to boot? Is it because the safety valve of emigration hides the real unemployment? Is the media a fair reflection of what’s happening or does it tell us what to think? How has our revolutionary history and the Troubles in the North affected our ideas of protest? How has globalization and neoliberal politics affected our collective solidarity?