Jack Hickey’s new short CYNTHIA focuses on the long-unspoken love of one woman to another – and the revelation during an awkward party in the aftermath of the title character’s recent traumatic experience that has affected her friends.
Film and TV Now spoke with the director about the film and its’ impact.
FILM AND TV NOW: The film sensitively handles the effect of suicide. Was the story based on any real-life person?
JACK HICKEY: No, not a particular person. But it was really interesting seeing that so many Irish short films on the current film festival circuit were working with these themes. Mental health issues like depression and anxiety are so pervasive in our society, and the sheer numbers make for very upsetting reading.
For me personally CYNTHIA is so much about the reaction of everyone else. This tight knit group of friends. All with unique reactions to her attempt on her life. Some, like Moe Dunford’s character Elliot, becoming so upset that it manifests as anger – he can’t process what has happened. And others like Valerie O’Connor’s Clem, are just so desperate for things to go back to the way things were. But with our film I think Cynthia, so sensitively played by Clare Dunne, has already been on a journey with this.
She’s already going through her process of psychotherapy, already being kinder to herself. It’s a journey that’s always ongoing. But I think there’s a hopeful message by the end of the film.
FTV: Clare Dunne holds the film together in the title role with a tear-jerking and heart-rending performance as she reveals her feelings. Tell us about her and also the rest of your ensemble cast.
JH: Yes, it’s a remarkable performance. The whole film was written as an actor’s piece. Having worked as an actor myself for many years I knew that writing for actors and working with them on performance would be one strength I’d have as a first time director. But with Clare, you can only hope you get so lucky that a role and an actor collide like that.
She approached the whole process with such delicacy, nuance, and empathy. The arc of her seeming so fragile and anxious at the beginning of things, to such immense bravery and articulation of her feelings by the end was incredible to watch. Then of course with the good fortune of having someone like her on board, we win the lottery by managing to populate the rest of this world with some of the best actors working in the country today. Moe Dunford (Vikings), Valerie O’Connor (Red Rock), Peter Campion (Derry Girls), and Caoimhe O’Malley (Dublin Murders).
Some I’ve known for the best part of a decade. All do such an amazing job. Making all of these characters so vivid. Since so much of the action is dialogue fired around a dinner table, we needed robust performances, and also a lot of chemistry. We were certain about all of these actors the second we started pre-production. But even still, I always marvel at what actors are capable of. And on the day it was so exciting to see them all come together like that.
FTVN: Given the subject matter, there is tremendous potential for this film to be seen by all genders regardless of background. Given the initiative by people like the Duke and Duchess of Cambridge to highlight the issue of mental health through charities like Heads Together, is this film going to be seen by the charity sector?
JH: I really hope so. We’ve only just begun our journey with this film I think. So in terms of our festival circuit, and outreach there’ll be plenty to do next year. It was always a mental health film for me, as so much of it is about being brave with your feelings, not suppressing them, regardless of the social context.
It’s one thing to speak your mind to strangers, but another to have the courage to do it in front of your friends. To talk about difficult truths. To be vulnerable. I think that’s what’s so disarming about Cynthia’s speech at the end. We’re not used to somebody expressing difficult emotions so fluently. My hope is that it’s very cathartic to watch.
FTVN: You shot in Portobello, Dublin. Tell us more about that part of the city.
JH: Well the whole thing was actually shot in my sister’s house! It’s the perfect location. One of the virtues of low-budget filmmaking, sometimes the simplest solutions are the best. It was really lovely shooting there actually.
Since my sister (Lara Hickey) produced the film, it all felt very domestic and comfortable working there. Almost as if we were hosting this dinner party ourselves. It made for such good vibes on set. Considering the difficult subject matter, we really did have such a great time shooting this. All amongst our friends, with good humour, and an immensely talented cast and crew.
FTVN: It’s been a while since films like THE COMMITMENTS and IN THE NAME OF THE FATHER were at the forefront of the Irish film-making experience. How is the industry doing these days overall?
JH: It’s an amazing time for Irish film. Production houses like Element continue to lead the international industry with monumental pieces of work like Room, and The Favourite. Lenny Abrahamson is one of my favourite directors working today. His body of work has some of my favourite films, namely Adam & Paul, What Richard Did and Garage.
Not to mention that thanks to the Section 481 tax incentive we attract some of the biggest projects to come and film here. Even the great behemoth that is Star Wars. It’s obviously helped actors like me accumulate credits such as Vikings and Penny Dreadful. So as far as I’m concerned there was no better place to grow up as someone keenly interested in film.
FTVN: Tell us about your crew.
JH: I couldn’t have asked for better. Philip Blake, our DoP, was so, so good. It’s actually difficult to nab him because he works on so many projects, but he was perfect for this piece. Every frame has such beautiful colour, and sensitivity. He brought such an amazing camera team.
Steve Rigney too, our 1st AD, pulling off miracles in getting our 22 page script shot in two days…I am still trying to bend my head around that one. Louise Gaffney-Farrell, a script supervisor I actually met working on Penny Dreadful, just gently kept me on point with some expert guidance.
Saileog O’Halloran, providing such exquisite costumes. Dean Murray, our sound man, capturing every word of the most dialogue heavy script conceivable. And so many others. It was really amazing to work with such talented people. Especially on my first project.
FTVN: You are known for acting in series like Game of Thrones. What were the key things you have learned from watching the directors you have worked with and when did you make the decision to become a writer-director and subsequently make the film CYNTHIA?
JH: Well admittedly I was in Game of Thrones very briefly.
But I think being on sets like this has a profound influence. The latest film I was working on Sea Fever, was very inspiring. Neasa Hardiman was an absolutely fantastic example to follow. She had worked predominantly in TV with projects like Jessica Jones and Happy Valley, and this was her first feature. I learned a huge amount watching her work. Her enthusiasm, her ease, how much she collaborated with the people around her. She’s an amazing talent.
The thing I learned most there, was the best way to be a leader. Warm, approachable, trusting, and an ability to be creative in the moment. The film premiered at the Toronto International Film Festival, and I can’t wait for more people to see it. In terms of when I knew I wanted to write and direct, I suppose I always wanted to, but sometimes it just takes a dam to burst and it all comes flooding out.
I can’t exactly place what that was, but a couple of years ago I just started writing and couldn’t stop. Having done CYNTHIA I can speak to how addictive doing something like this is, and I can’t wait to get started on the next one.
FTVN: The music plays an important part of the film. Tell us a bit more about the artists you commissioned to produce the soundtrack.
JH: This is Alma Kelliher (Lux Alma on Spotify). She did us the most magnificent original song for the ending, which is sampled throughout out as a theme, but really breaks out at the end. It was so beautiful to have someone respond to the script and come back with a piece of music that touches so much of the feeling of the film.
In terms of the other music that pops up at different points in the film, it was really important to us that we featured Irish artists. Some of the tracks are by some of the hottest up and coming talent in Irish music today such as Biig Piig and Soft Boy Records artists Brien and Five to Two.
The best part really is that it’s music that I love listening to myself. So to have the blessing of the artists to use them in the film was very, very cool.
FTVN: CYNTHIA is a very socially-aware film. Is this the sort of theme you would like to explore in your future work and are you interested in doing genre pieces in a lot of cross-over context?
JH: I think so, but the key element for me always has to be the feeling of the script, and whether there’s spaces for actors to shine. Film is obviously a great unifier, an area where people can tackle complexity, share an experience with the people they’re shoulder to shoulder with, and empathise with those on the screen, so films are always an opportunity to discuss these things. But if the script isn’t well honed, then all of this falls on deaf ears.
I’ll always gravitate towards things that place an onus on the writing. It is obviously a visual medium, but for me, character and empathy are two elements that need to be firing for something to grab me. So in terms of projects that I hope to work on in the future, whether it be a genre film or a piece of social commentary, or both, there’ll be these threads running through all of them.
FTVN: You have a production company, Copper Alley Productions. Tell us more about this.
JH: Yes, so this is my sister Lara and I.
She recently completed an MA in Creative Film Production, and has already hit the ground running with projects like Bainne, a Sky Arts/Screen Ireland short film written and directed by Jack Reynor, and starring Will Poulter. Both Bainne and Cynthia won awards at the Galway Film Fleadh earlier this year. Not to mention she’s worked across projects with the BBC, Element and NBC Universal.
So it’s really an umbrella for the two of us to collaborate together, and also with scripts and artists we enjoy. We have grown up together, so have many of the same sensibilities and tastes. It was really amazing to have her there at the monitor with me shooting Cynthia. There’s no opinion more important to me than hers.
FTVN: Finally, are there plans to expand CYNTHIA into a feature-length project?
JH: Actually, that question was put to me recently. Cynthia feels very rounded, so there’s a danger of revisiting this and exploring the same things but taking longer. Then of course, as the mind tends to do, I started entertaining possibilities and now I’m feeling rather conflicted…
