Finally got to see Conor Horgan’s exceptional debut feature, One Hundred Mornings, last night. Though set in a post-apocalyptic Ireland, this subtle, intelligent film focuses on the human drama played out among its four central characters rather than the science fiction future of a Western world that has somehow fallen apart. Beautifully shot in muted, earthy colours, One Hundred Mornings is both harrowing and humorous, though the overarching tone is one of grim stoicism. Horgan elicits some fine performances from his tiny cast, and a cloying claustrophobia is expertly juxtaposed with a vast, surrounding emptiness. The film premiered at the Galway Film Fleadh in July, but has yet to get a general release: in case it does, I won’t go into any further detail though I’d love to witter on about the joy of a new film talent and the finer points of the flick, but if it does, and you do get a chance to see it, then do. And you don’t have to take my word for it: here’s what yon Screenwriter Donald Clarke said about it.