Emer Higgins (Dublin Mid West, Fine Gael)
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I move: "That the Bill be now read a Second Time".

I am pleased to introduce the Irish Film Board (Amendment) Bill 2025 to the House. It was initiated in the Seanad on 14 November and passed through the final Stages there on 26 November. I look forward to hearing Deputies' contributions and I hope they will support this Bill. Officials from the Department of Culture, Communications and Sport will be with me shortly and can provide any information anybody here might like.

This is a short, technical Bill. The Irish Film Board (Amendment) Bill 2025 has one important objective, namely, to increase the statutory limit on the cumulative capital outlay, commitments and liabilities that can be advanced by Screen Ireland, which was formerly known as the Irish Film Board. The limit will be increased from €500 million to €840 million. As is the case with some statutory bodies that receive public funding, a limit was set by statute on such outlays in the Irish Film Board Act 1980. This limit must be reviewed by the Houses of the Oireachtas every six to seven years. In this way, the Oireachtas can monitor cumulative capital funding to this statutory body each time the limit needs to be increased. Since the Irish Film Board Act 1980 was first enacted, the funding limit has been adjusted upwards on six occasions. It is now proposed to increase this limit to €840 million to allow Screen Ireland to continue to operate within an appropriate statutory limit. The proposal to increase the limit on advances is an enabling provision. Funding of Screen Ireland is, of course, subject to the normal Estimates procedures as set out by the Department of Public Expenditure, Infrastructure, Public Service Reform and Digitalisation. The proposed legislation will not, therefore, mean any additional cost to the Exchequer as Screen Ireland’s annual allocation is set by the Oireachtas each year.

Section 2 cites this Bill as the Irish Film Board (Amendment Bill) 2025 and, together with the Irish Film Board Acts 1980 to 2018, will be cited as the Irish Film Board Acts 1980 to 2025.

Screen Ireland is the national development agency for Irish screen sectors including feature film, TV drama, animation, creative documentary and digital gaming. Screen Ireland operates within the framework of the Irish Film Board Acts 1980 to 2018. Its statutory remit is to assist, encourage and develop the screen sectors across the State. Screen Ireland supports these sectors by providing investment loans for the development, production and distribution of film, television and animation projects. The allocation to Screen Ireland will be €42.96 million in 2026. This is an increase of €2.1 million, or 5.1%, on the amount allocated this year. The additional funding in 2026 will allow Screen Ireland to keep the indigenous production levels at a pace consistent with previous years. It will enable Screen Ireland to encourage more regional production in the Irish language, continue the talent academies and have an increased focus on digital games.

Screen Ireland is the creative partner to the screen sector, investing in talent, creativity and enterprise. With a comprehensive range of practical funding supports across development, production, distribution, promotion and skills development, since 2018, Screen Ireland has assisted in the production of 115 feature film projects, 44 television dramas, 80 documentaries, 41 animation projects and 69 short films. Screen Ireland has also supported projects for distribution and has seen the development of over 1,100 projects in the period.

With the success of Irish screen productions, activity is increasing in the sector. This is made evident by the dramatic increase in applications for funding to Screen Ireland. In 2025 alone, Screen Ireland reported an overall 65% increase in the number of applications for its various funding streams when compared with 2024, which itself was a dynamic year. Screen Ireland-supported films won 78 national and international awards in the fields of film, TV and animation. Through Screen Ireland, Irish film has sustained a presence at A-list festivals, from the historic selection of “Kneecap” and “Small Things Like These” at Sundance and the Berlin Film Festival to an unprecedented showing for Irish film at the Cannes Film Festival, which listed “The Apprentice”, “September Says”, “Kinds of Kindness”, “On Becoming a Guinea Fowl” and “The Surfer”. The selection of a film to be shown at A-list film festivals, whether Cannes, Berlin, Venice or Sundance Toronto, is a huge honour, and only the world’s best productions are chosen. Screen Ireland continues to support emerging Irish talent through screenings, networking events and talent promotion initiatives at major festivals throughout the year.

Screen Ireland began funding TV drama in 2015, and since then, the output for TV drama production in Ireland has seen a remarkable increase, almost tripling in production spend. Deputies may be familiar with some of the fantastic Irish-based TV dramas made possible in recent years by Screen Ireland’s support. These include “Obituary”, “The Dry”, “Hidden Assets”, “The Young Offenders” and “The Walsh Sisters”. Feature films include “That They May Face the Rising Sun” and the Irish language film “Báite”. One to watch out for is “Saipan”, which is coming to our cinemas in January. It is about the events at the 2002 World Cup, and stars young Cork actor Éanna Hardwicke as Roy Keane, alongside Steve Coogan as Mick McCarthy. This is apt timing, with the World Cup draw taking place tomorrow in Washington DC. I really hope to see the Republic of Ireland take part. These are just a few of the many wonderful productions with which Screen Ireland has been involved.

Screen Ireland operates a dual approach to industry development. It is one that maintains a balance between indigenous productions and incoming internationally mobile projects. That creates a range of opportunities for Irish creatives to work in partnership with Irish or international studios. The success of this approach has resulted in a stronger and more sustainable environment for screen production. As our screen industries continue to grow, balance and partnership remain priorities, alongside an enhanced focus on sustainable production.

Screen Ireland is committed to the development of the indigenous audiovisual industry into the future, supported by the agency’s strategic plan 2025-2029, and working with all stakeholders and industry partners to collectively deliver on the Government’s ambition to establish Ireland as a global production hub. As an agency, Screen Ireland remains deeply committed to best practice and the principles of sustainability in all aspects of industry development, including environmental protection, green production, dignity in the workplace and nationwide development.

A skilled workforce in the screen sector is a crucial component for the development and maintenance of our screen industries. Screen Ireland has a skills and training division that is responsible for monitoring the needs of the screen sectors and ensuring that those needs are met at all levels. As part of its skills programme, for example, Screen Ireland has co-developed a bachelor of arts in screen industry practice, in conjunction with TU Dublin. The degree course is aimed at experienced professionals within the sector who do not have a level 8 qualification. There are currently 30 people enrolled in this course. Screen Ireland also supports initiatives across animation, digital games, TV, VFX and the unscripted and extended reality sectors, aimed at all levels, from new entrants to experienced professionals, as well as engagement with our next generation of young filmmakers in the 15- to 19-year-old age category.

A skilled workforce is achieved through partnership and collaboration, and building a stronger ecosystem supported by stakeholder organisations, Screen Ireland's national talent academies network and Irish production companies nationwide. The national talent academies network is a recent initiative of Screen Ireland and includes the national talent academy for film and television, led by Ardán in Galway, the national talent academy for animation, led by Animation Ireland, the national talent academy for VFX, led by Cultural & Creative Industries Skillnet, and three regional crew academies in Galway, Limerick and Wicklow. This network has been established to develop a highly skilled, diverse talent and crew base throughout the country, offering a wide range of activities for the Irish screen industry, including courses, programmes and career opportunities. The overarching aim of the national talent academies is to address and support current educational skills gaps in the screen sector and support the next generation of creatives - filmmakers, producers, directors, screenwriters, animators, VFX artists, game developers and production crew. The approach that Screen Ireland has taken is the envy of many of our competitors.

Screen Ireland aims to support and promote Irish film, television and animation through fostering Irish artistic vision and our diverse creative and production talent, growing audiences and attracting filmmakers and investment into the country. Recent years have been significant in terms of Irish creative talent and the Irish screen industries for the commercial and critical plaudits of Irish film not only at home but also on the international stage. Our highly trained and skilled shooting and construction crews are crucial in making Ireland an attractive location for projects, with record-breaking productions like “Wednesday” locating here. The Irish screen industries are now in a strong position as a result of years of investment by the Irish Government.

Regional production taking place across Ireland brings cultural and economic benefits to the entire country. Crucially, this can also provide the opportunity to build cultural infrastructure in new geographic areas and to tell more diverse, cultural stories on our screens. Alongside its national talent academies network and support for film festivals in Cork, Galway, Dingle and beyond, Screen Ireland has committed to regional development by ring-fencing its funding in its annual budgets in recent years to provide targeted support. This year alone, its nationwide additional production fund has supported seven different productions to film in counties Sligo, Cork, Donegal, Louth and Kerry, while large-scale TV productions like “Wayfinders” set up their base in Troy Studios, Limerick. This is providing skills development programmes to local crew and new entrants based nearby. Over the next year, we will see a range of productions of all sizes being encouraged to film in regions around the country, including season two of the very successful Irish language series “Crá” in Donegal.

The need for continued Government investment is vital to build on these success stories. We cannot afford to rest on our laurels. We must seek out new opportunities to give our industry the help and opportunities it deserves. Screen Ireland supports the games sector with its innovation in storytelling development fund, in partnership with Animation Ireland. This initiative is now in its fifth year and has supported digital games prototypes to support existing series, new tech workflows and the exploration of a range of new storytelling formats.

More recently, Screen Ireland has launched several funding initiatives for digital games, including IndieDev, the first all-island initiative to support the development of games prototypes, as well as talent incubator schemes designed to encourage cultural, creative and commercial growth in the sector. The agency is also working jointly with IMIRT, the game developers' representative organisation, to develop a competency framework for the industry. This will support and further build a skills development pipeline that can sustain growth into the future. Ireland’s digital games sector has shown sustained momentum in recent years. Despite the real challenges posed by a very competitive global landscape, we are witnessing a growing ecosystem of studios, talented artists, supportive programmes and international investment.

The Minister, Deputy Patrick O’Donovan, has indicated that he intends to bring forward further proposals to amend and update the Irish Film Board Acts next year. There is potential for growth in the Irish digital gaming sector. This is a sector in which Screen Ireland will be taking a greater role over the coming years.

In an increasingly competitive international environment, Screen Ireland will be able to continue to effectively discharge its vital role of promoting our indigenous film industry and marketing Ireland as a location for incoming internationally mobile productions.

Our cultural and artistic identity gives us a competitive advantage. The benefits of high levels of film and television production in Ireland include increased international investment in the economy, increased employment in this sector, positive spin-off effects for promoting the country as a tourist location and as an industrial location for all aspects of creative endeavours.

That is why I am really pleased to commend this Bill to the House.

Aengus Ó Snodaigh (Dublin South Central, Sinn Fein)
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Is Bille teicniúil é seo chun deis a thabhairt d'Fhís Éireann leanúint ag tacú le scannáin in Éirinn sna blianta amach romhainn. Ní chuirfidh Sinn Féin i gcoinne an chuspóra sin. Tá éacht den scoth bainte amach ag an earnáil scannánaíochta in Éirinn leis na blianta anuas. Tá Sinn Féin tar éis tacú go mór leis an earnáil. Anuraidh, d'fhoilsigh Sinn Féin plean cuimsitheach le deich dtosaíocht maidir le scannánaíocht mar chuid d'ár bpolasaí ealaíona. Táim tar éis trí Bhille a thionscnú sa Dáil seo chun tacú le hoibreoirí scannán, le déantús scannán lasmuigh de Bhaile Átha Cliath agus Chill Mhantáin, agus le rochtain a chinntiú do chách ar sheirbhísí closamhairc trasna an oileáin.

The reason we in Sinn Féin have put so much time and energy into producing dedicated policies and introducing Bills to support our film industry, performers and audience access is film is vital not only for the creation of jobs and bringing investment to our regions, but also to the nation both in terms of how we are seen by others and how we view ourselves. When Irish films succeed, our economy, society and culture benefit. Thanks to the tremendous work of screenwriters, cinematographers, producers, directors, editors, cast and crew, as well as the hard work and investment of State bodies, including Fís Éireann, Ireland can boast of enormous success in recent years, from which we have all benefited. Not alone has Ireland witnessed unprecedented wins, from the Oscars to the Sundance Festival, but a golden age has emerged, in particular for film-making in our native tongue. This golden age has been a long time in the making. Last year marked 90 years since the seminal documentary, "Man of Aran", which focused on saol na hÉireann, and since then we have seen many other films. In particular, of late we have had "Kneecap" and "An Cailín Ciúin" but they are not the only ones that have been cited by many. We have also had "An Taibhse", "Fréamhacha", "Arracht" and even "Foscadh" and "Róise agus Frank", which have put the spotlight on many of the contrasting ways our society operates and brings grief, in some cases, and joy in other cases. They often revolve around strong women working together and carrying out, in one of the films, "Aontas", a heist on a credit union in, or the women's naomhóg race in "Tarrac". I urge everyone who is listening in, if they are at all, to look at the Irish language films and at the Irish made films in the first instance and see they are products of our investment and the likes of this type of legislation, which encourages films to go a long way.

Major changes are required and this is one of them. We are supportive of the intention of the legislation. It is a practical step, and a technical step in some ways. It is an acceptance of the real life of cinema. We must acknowledge there are problems within the industry. The Minister of State will be aware of some of the issues I and others in the opposition have been raising consistently over the past few years. I have had this conversation with the Minister, Deputy O'Donovan, and he has indicated he will examine some of the issues and maybe in other legislation that has been mooted there will be changes forthcoming.

The three major issues that must be addressed are the rights of workers and performers, the imbalance in the regional development of the sector and the failure to deliver funding potential for our cultural sector. I raised the issue of rights for workers and performers only last week in our discussion on the Finance Bill and I welcomed the commitments given by the Tánaiste in response because we need to ensure that from wherever State support is being provided to film productions, whether it is through Fís Éireann or another form of tax relief, that it does not contribute in any way to undermining worker's rights and conditions or it is not in violation of copyright law, in particular the EU copyright directive, because that directive outlines that performers have an unwaivable right to equitable remuneration and we know there are incidents where State-supported film productions are forcing performers to waive their rights and accept remuneration as proportionate before knowing what proportion it is in terms of their future revenue. That is unacceptable.

I quoted from one company last week that is in a coproduction with a US company that filmed in Ireland this year and was in receipt of the section 481 tax relief. The contract stated:

The artist acknowledges that the fees payable herein constitute a complete buyout of all rights contemplated hereunder and the artist shall not be entitled to any further sums whatsoever by reason of the exploitation of the film or other exploitations permitted hereunder ... No further sums are payable to the artist, or to the artists under this agreement, whether in respect of the hours worked by the artist or under any collective bargaining agreement, or in connection with the use or the exploitation and/or the promotion of the film unless otherwise expressly stated herein. ... To the extent that the artist becomes entitled to any use, fees or residuals in respect of the film, no obligation shall be placed on the company in relation to the collection of payment of such moneys.

The law is meant to protect the vulnerable from being pushed around and having their rights denied. That is exactly what that contract would do and it is in breach of the EU directive. We need to expose this when this happens and back those who wish to take a stand because the problem is if someone refuses to sign these contracts, he or she will not get the work. In an industry where work can be precarious and consist of going from film to film, if people are cut out, while they may not be blacklisted, they will not get another contract because there are only a certain number of them. We need to send a message that any State support, whether through Fís Éireann or a licence under section 481, will not tolerate any undermining of those rights.

I encourage the Minister of State to meet Irish Equity in particular, in future, to hear out the concerns around the contracts and the buyouts and to speak to film workers who have been raising issues of industrial relations and blacklisting in the industry for years.

The other issue I want to raise if that of the regional imbalance. There was an attempt to address this in 2019 when there was a short-lived regional uplift on top of section 481. That did not have an effect because it was truncated in the middle because of a two and a half year interruption due to Covid. While it was extended for an additional year, it was being tapered out anyway so we did not have the full effects of that. Maybe the Minister of State could look again at reintroducing it to see whether it would address the imbalance whereby most of the film productions and companies are located on the east coast, and in the Dublin region in particular. A "Gaeltacht uplift" is another way to look at it but it is something that would help and the Minister indicated he would look at it again. I am just using the opportunity to encourage him to do so again.

The other issue that needs to be considered is how to ensure Irish music, musicians and composers are used and get the full benefit of all of these films being produced in Ireland, We have some of the best musicians in the world and we have seen that on every world stage and through every genre of music.

There is no guarantee while the film companies are benefiting from the section 481 tax credit that Irish-based composers should continue to be used but also that the companies would be encouraged to consider them. None of the high-end productions that are filmed in Ireland have been using the composer of late. The Screen Composers Guild of Ireland has collected data that show that the level of productions in receipt of section 481 credit who employ Irish-based composers or use any Irish-based contribution continues to remain static at 30% and none of these productions are in the high budget bracket. This falls short of what the guild has said is an acceptable level given that the tax credit is, in fact, tax foregone by our society. If we are going to give away taxpayers' money or at least not call it in, we should ensure that we get the best and the most possible benefit and that includes ensuring composers have a role in productions.

The Irish Music Rights Organisation, IMRO, in its prebudget submission last year, expressed its concern that despite music being a vital component of film success, most section 481 schemes do not specify or mention music in their applications, unlike schemes in Britain. That is one of the key points. We need only look across the shore and see the benefits of investment in music in film, but also that many working in the film industry, actors or screenwriters, have a better contract than their Irish counterparts are being asked to sign. In fact, in some productions in Ireland, people are directly recruited to the film in London and the ones recruited in Ireland have two separate contracts, one of which, the English, is more beneficial.

Screen composers have outlined that music for film is highly international and competitive and in order for Ireland and Irish-based composers to compete successfully, it is important that music creation be supported overtly within the Irish audiovisual tax credit mechanism and that this is comparable to similar incentives offered by international coproduction partners to ensure that there is no in-built disincentive to bringing music departments to Ireland where coproductions are availing of multiple incentives. We believe that there are constructive solutions. They might not be ones that we will fully address in this Bill, but I intend to table one or two amendments to the Bill on Committee and Report Stages, to address some of these issues as they relate to this, as I said, technical Bill. We will have that discussion next week when this Bill comes before the House again. I tabled those amendments earlier, which, I think, was the deadline even though we are only on Second Stage. I sent them in and we will have the opportunity to discuss them next week. We would be standing up for Irish workers and artists if the amendments and the suggestions I and many others have tabled were adopted. My amendments are not aimed at hampering the industry in any way. They are aimed at enhancing it to all of our benefit.

Sin an méid atá agam faoi láthair. Tá brón orm. Ní féidir liom fanacht mar tá grúpa ón bPalaistín istigh agam faoi láthair. B'fhéidir go mbeidh mé ar ais roimh dheireadh na ráiteas.

Ruairí Ó Murchú (Louth, Sinn Fein)
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We all love the idea of a thriving Irish film industry, whether we look at it, historically, through the likes of "My Left Foot" and "In the Name of the Father" right through to "Kneecap" and "An Cailín Ciúin", a lot in between and many smaller enterprises. We all should take great pride in this. We are only too delighted if section 481 is used as a means of enhancing the film industry and ensuring that we continue with this and we can improve upon it.

When we talk about the cultural test that is meant to be implemented and we look at the industry that we should have, we all would like to say that there would be some sort of State buy-in and, beyond that, that we would ensure that we would have a well-looked after and well-paid professional workforce that also ensures the sustainability of the film industry. That has been raised by Deputy Ó Snodaigh. I also have had many interactions on this particular point. Last week, Deputy Ó Snodaigh and I had an interaction with the Tánaiste and Minister for Finance on section 481, and Deputy Ó Snodaigh withdrew his amendment to the Finance Bill on the basis of a promise made to examine this properly. We have all seen the cases that have been before the courts on the specifics of who is an employer. When a film is being created, a designated activity company, DAC, is put into operation. The DAC lasts for the entirety of the film but the fact is it is the employer but then it disappears. When we are talking about the European working time directive and ensuring its enforcement and other issues, they are not necessarily issues because the producer draws down the section 481 relief but the DAC is the employer. Unfortunately, I am almost like a broken record on this because this issue still has not been resolved.

My big fear around this is workers highlighting how their rights have been overridden and even being blackballed. Blackballing can happen in the film industry a lot easier than in other industry because, even though for many years somebody could be in constant employment almost with the same production company, multiple DACs are formed for every film being produced. If there is a particular issue and somebody needs that looked at, be it in relation to the working time directive or whatever, the fact is he or she might not necessarily get the phone call the next time. This is about ensuring workers' rights, which are taken for granted. I do not want to overegg it but we have used the analogy previously of the 1913 Lockout. People require to a call for a production and if someone makes a determination across the board that they or a number of their cohort have been involved in looking for rights for workers and ensuring that those rights are enforced, they might not get the call and the phone will not be as much use as it was beforehand. This is something that definitely needs to be looked at.

An issue has been brought on multiple occasions relating to Irish Equity, copyright and so-called "residuals". Deputy Ó Snodaigh brought it and I have no doubt Deputy Boyd Barrett will as well. It is Christmastime. Could the Minister of State imagine if somebody was forced into a contract that meant that moneys that would be due to them were not due to them into the future and were owned by somebody else altogether and what should be theirs had been taken away from the point of view of their creative endeavours? Let us imagine that person was George Michael or Mariah Carey. They would be down a huge amount. While we are not quite sure that "Die Hard" is a Christmas film or not, if Bruce Willis had to sign away his residuals that would be very different.

Richard Boyd Barrett (Dún Laoghaire, People Before Profit Alliance)
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There would be hell to pay.

Ruairí Ó Murchú (Louth, Sinn Fein)
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Indeed, there would. "Yippee Ki‐Yay", and all of that. That is the reality. I am not trying to make light of it. That was not going to happen in these sets of circumstances but it has happened to loads of people who work in the Irish film industry and that is not okay.

This is not some industry that is operating away on its own independently. This is an industry that is rightly supported by the State. We need to find a mechanism whereby we continue with section 481 but we ensure that section 481 ensures there is the correct cultural output required and that we have a film industry that gives people the correct type of work, be they directly involved from in the crew or appearing in the set and being filmed.

If we do not have that, we might have the horror stories we have all heard about phone calls not being made to the people who have all the experience. While it is important to have trainees, sometimes the ratio can be the wrong way and there may be too many trainees. This might result from someone looking at it from the point of view of saving money. The film industry is a fabulous thing. We all want to see it continue and be supported, but we need to make sure that workers' rights and artistic endeavours are looked after and that there is a sustainable industry, particularly when the State looks into it. We have an industrial relations infrastructure and framework but it is a very different situation in the film industry from many others. I would like the Minister of State to look at this issue and follow up with the Tánaiste on his promises.

Conor Sheehan (Limerick City, Labour)
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I congratulate the Minister of State on her uplift to higher office. I welcome this Bill. I am pleased to have the opportunity to speak on it and more broadly in support of the arts, one of the most powerful forces shaping our culture, society and reputation around the world. The success of the Irish film industry is something we in the Labour Party are very proud of. It was Michael D. Higgins, as Minister for Arts, Culture and the Gaeltacht, who established the Irish Film Board way back in 1993. He had the foresight and vision to put in place the building blocks of what has become a really remarkable Irish success story, with tax incentives, training initiatives and direct supports that laid the foundations for a thriving, world-renowned screen sector. These State supports were transformative. They turned Ireland into a leading international filming destination attracting major productions from "Saving Private Ryan" to "Braveheart" while nurturing our own creative talent and storytelling traditions. Most recently, the Netflix series "Wednesday" was filmed in various locations around Ireland.

We are proud that our Labour Party vision helped to reshape Irish film and remains something we are very proud of. For that reason I welcome this Bill, which raises the cap on the supports that may be provided by Screen Ireland. Increased investment is essential to ensure high-quality indigenous productions continue to thrive. We want to see more extraordinary films like "An Cailín Ciúin" and "Kneecap", works that captured global attention and showcased the artistic brilliance emerging from Ireland. It is not only film; we have become a powerhouse across television, documentary, animation and games. Irish directors, writers, actors and craftspeople consistently punch far above their weight for our small but mighty country - long may that continue. Most recently, "The Traitors" was a huge success. It even prompted a Labour Party WhatsApp group to keep everyone informed. If this Bill were to be delayed, the essential funding pipeline for upcoming productions would also be delayed. That would put unnecessary pressure on producers, on employment and on Ireland's international reputation as a reliable partner for production so we are very pleased to support the legislation. At the same time, it is important that we use this moment to reflect honestly on where our domestic screen landscape can and must improve.

Section 481, the backbone of our internationally competitive film industry, has served Ireland well. The industry is changing rapidly across the world, however, and we need to ensure our tax relief remains fully competitive, agile and strategically aligned with the future needs of the sector. We should ask at this stage whether similar models of support should be extended to musicians. Far too many artists and performers are struggling in an era dominated by global streaming platforms where revenue models have shifted dramatically. If a version of section 481 could help to support film, why should we not consider whether it could also help to sustain Ireland's extraordinary music talent? Films and music go hand in hand as most films have a soundtrack that can often do just as well if not better than the film itself.

Above all, we must insist that our film and creative industries, which are built on imagination, innovation and collaboration, are places where workers are treated fairly, safely and with respect. Too often, we have heard stories of unfair work practices and of people, particularly younger people and women, being made to feel unsafe or exploited. If public money is supporting production, public values should underpin the conditions of that support. The Labour Party has long argued that access to section 481 relief should be conditional on offering secure, safe, high-quality employment with terms and conditions equivalent to those in other leading film nations. Workers' rights must be upheld not as an aspiration but as a requirement. I urge the Minister of State to take that commitment seriously.

I want to highlight the vibrant ecosystem that surrounds filmmaking - the festivals, community cinemas and local arts organisations that create space for Irish talent to be celebrated. I make this speech today on behalf of my colleague, Deputy Robert O'Donoghue, who unfortunately cannot be here. He asked me to give his constituency of Dublin Fingal West a twist. It has remarkable film festivals that bring people together, showcase Irish and international work, support local creatives and foster the next generation of filmmakers. These events are part of the cultural fabric of our communities. They educate, inspire and connect us. Supporting the screen sector means supporting them too. Most recently in Dublin Fingal West, they had the beautiful film "Sunphlowers" set in Rush in conjunction with the local theatre, Millbank Theatre.

Let us remember the substance behind this Bill. Screen Ireland operates under the Department of culture and is tasked with supporting and encouraging the making of films, developing the industry and promoting Irish culture on screen. It participates in international collaborations, supports skills development across film, TV, animation and games and promotes inward investment. Under section 10 of the film board Act, Screen Ireland's total investment is capped. As of December 2023, €430 million of the €500 million limit had been reached. There were five previous increases to this cap, reflecting the sustained growth of the industry. Budget 2026 increased Screen Ireland's budget by €2.1 million, bringing it to almost €43 million, a 5% rise. Section 481 offers a tax credit of 32% for qualifying productions, capped at €70 million with requirements for cultural value, employment standards and skills development. These are not abstract policy measures; they are the engine of an industry that now produces acclaimed works such as "Small Things Like These", "The Wonder", "The Apprentice", "Normal People" and "An Cailín Ciúin" among many others.

The arts are not a luxury; they are a necessity. They shape who we are, how we see ourselves and how the world sees Ireland. They sustain jobs, drive regional development and help to build a society that values expression, diversity and creativity. By supporting this Bill, we are not simply adjusting a funding cap; we are reaffirming our commitment to Ireland's creative future, to our actors, musicians, screenwriters, designers, animators and cinematographers and to all those whose artistry enriches our lives. Let us ensure they have the funding, protections and respect they deserve. Let us keep building the conditions in which Irish creativity can thrive safely, fairly and proudly.

I would like to draw the Minister of State's attention to another pressing matter. While going slightly off topic, I want to address the sudden and deeply concerning closure of The Complex in Smithfield, a cultural and artistic space that has served as a vital hub for creativity, community and expression in our capital city. The abrupt nature of this closure is yet another stark reminder of how Dublin is steadily losing its cultural heartbeat. It is a consequence of unchecked commercial pressure, a lack of meaningful Government intervention and ongoing silence when it comes to the urgent need for nightlife and cultural space reform.

As the Labour Party has consistently highlighted, since 2000 more than 522 cultural and arts venues have closed nationwide. In Dublin today, we are left with only 23 late-night venues in operation.

Mark Wall (Kildare South, Labour)
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The Deputy should keep his comments relevant to what we are talking about today.

Conor Sheehan (Limerick City, Labour)
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This decline is not sudden; it is the cumulative result of years of neglect.

In the time I have available to me, I want to talk about the fantastic work being done in my constituency by Film in Limerick, which is an initiative of Innovate Limerick that provides valuable local supports and acts as a point of information and contact for film in the region. We had a film lab that launched in Limerick last July, bringing 18 producers from Ireland, Canada and Scotland together. We really need to see a return of the regional uplift for film in Ireland.

Cormac Devlin (Dún Laoghaire, Fianna Fail)
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I welcome the opportunity to speak on the Irish Film Board (Amendment) Bill 2025. Before I do so, however, and since we are discussing Irish screen production, I would like to formally express my condolences on the sad, sudden passing of Hugh Wallace, who was not originally a television presenter but certainly endeared himself to the Irish public on the many shows he presented. I express my condolences to his husband, family, friends and colleagues.

This is a short, technical Bill, as the Minister of State has highlighted, but it carries real significance for jobs, creative talent and the stories we tell about Ireland. Its core purpose is straightforward: it raises the statutory ceiling on Screen Ireland's cumulative capital outlay and commitments from €500 million to €840 million. In effect, it ensures the agency can continue to fund development and production without hitting a legal wall in 2026. This is necessary as, under the current legislation, the €500 million limit will be exhausted once the full 2025 allocation is drawn down. By the end of 2024, the aggregate figure already stood at over €467 million, meaning that without this Bill the 2026 programme would breach the limit. The sector is growing and the demand for Irish content is also growing. Screen Ireland has demonstrated its capacity to deploy funding effectively. This legislation gives the agency the headroom to continue this good work.

The Oireachtas has had to adjust the ceiling several times over the past decade as the screen sector has expanded. The increases reflect the success of the industry. Sustained investment has driven creative output, talent development and economic returns. That remains true to this day.

Screen Ireland, formerly the Irish Film Board, is the national development agency for film, television, animation, documentary and digital production. Its mandate spans development and production finance, distribution and festival support, promotion, and, crucially, skills and talent development. It sits on a lineage that has helped to transform Ireland from a location for other people's productions into a country with a rich, self-confident screen culture of its own.

Since 2018 alone, the agency has supported the development of more than 100 feature films, dozens of TV dramas and documentaries and a constant stream of animation and short films. This activity translates directly into opportunity for writers, directors and performers but also for the crews and craftspeople who make up the backbone of the industry. The industry means work for carpenters, costume designers, editors, caterers and post-production teams. That diversity of employment is one of the sector's great strengths.

Irish work has also made a decisive impact internationally. Recent years have brought a record number of Oscar nominations and global acclaim for films like "An Cailín Ciúin" and "The Banshees of Inisherin", as well as Irish-based television series that travel well, from "The Young Offenders" to "Hidden Assets", to name but a few. These achievements are grounded in talent but also in the strategic support Screen Ireland provides. The agency pursues a dual strategy: backing indigenous Irish stories and attracting incoming, internationally mobile productions. Both matter. Irish stories preserve and amplify our cultural voice. International productions bring investment, skills development and global visibility. Ireland can compete successfully for these productions due to the consistent quality of our crews, our location and our policy environment.

Skills development is central to this. Screen Ireland's training and talent initiatives have expanded significantly in recent years. The National Talent Academies network, covering film and television drama, animation and visual effects, VFX, ensures that emerging talent across the regions can access structured development pathways. The Minister of State referred to the regional crew academies in Galway, Limerick and Wicklow. These are helping to deepen the skills base outside Dublin and ensure the growth is genuinely nationwide. This whole-of-pipeline approach is essential if we want a sustainable industry in the long term.

The Bill sits alongside the substantial Government support delivered through recent budgets. Through budget 2026, for example, funding for Screen Ireland will rise to €42.96 million, an increase of over 5%. This is a clear signal of the Government's commitment to building a competitive, future-focused screen sector.

On the taxation side, there have been important enhancements to section 481. The 8% Scéal uplift, introduced in 2025, strengthens the economics of live-action and animated features with budgets under €20 million, a zone where Irish and European co-productions thrive. A further 8% uplift for VFX in budget 2026 recognises the importance of post-production and visual effects to competitiveness and to high-value employment, especially as international demand for VFX capacity continues to rise.

The Government has improved the digital games tax credit, which is helping to develop a connected creative-tech ecosystem alongside film and television. We have increased the overall cap for section 481 productions to €125 million, and work is under way to introduce a new 20% unscripted programmes tax credit. This will support high-end factual and documentary formats, representing an area where Irish producers are well placed to excel.

All of this forms part of a coherent audiovisual strategy. This entails backing local talent, attracting global productions, expanding skills and ensuring Ireland remains competitive in a fast-moving international environment. The benefits are broad. A strong screen industry enhances our reputation, supports tourism and showcases Ireland's culture and landscapes to global audiences. It creates high-quality jobs across rural and urban areas. It sustains Irish-language production, children's programming and diverse storytelling that reflects modern Ireland. It also supports regional development, particularly where studio facilities and crew bases are emerging outside Dublin.

However, we should be honest about the challenges, some of which have been alluded to. Other countries are constantly reshaping their incentive regimes. The economics of streaming and distribution are shifting rapidly. Smaller companies and freelancers can be vulnerable to international disruption, as we saw during recent global strikes. If we want to keep our talent here, and avoid a drain to London, Budapest or Vancouver, we need to plan ahead and provide stability. That is exactly what this Bill does. By increasing the capital ceiling to €840 million, we are giving Screen Ireland the certainty it needs to deliver on its strategy for 2025 to 2029 to support both indigenous creativity and internationally mobile projects, and also to maintain a strong skills pipeline across the regions. We are also sending a clear message, which is that Ireland is open to investment and collaboration and committed to supporting our creative industries.

I welcome the Bill and commend the Minister of State and the officials on introducing it. This necessary and practical step will allow Screen Ireland to keep backing Irish stories, Irish talent and Irish jobs. I welcome the Minister of State's commitment to expanding the funding, particularly for digital gaming. I want to be associated with the remarks of colleagues on the need to support workers' pay and conditions. Everyone must have fair, decent working arrangements. I am happy to support the Bill. I look forward to the next chapter of Irish film and screen production.

Richard Boyd Barrett (Dún Laoghaire, People Before Profit Alliance)
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I welcome the opportunity to speak on this Bill. As I understand it, it is about raising the aggregate amount that Screen Ireland can give out, presumably because we are near the limit of €500 million. The Bill proposes to raise this to €800 million.

I have long and repeatedly argued that we should increase the amount of money that we put into artistic and cultural endeavour generally, and into film. At one level, I welcome an increased commitment to support the film industry but I also, as the Minister of State, and certainly as officials in the Department of arts will know, have concerns about the conditions attached to that funding and whether the requirements for state aid to the film industry, which are set down in EU directives and, in the case of section 481, are legislated for, that you have to fulfil certain requirements in order to receive state aid for film, and the culture and industry tests, are being met.

There is no doubt, and many people have talked rightly, about the huge talent we have, and the successes we have seen in the film industry. I do not think it is a surprise to anybody because we know we have a tremendous pool of talent and creativity in this country, including writers, actors, musicians, the crew and all the various people who work in film. Enormous talent exists. It should not be a surprise that given the right support, they can achieve absolutely incredible things. It is right to list the successes and awards that have been achieved. I applaud all of that.

I am also concerned that while we need to increase the supports, we are not meeting those tests, particularly the requirement for quality employment and training in the film industry. There are two main dimensions of that that I want to talk about. First of all, there is the issue which was highlighted again in the High Court in the past few weeks. I am not sure if the Minister of State or Department are aware of this. There was a decision by Mr. Justice Garrett Simons in the High Court, in a case taken by stagehands who have worked in the Irish film industry. I was just looking through the details. I have not had the time to look at all of it and I have not read the full ruling. The judge found in their favour against motions put by one of the major recipients of Irish Film Board grants and of section 481 funding, one of the two biggest film producer companies in this country, Metropolitan Pictures. Similar types of cases have been and are being taken against the other major recipient by people who worked on Irish film productions for Element Pictures, the other major recipient. They are the two dominant recipients. There are a few others but they are the major recipients of State support for the film industry.

The first thing I would ask the Government, as I have repeatedly, but on this particular ruling, relates to the Departments of Finance and arts. Finance is relevant to section 481, although not so much to the Irish Film Board but obviously the film industry benefits from funding both from the Irish Film Board via the Department of arts and it and the Department of Finance through section 481. I ask them to look at that decision made in the courts because it related to a case taken by stagehands to the WRC over the failure over the film producer companies, which get money from the Irish Film Board and section 481 to vindicate their rights under the fixed-term workers legislation. It is complicated. I do not know how many times I have explained it. I will table an amendment on Committee Stage of this Bill saying that the giving out of grants and loans by the Irish Film Board should be contingent on very strict adherence to the obligations under fixed-term workers legislation, and that we do not have, as I certainly believe is the case, the issue with the cases taken by the stagehands. To try to summarise it, the WRC found in favour of the stagehands. The Labour Court then overturned that decision but then it went to the High Court and it essentially found in favour again of the stagehands. I do not think the Labour Court decision has been fully quashed yet but the High Court found in favour of the stagehands.

There have been many of these cases. It revolves around the fact that state aid to film producer companies in this country is contingent on giving quality employment and training. They get the money because they are providing employment but when people who worked on film productions made by those recipients and film producer companies which get the money take cases against their employer over, for example, not getting their employment rights properly vindicated, the film producer company goes into the WRC or the Labour Court and says it does not have any employees. It says the designated activity company, DAC, it set up has the employees, therefore the film producer company is not really their employer. That is sort of laughable. It is Russian doll sort of stuff. It is an abuse because, on the one hand, the company gets the money from the State on the basis that it is creating jobs, and on the other hand, when the people it is supposed to be employing say it is their employer but it is not giving them their rights, it says it has never employed them and has no employment relationship with them whatsoever. It might have set up the DAC but that is not the company but somebody else. To me, that is an abuse and should not be allowed to carry on. We have to stop giving money to film producer companies which are doing that until it is rectified.

What is the human cost of all of this? People who worked, in the case of that stagehand for 18 years in the film industry, are essentially cast out of the film industry because they try to assert their rights. They are blacklisted and they are left high and dry with nothing. Many of them would say they have been blacklisted out of the industry, having sometimes worked for 20, 30 or 40 years in the film industry. They are left high and dry with nothing because the people who have employed them again and again hide behind these DACs even though they are claiming large amounts of money.

Looking at the amount of money, if we have reached the limit of €500 million, half a billion has been given out since this started and we are now going to go up to over three quarters of a billion over the next few years. That is a lot of money. When you look at section 481 or its predecessors, it is probably €3 billion or €4 billion. That is a lot of money. I am in favour of that money being given out but I am concerned that we are giving out billions to people who say they have no employees.

The industry test as required by EU law is that we build up companies of scale. I think "companies of scale" is the phrase used in the EU directive. How can a company be a company of scale if it has no employees? Again and again, they go into the court and their employees come in and say, "You're my employer", but the person running the company says, "No, I don't have employees. I've never had employees. There are no employees. They are employed by a DAC that is now wound up". It is an abuse and it has to be stopped. It is completely unfair. I hope I have explained that.

We need to make the giving-out of these moneys conditional on that abuse stopping and the rights of workers need to be fully vindicated. Similarly with the actors and performers, the issues are different but it is to do with use of buyout contracts. The officials will be familiar with this. I know the Minister of State is new in the job and she might not be as familiar. Most actors at the best of times have a pretty precarious existence and do not really know when the next job is coming or where the next paycheck is coming from. Once upon a time they got royalties or residuals for previous performances they did on films. When films or TV series were shown again, they might get a small cheque of a few hundred quid in the post, which would be very welcome.

Despite the billions coming out of section 481 over the years, at €500 million now to go to €750 million from the film board, most of our actors and most people who work in the film industry live in poverty. While there are a few A-listers, the vast majority of them are not A-listers but they are absolutely critical to the existence of the industry, an industry where there are no jobs and there is very little infrastructure for all those billions, by the way. Where are our studios? We sold the last bit of Ardmore to an American company. Where is our infrastructure for all the billions we put in? We do not have any. Where did it go? Who has it for all those billions?

I am sorry about going off the point there. For the actors, performers, writers and so on, those residuals are critical. Now, however, apart from those A-listers or those whose agent can negotiate a better situation for them, in order to get a contract, they are handed a buyout contract where to get the job they have to sign away their right to royalties and residuals in the future. It is supposedly voluntary but the truth is that if they do not sign that, they will not be getting the job.

The Minister of State may have heard the phrase "You'll never work in this town again". There is a reason that is a familiar phrase to most people because it comes from showbiz. It was probably first heard in Hollywood or somewhere. This is a phrase that exists in the culture and arts, and film industry. It very much exists here. That phrase probably did not originate here - it probably originated in Hollywood or wherever - but it exists in reality here. If you do not sign that contract, you will not be working in this town again. It is as simple as that. Everybody knows it. It is the dirty secret but we do not acknowledge it. People are afraid even to speak about it because if they speak about it publicly, they may never work in this town again but everybody knows it. What are we going to do about it?

Given that the producer companies are getting all this money - as I said, I actively want us to invest in these areas - I believe we have to safeguard the rights of the talent. By the way, when I use the phrase "the talent", all of them are talent, including the guys who build the sets and paint the sets, the transport workers, right up to the actors, the make-up people and all the rest of it. Often a distinction is made between those in front of the camera and those behind the camera. I completely reject that. We need all these people and all of them deserve to be treated with respect.

In reality, the people who do the best out of it all are the producers. This may be a little sign of the way the industry is going. I do not want to sound too nostalgic but in the old days when the credits used to roll on films, we saw the names of the actors, the directors and the various crew people who made it happen. They were the most prominent things. Now, with an awful lot of TV and film productions, the most prominent things, often coming up first on the credits, are a long list of the names of the producers, the suits. The suits come up first. I think that is emblematic of what is going on in these industries. I went into the Labour Court with those stagehands. They had no legal representation at all. The film production company, which gets a lot of money from the Irish State, had a phalanx of legal advisers, experts, suits. Who paid for them to sit there and say to people they knew had worked on film productions funded by the State, "We have no employment relationship with you"?

I do not know how many times these things have been said to the Government. When are we going to end this situation? It is just not fair that film crews have been blacklisted out of the industry. It is not fair that actors, performers and so on can be told to sign buyout contracts and not get their residuals and royalties as they did once upon a time. I believe that situation has to end.

I want to speak about the culture test. Ultimately these things may be somewhat related. I may be going slightly more out on a limb. Some good stuff has happened in the last year, with a bit more money going to indigenous, small, young, new people and so on. I am very glad to see that and it is great to see the success, which shows what is possible. However, why is there not more stuff done about the incredible historic and cultural heritage this country has? A few weeks ago on an American streamer, I saw a feature film about Daniel O'Connell, which was dreadful. It was made in America with an all-American cast. It was absolutely dreadful. I was wondering why we did not make a film about Daniel O'Connell. Then I thought, where's our Gulliver's Travels? Where is our Draculaseeing as the book originated here? Where are our productions about Robert Emmet and the United Irishmen? Where is our film about Constance Markievicz? Where is all this stuff? I know we have produced some like "The Wind that Shakes the Barley" and "Michael Collins" but it is quite a while since we did any of those big historical productions.

I have run out of time. There should be more going in to celebrate our cultural heritage, our rich history and so on and some of the incredible cultural artistic talent that we have in this country than is currently the case.

Verona Murphy (Wexford, Independent)
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The Deputy did very well in 20 minutes. I have no doubt we will have a film about him at some stage.