Sharing a film you love is an act of trust; an instinct shaped by taste, experience, and the belief that something meaningful is worth passing on.
For Charlene Lydon, that instinct is her job. As the newly appointed Festival Programmer of the Galway Film Fleadh, she is responsible for shaping what audiences will discover this July.
Curation sits at the core of the Galway Film Fleadh. Founded in 1989 as a platform for Irish filmmakers, it has grown into an international celebration of cinema, welcoming stories from across global cultures and generations. Alongside it runs the Galway Film Fair (one of Ireland and the UK’s key industry markets), bringing together filmmakers, producers and emerging talent through panels, masterclasses and pitching events, connecting screenwriters with producers and funding opportunities. Its Generation branch continues to support young audiences and filmmakers aged 12 to 24, reinforcing the festival’s role in promoting future voices.
The Fleadh also reflects the wider growth of the Irish screen industry. In 2025, more than €500 million was invested in the Irish economy through film, television, documentary and animation production, supporting jobs and local services. For 2026, a slate of 87 productions (from feature films and documentaries to TV drama and shorts) signals a sector that continues to expand both creatively and economically.
From 7–12 July 2026, the festival returns for its 38th edition. At its centre is a new Festival Programmer: Charlene Lydon.
With more than two decades of experience in the Irish screen industry, including script development with Element Pictures, Lydon’s path into film hasn’t been straightforward.
“I never really thought it was something you could do as a career. When I was doing my Leaving Cert, I had no idea what I wanted to do next,” she says.
Growing up in Carlow, she discovered a Media Production course at her local college; an introduction to both the technical and critical sides of film. It was the first time she saw cinema not just as entertainment, but as something she could actively engage with. She later moved to Dublin to do Film Studies at Coláiste Dhúlaigh and completed a Master’s in Film Theory and History at Trinity College Dublin.
Alongside other jobs, she continued writing reviews, working on short films and finding ways to stay connected to the industry. That persistence gradually built the foundation for a career that would eventually centre on film programming.
Her interest in festivals began while volunteering at a local arts festival in Carlow, where she noticed the absence of a film strand and decided to create one herself; despite having no prior experience in programming. What started as an improvised addition quickly proved its value, reinforcing her belief that film deserves a place alongside other art forms in festivals.
“That was something that let me understand that there’s value in putting effort into showing people films as part of a broader cultural festival,” she says.
From there, she built a career that includes programming roles at Light House Cinema and Pálás Cinema, as well as directing the Storyhouse Screenwriting Festival. Across these roles, she developed what she sees as a defining skill of programming: empathy.
Programming a festival of this scale is as demanding as it sounds. In recent months, Lydon and her team have worked through close to 1,000 submissions; days often structured around watching, assessing and discussing films. On a slower day, she might get through two; on a good one, as many as six.
The process is not simply about personal taste. For Lydon, programming requires a constant shift in perspective; watching a film alone while imagining how it might land in a full cinema. It’s about anticipating reactions, thinking beyond individual preference and considering the many different audiences that might walk into a screening.
That mindset shapes her approach to the Fleadh. While the final programme remains under wraps until early June, she suggests this year’s selection will aim for balance: spotlighting bold new voices and meaningful storytelling, while still ensuring audiences are entertained.
“Festivals are different from cinemas; people are taking a chance on something they haven’t heard about. You’re doing guesswork as to how people will react, and you have to have immense faith; not only in your own taste, but in your ability to transcend it and put yourself in other people’s shoes,” she says.
A self-described “massive horror fan,” Lydon is particularly drawn to the Fleadh’s “What the Fleadh?!” strand, which showcases unconventional and genre-driven films that challenge audience expectations.
Beyond individual films, what excites her most is the shared experience of watching them.
“I think the experience of watching something really scary or funny is so elevated by watching it with people. People react in really interesting ways and that communal experience matters,” she says.
As the Fleadh approaches, that sense of shared discovery remains at its heart: a space where audiences trust someone else’s taste and, for a moment, see the world through it.
