A golden era was relived almost 75 years on when the inaugural Féile John Ford in An Spidéal focused on the legendary movie maker’s legacies and achievements – back in the land of his ancestors.

Though modest in scale, the festival was rich in ambition, celebrating one of Galway’s most renowned sons through his work and his lasting connections to Connemara.

Appropriately, the theme of home ran through the weekend’s films, panels, and exhibitions – highlighting Ford’s cinematic genius, his origins within the American immigrant experience, and his enduring affection for his many friends and relations along Cois Fharraige.

The festival opened with a packed gala screening of The Quiet Man at the pop-up cinema in Scoil Éinne setting the tone for the weekend.

This timeless tale of a returned Yank learning to navigate the customs of his ancestral home was introduced by Máire Treasa Ní Dhubhghaill, whose personal connection to the film added a poignant touch.

Her late grandmother, Nora, emerged as a central figure throughout the festival – and on Saturday, Nora’s daughter, Fil, spoke movingly about her mother’s invitation to serve as an Irish language consultant during the 1951 filming of The Quiet Man.

She also shared the story of one of Maureen O’Hara’s shawls, kept by the family since filming and loaned to the temporary exhibition.

A highlight of the exhibition was a remarkable video interview with Nora Folan (Ní Chualáin) recorded in Irish in An Spidéal by Prof Kenneth E. Nilsen in 2006, where she recounts with clarity and humour her experiences on set and relationship with John Ford.

Accompanying this were never-before-seen photographs taken by Nora during the filming on a brownie camera given to her by the director – enlarged and displayed publicly for the first time.

Pictured: John Ford’s directors chair on display alongside that of Lord Killannin, among the exhibits from The Quiet Man at the Féile John Ford exhibition. Photos: Joe O’Shaughnessy.

Housed at Stiúideo Cuan, the exhibition was both informative and engaging. It featured Fordian treasures from Redmond Morris’ family including director’s chairs, scripts, and correspondence.

A standout artifact was the sewing machine from O’Maille’s, used to make costumes for  – a tangible connection to the film’s local production roots.

Saturday’s two panels offered profound insights. The first, conducted largely in Irish, explored the intertwined histories of An Spidéal and Portland, Maine – Ford’s birthplace.

It concluded with an inspiring slide show by Portland historian Mike Connelly, who attended the same schools as Ford and now lives, as Ford once did, in Munjoy Hill.

The second panel dove into the cultural context and lasting legacy of The Quiet Man, often described as “ground zero” for Irish cinema. Both sessions drew large, engaged audiences and sparked lively discussion.

All the screenings at Scoil Éinne were well attended. Special praise was given to the thoughtful introductions and the audience’s delight in recognizing familiar Galway settings in The Rising of the Moon.

A standout moment came Sunday afternoon, with a live musical accompaniment by Ruth and Mia Fitzgerald for The Shamrock Handicap, adding an extra layer of atmosphere and charm.

Pictured: Pat Comer, left, and Bartley Feeney from Cnocán Glas, Spiddal, at the opening of the Féile John Ford exhibition in Stúido Cuan in Spiddal.