Dylan Moran

Bernard Black runs a book shop, though his customer service skills leave something to be desired. He hires Manny as an employee. Fran runs the shop next door. Between the three of them many adventures ensue.

In 1970s Belfast, Terri Hooley is an idealistic rocker who finds himself caught in the middle of Northern Ireland's bitter Troubles. Seeing a parallel in the chaos with Jamaica, Hooley opens a record shop, Good Vibrations, to help bring reggae music to his city to help encourage some harmony. However, Hooley soon discovers a new music genre, punk rock, and is inspired by its youthful vitality to become an important record producer and promoter of the local scene. In doing so, Hooley would struggle both with the industry's realities and his chaotic personal life that threaten to consume him. However, he would also be instrumental in creating an alternative Irish community that would bridge his land's religious and social rivalries with an art no one expected.

Two actors, as their make up is applied, talk about the size of their parts. Then into the film: Laurence Sterne's unfilmable novel, Tristram Shandy, a fictive autobiography wherein the narrator, interrupted constantly, takes the entire story to be born. The film tracks between "Shandy" and behind the scenes. Size matters: parts, egos, shoes, noses. The lead's girlfriend, with their infant son, is up from London for the night, wanting sex; interruptions are constant. Scenes are shot, re-shot, and discarded. The purpose of the project is elusive. Fathers and sons; men and women; cocks and bulls. Life is amorphous, too full and too rich to be captured in one narrative.