“Diffing” is a subculture of car racing frowned upon by the authorities but adored by a select few. In his short documentary We Beg to Differ, Irish director Ruairi Bradley – who studied at Ireland’s National Film School – explores how the members of this marginalised community indulge in their passion whilst still coping with the problems that life deals them.

The film has already struck chords across the world, becoming a nominee for Best British/Irish Short at the London Critics’ Circle, winning the Best Film Award in the New Talent (Live Action) category at PÖFF Shorts (Tallinn Black Nights) and becoming a candidate for nomination for the forthcoming European Film Awards for Best Short Film - Prix Vimeo. The film has also screened at the likes of SXSW, Clermont-Ferrand, Hot Docs and Palm Springs.

Its latest screening will be at Future Frames, the event presented by European Film Promotion as part of the 2025 edition of Karlovy Vary.

Cineuropa: What inspired you for the style of We Beg to Differ?
Ruairi Bradley: The biggest source of inspiration was the community, and finding the best way to capture the story. But during the editing process, I got really into Werner Herzog. He talks about this concept of ecstatic truth, which really resonated with me. He explains how style can be used to create a sense of awe and transcendence for the audience, and that a poetic approach can help reveal a deeper level of truth. That idea really shaped the rest of the process.

What drew you to the community that you explore in the film?
I first became interested in diffing while working on a music-video set, where I met someone involved in the scene. You could tell right away how much it meant to him from the way he talked about it. I found the group I ended up filming with through Facebook, and when I showed up at the yard in Nutts Corner and saw the memorial wall with all the names of people from the community who’d passed away, it really struck me. There’s a lot of prejudice against this community, but I saw people just doing their best to survive and to make something of their lives, and I wanted to share that.

How did you build up trust with those you filmed?
There was a lot of suspicion at the start, which was completely understandable. I think being from Belfast helped, and being young helped, too. But mostly, it came down to our intentions. Once people realised we weren’t there to portray them in a bad light, that we were on their side, that’s when things started to shift.

The film has had a fulsome festival life so far – has it surprised you how the movie has affected people from across the globe?
It’s honestly been surreal; the film has done way more than I ever imagined it would. When I was making it, it was a really personal, cathartic process for me. I was working through some stuff, and the movie became a way to make sense of it all, so it really just came from the heart. I wasn’t thinking ahead too much at the time. My biggest hope was just to get it into the Galway Film Fleadh, and if that had been it, I would’ve been over the moon. What’s been amazing is hearing how people from totally different backgrounds still connect with the story in such personal ways. I don’t think I've fully processed it yet, to be honest.

What projects do you have coming up in the future?
I'm currently developing a narrative feature set in the same world as We Beg to Differ. The story follows Sean O’Shea in the aftermath of a tragic car crash that leaves him with a traumatic brain injury and his best friend in a coma. As Sean struggles to piece his life back together, he embarks on a journey to rediscover his purpose and confront what it truly means to be a man. Alongside that, I’m also hoping to get another short documentary off the ground. I’ve been in touch with a really fascinating community in the USA, and if the funding comes through, I’m hoping to shoot it later this year. So fingers crossed!