Kneecap (2024)

Direction: Rich Peppiatt
Country: Ireland / UK

Kneecap is an ebullient, schizophrenic biopic about the Belfast-based hip-hop trio of the same name, which unexpectedly became the symbol of a civil rights movement dedicated to preserving their native language. Written and directed by Rich Peppiatt, the film thrives on the impetuosity of the rappers—Liam, Naoise, and JJ—their energetic music, anarchic irreverence, and the politically charged atmosphere of Northern Ireland. Though the film occasionally wavers between authenticity and promotional flair, it delivers enough sharp moments and humor to keep audiences engaged. 

While the true story is refreshingly original, the film’s sensationalist execution—marked by a fast editing and bouncing rhythm—feels like a pastiche of Trainspotting (1996) and 8 Mile (2002), with a dash of Guy Ritchie’s gangster flair thrown in the mix. Despite leaning on a familiar formula and evoking a sense of déjà vu, there’s a palpable passion driving the project. This gritty urban narrative brashly entertains, capturing the rebellious spirit of a trio criticized for glorifying drug use, anti-social behavior, and violence in their lyrics. As they pursue success, they must navigate opposition from Ulster-loyal police, politicians, and dangerous paramilitary groups. Without breaking new ground, Kneecap effectively captures the spark and controversy surrounding the group.

Oddity (2024)

Direction: Damian McCarthy
Country: Ireland

Oddity, a slow-blooming portrait of doomed love, immediately thrusts its audience into a realm of disquiet and discomfort. With a Hitchcockian mood and tone, the film itself is a cinematic oddity, playing well with symbolism and emotions but failing at cohere completely.  

Surreally mounted and beautifully shot, Oddity follows Darcy Odello (Carolyn Bracken), a blind token-objet reader woman and antique shop owner who decides to investigate her twin sister’s murder one year after it happened. Armed with a mysterious wooden figure, she stays at the country house where her sister was killed, allegedly by a former patient of her psychiatrist husband, Ted Timmis (Gwilym Lee). 

Without straining to make an obvious point, the director Damian McCarthy (Caveat, 2020) builds tension as we keep gaining interest, teasing before delivering a few well-placed chills. His proclivity for the horror genre is no fluke, but his sophomore feature is one to be savored for its atmosphere than remembered for its impact. Oddity unfortunately culminates in a bland, disappointing finale, one that is more amusing than spooky. While the film doesn't totally click on all fronts, there is enough darkness in its DNA to satisfy enthusiasts of the genre.

Flora and Son (2023)

Direction: John Carney
Country: Ireland 

Irish writer and director John Carney has a track record of successful music dramas in his filmography, with films like Once (2007) and Sing Street (2016). However, his latest effort, Flora and the Son, falls flat. It’s a crowd-pleaser that lazily resorts to cheesiness in an attempt to compensate for its plot limitations. The film suffers from an artificial quality, and the sickly sweet songs, while trying to tug at the heartstrings, contribute little to the overall substance.

The story revolves around Flora (Eve Hewson), an angry and frustrated single mother from Dublin who is struggling to find her way in life after separating from Ian (Jack Reynor), a once-successful musician whose career hit a roadblock when his band broke up. Flora’s delinquent teenage son, Max (Orén Kinlan), frequently challenges her, and seems condemned to spend time in a correction facility. However, Flora, who works as a babysitter, discovers the transformative power of music when she starts taking online guitar lessons with L.A.-based teacher Jeff (Joseph Gordon-Levitt). The latter reveals his own personal insecurities, but becomes the catalyst for Flora and her son to forge a bond that never had existed before. 

Carney seemed inclined to embrace the realism of directors like Ken Loach, but then gets too busy honey-coating musical sequences marred by cloying sentimentality. Sadly, they never fill you up. By failing to provide deeper dimension to his characters and their life struggles, Carney's film loses its appeal with each passing scene. Manipulative and superficially constructed to escape monotony, Flora and Son repeatedly hits the same uninspiring notes throughout its duration.

Lola (2023)

Direction: Andrew Legge
Country: Ireland, UK

Nobody can deny that Lola, an avant-garde sci-fi drama in the style of a docu-fiction, is inventive and bold. This experimental Guy Maddin-esque effort by first-time director Andrew Legge is invested in an enigmatic world of found footage, the ability to see the future, controversial decisions in wartime, and a bit of self-discovery. It plays like a feverish funhouse with eclectic music - from art-rock to electronic to the classical music of Elgar - and retro visuals that authenticate the power of film as a medium. 

Shot with several cameras and period lenses, and dreamt in black and white, Lola is the story of two orphaned sisters, Thomasina (Emma Appleton) and Martha (Stefanie Martini), who created LOLA, an advanced machine that can see into the future and intercept its messages. The year is 1949, but the sisters are already enthusiastic fans of David Bowie and Bob Dylan (the music of the future). Almost without notice, they became the secret weapon of the British military intelligence in the war against Germany, but not without a few predicaments that could change the course of history as we know it. 

Story-wise, there’s not much to be happy about it, but even self-indulgent at times, the film has a strange appeal, developing with imagination at an irregular rhythm. These emphatic montages can be very artistic but also gimmicky in its dramatic time travel hallucination. Lola is an unusual picture, insanely evocative and hard to predict.

The Banshees of Inisherin (2022)

Direction: Martin McDonagh
Country: Ireland / UK / USA 

This funny, incisive blend of absurd dark comedy and period drama is sometimes uncomfortable to watch and somewhat cruel at the core. The Banshees of Inisherin was written and directed by Martin McDonagh (Three Billboards Outside Ebbing, Missouri, 2017), who elaborated a severe reflection on the human condition with depressing sadness and existential despair. On this account, he probed low-angle shots inspired by John Ford and Sergio Leone’s westerns.

 The story takes place on the fictional island of Inisherin, a mix of the West coast Irish islands of Inishmore and Achill, where the film was shot with local support. Lifelong friends, Padraic (Colin Farrell) and Colm (Brendan Gleeson), find themselves at an impasse when the latter decides to end their friendship in a precipitous way. Padraic doesn’t accept his decision and invariably attempts a reconnection. His insistence, however, impels his resolute former friend to take radical measures.

The escalation of violence goes hand in hand with the slow passing of time in this peculiar remote island pelted with boredom and pride. Each shot, magnified by the beauty of sumptuous virgin landscapes and natural settings, makes tempting to say that the film is a case of style over substance. Yet, a lot of essence is found in this stylish depiction of frustration, abandonment, and loneliness, while pertinently questioning our humanity. 

Gleeson and Farrell, the same duo that starred in In Bruges (2008), shine in their extraordinary offbeat roles, heavily contributing to a beer-sipper of an entertainment that comes in the form of a borderline experience. Insensitively dark, peculiarly humorous and wildly depressing, The Banshees of Inisherin touches the puerile, the hilarious and the creepy.

The Wonder (2022)

Direction: Sebastián Lelio
Country: Ireland / UK / USA

From the director of Gloria (2013) and A Fantastic Woman (2017), The Wonder won’t make you energized as it engages in a slow cooking process with lack of spices. The film, based on the book by Emma Donoghue and co-written by Lelio and Alice Birch (Lady MacBeth, 2016), is a lugubrious and uninventive mystery film soaked in mysticism and contemplation that, without betraying its lyrical style, never grips tightly. The lukewarm, spiritless atmosphere refuses to leave until the end, following a script in need of more paradox and a less debilitated conclusion. On the other hand, it raises deep questions about religion and its interpenetration with human realities.

Set in a rural 19th-century Irish village, the story depicts the arrival of an English nurse (Florence Pugh), hired by a committee of curious men - believers and skeptics - to observe a devotee 11-year-old girl (Kíla Lord Cassidy) who survives without eating. Is she a saint, a witch, or a haunted person? The hidden secrets are revealed with the help of a journalist (Tom Burke) willing to write an article about the case for the Daily Telegraph. 

Having a faltering narrative rhythm as its worst enemy and the cinematography as its strongest quality, The Wonder is more an exercise in mood with no visible threats. It will leave you with less than what you demand for a story of this nature.

The Quiet Girl (2022)

Direction: Colm Bairéad
Country: Ireland 

The Quiet Girl, a warmhearted Irish drama of superior quality, chews over love and care, enhancing their positive effects on the development of a young girl. The film is a mark of extraordinary promise from Colm Bairéad, a debutant filmmaker whose future works we want to keep an eye on. 

Employing a powerful simplicity in the process, Bairéad tells the story of Cáit (Catherine Clinch), a restrained and sensitive 9-year-old girl who tries to hide from everybody. Both her mood and behavior change completely during the summer of 1981, when she leaves her impoverished, dysfunctional family to spend a couple of months on a farm with estranged relatives (Carrie Crowley and Andrew Bennett).  

Generating empathy and honesty at every second, The Quiet Girl is a memorable film, not only for the way it’s mounted, but for going against the trendy themes of pessimism, hatred, dystopia, and chaos that consume most of the movies made today. The frames are captured with a rare sensitivity that makes you read and feel the protagonists’ emotions. For this particularity, much contributed the impeccable performances from all members of the cast, a surefooted direction, and an outstanding cinematography.

As subtle and delicate as an affectionate embrace, this is a beautiful film, whose story provides a heartbreaking insight into the different roles people may have in one’s life. The medium is love, and you always feel when it’s present or not. The exceptionally controlled storytelling avoids excessive pathos, but don’t feel surprised if the gracious, bittersweet finale moves you to tears.

Rose Plays Julie (2020)

Direction: Joe Lawlor, Christine Molloy
Country: Ireland / UK

The third feature film from the team of directors Joe Lawlor and Christine Molloy (Helen, 2008; Mister John, 2013) is a stone cold rape-revenge tale delivered with a deliberate resolve and languid pace. 

Rose Plays Julie is a subtle film of nuances that never really burns at the surface, rather adopting a deceptively passive posture while making calculated moves that lead us, unhurriedly yet assuredly, toward an unimaginable finale. 

The story, mostly set in Dublin, begins as Rose (Ann Skelly), a student of veterinary science who was given for adoption at birth, attempts to contact her biological mother, Ellen (Orla Brady), a celebrated actress. After knowing the motives that made her mother give up on her, she starts tracking down her father, Peter Doyle (Aidan Gillen), a successful archeologist who happens to be a noxious misogynist with a past stained by rape.

The stimulation comes from not knowing what are Rose’s real intentions, in this unremittingly hopeless tale with no room for forgiveness. In the end, it’s the darkness that prevails.

If you’re a fan of fast-paced, violent drama-thrillers, then this is not your dish. See it only if you want this genre to be served with prolonged sharp-tasting notes.

Wolfwalkers (2021)

Direction: Tomm Moore / Ross Stewart
Country: Ireland / UK / other

Wolfwalkers, the third installment of Tomm Moore’s animated Irish Folk Trilogy, provides an enriching experience with a 17th-century tale that involves wolves, humans and magic (wolfwalkers are humans that turn into wolves in their sleep). Following The Secret of Kells (2009) and Song of the Sea (2014), this gorgeous animation written by Will Collins from a story by Moore and co-director Ross Stewart, shows a deep criticism of religious fanaticism and an admirable respect for the Earth’s living creatures put in danger by ignorant men.

The young apprentice hunter Robyn (voice of Honor Kneafsey) is too lively and curious to be confined at home as her father (Sean Bean), an experienced English hunter tasked to kill all the wolves in the Irish town of Kilkenny, instructed her. Instead, she befriends Mebh (Eva Whittaker), a junior wolfwalker in search of her long-gone mother.  After being bitten by the latter, Robyn becomes a wolfwalker herself, which raises an obvious question: how can her father exterminate the wolves when his daughter became one of them? 

Without being flashy, the animation is workmanlike at best, and the fantastic story has a lot to like. Just sit back and enjoy, because this is not just a delightful film but an important one.

Rosie (2019)

Direction: Paddy Breathnach
Country: Ireland

The low-budgeted Irish indie drama Rosie addresses one of the biggest problems the world is facing today: gentrification. The situation mostly affects the bigger cities and can be seen as a new form of random human cruelty.

While her husband, John Paul (Moe Dunford), is working hard at a busy restaurant, Rosie Davis (Sarah Greene) is inside their parked car with her four children, making consecutive phone calls in an attempt to get a hotel for just a few nights. No, they are not planning vacations… the reality is much different and appalling; they became homeless after their landlord sold the house, a social injustice that is commonly disregarded by politicians who, many times, benefit themselves in the ‘ungovernable’ real-estate business. I’m so glad that New York gave some signs of progress recently regarding this matter, when a rent-reform package was approved to protect the frequently harassed tenants.

The struggle is daily and the pressure is high. Fear and shame invade their lives, but they refuse to let frustration or panic take control. Besides the lack of stability and having to sleep in the car sometimes, the family was blessed by a strong loving bond. We never see these attentive, caring parents acting impatiently or aggressively toward their kids, even when they misbehave or rebel.

Despite some incautious hand-held camera movements, the director Paddy Breathnach (Viva) did a satisfying work in capturing a realistic scenario. He worked from a bold script by Roddy Doyle (The Commitments), who was inventive enough to put Lady Gaga staying at one of the hotels while gigging in town and turn a serious, sad moment into a fun battle of fries.

Depicting 36 stressful hours in these people's lives, the film doesn’t grant a resolution. However, it’s a heartbreaking, accurate, well-acted ride that made me think about how easily things can be lost in a moment and how miraculous love can be when in the face of desperate situations.

Love and Friendship (2016)

Directed by Whit Stillman
Country: Ireland / other

In “Love & Friendship”, Whit Stillman (“Damsels in Distress”) presents us a witty dramatization of Jane Austen’s epistolary novel ‘Lady Susan’, dated from 1871.
In this period romantic comedy, he pragmatically takes the first minutes to introduce the characters one by one, giving us, at the same time, a well-adjusted orientation in order to proceed with this funny tale.

Lady Susan Vernon (Kate Beckinsale), a widow of questionable reputation, arrives in Churchill to stay some time with her in-laws while beginning a campaign in order to find a wealthy husband for her daughter, Federica (Morfydd Clark), and for herself.
She feeds the spreading rumors that her personal choice falls on Reginald DeCourcy (Xavier Samuel), her sister-in-law’s attractive brother, with whom she engages in long conversations and strolls. He ends up deeply infatuated but is promptly rebuked by his father who is concerned about the family reputation and future.

In the meantime, and invoking the fifth commandment: ‘Honour thy father and thy mother’, which she mistakes by the fourth, the charming but scheming Lady Susan literally forces her daughter to accept marrying to the silly, chatty, wealthy, and hilarious Sir James Martin (Tom Bennett), who aids his future mother-in-law with money and a new carriage. ‘Nobody knows the embarrassment of a young girl without a fortune’, she says. However, the bashful Federica is anguished with the idea and seeks Reginald to take the weight out of her chest.

The story takes a spin and evolves into unexpected directions, always carrying flattering tones, beneficial seductions, and polite conversations.
Moreover, the amusing “Love & Friendship” is brilliantly acted (Ms. Beckinsale and Mr. Bennett truly excel) and shot, under the attentive direction of Mr. Stillman who knows how to consciously place delicious characters within irresistible frames. The pic is constantly adorned with warm colors and the right props of the period.

Sing Street (2016)

Directed by John Carney
Country: Ireland / UK / USA

Dedicated to brothers everywhere, “Sing Street” is an Irish comedy-drama, directed by John Carney (“Once”, “Begin Again”), which straddles the line between homage and romance. If he did great in regard to the former, a wonderful tribute to the pop-rock scene of the 80’s, he stepped into crowd-pleasing territory in the latter.

Nevertheless, he comfortably shapes compelling characters and give them appropriate dimension by placing them amidst realistic situations that combine daily life problems, relationships, and talents. Then, and in a smart way, all these aspects are even more enhanced through the addition of appealing pop-rock original songs that are played by one or more personas. 
“Sing Street” employs this formula and goes even a little bit further by addressing themes such as family and school bullying.

The film, set in Dublin in 1985, opens by giving a perspective of the tense atmosphere lived at the Lalor’s. The catholic family is having some troubles in living peacefully together because the patriarch, Robert (Aidan Gillen), a broke architect, seems unsatisfied with his life while his wife, Penny (Maria Doyle Kennedy), is having an affair. They have three children: Anne, who doesn’t have great expression in the story, Brendan (Jack Reynor), a depressed loser who doesn’t know what to do with his life, and the sensitive Conor (Ferdia Walsh-Peelo), who at the age of 15 resolves to form a pop-rock band after meeting the beautiful Raphina (Lucy Boynton) whose dream is to become a model. 
Enthusiastically, Conor, the vocalist, and his new friend Darren (Ben Carolan), the producer, make an important acquisition for the band: the multi-instrumentalist Eamon (Mark McKenna), who becomes his right hand in the composition process. The other three members arrive naturally, and they both agree on the name Sing Street for the band. Influenced by Duran Duran, Depeche Mode, Spandau Ballet, The Cure, and many more, they record a first song entitled ‘The Riddle of the Model’, obviously inspired on Raphina who agrees to participate in the music video.
Despite having a cool dude as a boyfriend, Raphina becomes closer to Conor, giving him hope by responding affectively to his passionate impulses.
In the meantime, and besides the amorous frustrations, the brave Conor tries to find non-violent ways to deal with the frequent intimidations he’s been suffering at the new school. The villains are Barry (Ian Kenny), a troublesome boy, and Brother Baxter (Don Wycherley), the ridiculous school principal.

Carrying a strong, positive message, the film, so wonderfully captivating at times, ends up disappointing heavily in its finale. 
The talented Mr. Carney blurs the painting with the ultimate stroke. An unlikely conclusion that was more impetuous and strategic than genius.

Glassland (2014)

Directed by: Gerard Barrett
Country: Ireland

Movie Review: Simultaneously plaintive and modest, “Glassland” is an Irish independent drama written, directed, and co-produced by Gerard Barrett, and starring Jack Reynor, Toni Collette, and Will Poulter. The story is set in a cheerless little Irish town where John (Reynor), a good-hearted taxi driver spends most of his time running after his desolated alcoholic mother, Jean (Collette), whose life is in danger due to serious liver damages. In the first scene, John arrives at home after work just to find Jean in her bed, vomited and in an alcoholic coma. He was able to save her at the last minute, a story that repeats itself for a long time. Extremely tired of the situation, John almost doesn’t believe in a different scenario anymore. Mother and son behave furiously by turns - at first it was Jean who loses control when she doesn’t find booze at home after returning from the hospital; and then was John who gets pissed off when Jean misses work and vanishes one more time, what means another long sleepless night looking for her. Next day he shouts angrily: ‘my mother smiles and loves. This is not my mother. This is an animal, and you’re breaking my heart every single day!’ John still finds the strength to visit his 18-year-old brother who was born with Dawn syndrome and was early abandoned by Jean in a care facility, right after her companion has turned his back on her when he found out about the child’s condition. In one of the saddest scenes of the film, the powerless John joins his mother in a drink at home, and the little party ends up in an extended, dispirited monologue, in which Jane clarifies some aspects of her life. A gleam of hope still burns in their hearts, but the financial means to maintain Jean under treatment is another issue that pushes John into obscure solutions. In parallel, we vaguely follow the path of John’s unmotivated best friend, Shane (Poulter), who gets more than happy to leave the lugubrious town. A few scenes are emotionally strong, but Mr. Barrett, more lucidly than boldly, arranged everything too easily in one direction (Jean’s recovery) and too vague in the other (the obscure side of John’s life). Accordingly, I got slightly disappointed when the final credits rolled, meaning that I expected something deeper from the ending and something that was less basic as the whole picture.

Brooklyn (2015)

Directed by: John Crowley
Country: Ireland / UK / Canada

Movie Review: Brooklyn is charmingly depicted in the John Crowley’s drama whose title matches exactly the name of the famous and most populous NYC’s borough. Directed with a remarkable accuracy without losing a bit of narrative fluidity, “Brooklyn” doesn’t just give you a precise idea of the place in the 50’s, but also functions as an ode to the thousands of Irish immigrants that departed from their country to find a better and more exciting life in the US. In Nick Hornby’s script, taken from Colm Tóibín’s novel, that’s exactly what happened to Eilis (Saoirse Ronan), who left her strict mother and fragile sister, Rose, in their provincial Irish town and decides to accept the kind offer of a priest who got her a legal job in Brooklyn. After a bumpy trip in a deplorable ship, the amenable Eilis goes to live in a feminine boarding house and is instantly struck by a severe homesickness until bumping into the love of her life. Toni (Emory Cohen) is an honest Italian-American plumber with whom she danced at an Irish ball. He shows to be a well-intentioned gentleman and invites her to meet his family just after a couple dates. She was warmly welcomed at his place, even taking into account the unpropitious and yet funny commentaries of Toni’s cheeky little brother. However, life plays its pranks and Eilis receives the sad news of her sister’s death. Before returning to Ireland, Eilis marries Toni in secrecy, holding onto promises that, if kept, envision a beautiful future for them. Unexpectedly, in her hometown, she starts working for a company in part-time and gets to know Jim Farrell (Domhnall Gleeson), who would be the perfect man for her if she had met him before. Flattered by this man’s endearing approach, and slightly confused, Eilis doesn’t seem ready to get back to her husband’s arms. Mr. Crowley, the author of “Boy A”, redeems himself from the tepid thriller “Closed Circuit” released two years ago, by conferring a classic profile to the drama, and conveying an acute sincerity through the actors’ performances. Saorsie Ronan and Emory Cohen couldn’t have been more genuine in their roles and that’s one of the reasons why the film doesn’t tickle in an emotional level… it rather punches you hard! “Brooklyn”, which is not limited to be another typical love story, offers historical insight and provides a unique experience that, at a time, feels painful, enriching, uncertain, and finally soothing and triumphant.

Queen and Country (2014)

Directed by: John Boorman
Country: Ireland / others

Movie Review: “Queen and Country” is John Boorman’s sequel to the awarded autobiographical “Hope and Glory”, which covered nearly the ten years before the happenings depicted here. In 1952 post-war England, Boorman’s alter-ego, Bill Rohen (Callum Turner), joins the army and starts the trainings for the Korean War, escaping whenever he’s on leave ‘to see the girls’, together with his best friend, Percy Hapgood (Caleb Landry Jones). During one of these escapades they go to a classical concert, but while Percy gets fascinated with the extroverted Sophie (Aimee Ffion-Edwards) and her friend, Bill only has eyes for a young girl whom he only sees the back of the head and neck. A few days after the concert, he sees her passing by the bar, and in an uncontrollable impulse, decides to talk to her. For this courageous act, the Oxford student, Ophelia (Tamsin Egerton) invites him to her aunt’s place for a drink. They become close friends, however, the next step into love was never consummated since Ophelia had different plans for the future. In parallel with his amorous passions we have access to a full insight of his life within the army, and the different kinds of relationships established with his superiors and colleagues – the unbending veteran Sgt. Major Bradley (David Thewlis) and the imponderable, lazy private Redmond (Pat Shortt), were two examples. The family also gets a small slice in the story, with Bill’s sister playing a relevant role. Globally, the film assembles modest episodes of the early life of the 82-year-old filmmaker, who recreates them in his own personal way and always with a funny touch. The lively Percy contributes with some jocular incidents that enrich substantially the whole. Deprived of action or intensive drama, “Queen and Country” works better as a comedy, and is more charming than revolutionary.

Love Eternal (2013)

Directed by: Brendan Muldowney
Country: Ireland

Movie Review: Adapted from a Japanese novel written by Kei Oishi, the Irish dark drama “Love Eternal” generated a duality of feelings that confront each other. Although sometimes it seems ridiculously out of sense, others it feels like a gentle, meditative portrait of a grotesque taste for death. The story focuses on Ian, a depressive young man who spent 10 years locked at home, after a few traumatic experiences related with death - at an early age he sees his father die when he was playing with him, and years later he finds a young girl hanged in a tree. The best thing his reticent mother could do before die was writing a sort of guide to helping him with the most basic things, including a list of things to avoid in order to feel better, how to cook and also deal with his finances. Ian, completely obsessed by death, starts to meet up with some Internet forum friends who share the same desire to die. At the same time that studies the process of decomposition of human body, he helps a fellow girl ending her life, bringing her dead body home, and even taking it for a good walk outside in a sunny day. Filmmaker Brendan Muldowney decided to use an awkward music and narration, turning “Love Eternal” into a taciturn, melancholic exercise that could have created a better impact on me, if only I were able to establish some kind of sympathy for its main character. Unfortunately (or not!) that didn’t happen, and “Love Eternal”, with its pseudo-atmospheric story and indistinct dynamism, just let me a bit sleepy.

Calvary (2014)

Directed by: John Michael McDonagh
Country: Ireland / UK

Movie Review: Miles away from the cheerfulness and hilarity of “The Guard”, “Calvary” is another stimulating effort from English-born (of Irish descent) filmmaker John Michael McDonagh, this time in a dark drama with religious connotations. The film starts with a man confessing to a priest he was raped by another priest as a child. He asks which remedy will ease his pain and threatens to kill the priest next Sunday; the priest nothing has to say to him at the moment. The well-natured priest is Father James Lavelle who grieves with the problems of the inhabitants of his small Irish country town, while hosts his vulnerable daughter, Fionna, after a suicide attempt. Then we are introduced to a lot of problematic different characters. Some of them are connected with evil forces, some of them are really repented of their sins, and others are just good souls trying to balance an unbalanced world. As Father James is going through his calvary we wonder if he will definitively have to be sacrificed for the sins of others and his church, or if he will be able to help such desperate souls. The film exposes loss of faith, the roles and responsibilities we have in this world, and reaches us with forgiveness, the final and necessary conclusion for such a dark film. McDonagh’s direction was praiseworthy often using close-ups to emphasize the characters feelings, and Brendan Gleeson’s performance was compelling enough to make you want to see this film, even considering a slow start that only gains bigger proportions in its last third. “Calvary” won the Berlinale’s Panorama prize attributed by the Ecumenical Jury.

Mister John (2013)

Directed by: Joe Lawlor, Christine Molloy
Country: Ireland / UK / Singapore

Movie Review: “Mister John” is an Irish/UK/Singapore subtle thriller directed by husband-and-wife duo Joe Lawlor and Christy Molloy. The film opens with the image of a body floating in a Singapore’s lakeshore. The victim is John, an Irish man who ran a night bar in Singapore with his wife Kim (Zoe Tay). The latter will meet her brother-in-law, Jeff (Aiden Gillen), who arrived at the hospital to identify the body and later to attend to his brother’s funeral. Having some problems with his wife back in London, the overtired Jeff gets dangerously closer to Kim, while trying to find more about the death occurred in mysterious circumstances. Suspicions fall in one of John’s best friends, Lester, but all the insinuations are both inconclusive and deceivable. Without much to do, Jeff still has time to interview young girls to be hired for Kim’s hostess bar called ‘Mister Johns’, after has been bitten by a snake. Most of these happenings were wrapped in dreamlike tones, and were causing Jeff’s pain and lack of control. The complexity of the main character oscillates between real and calculated, and the same happens with the plot – we never know what to count with or where the things are going. This could be an advantage, but in this particular case it didn’t work out satisfactorily. During its non-shocking final minutes, I had the sensation that all was too shallow to hide any profound secret. Gillen and Tay’s performances were acceptable, while direction showed positive aspects, hopefully to be used in a stronger future plot.

Run and Jump (2013)

Directed by: Steph Green
Country: Ireland / Germany

Movie Review: After “New Boy”, an acclaimed short film dated from 2007, filmmaker Steph Green makes her debut feature with “Run and Jump”, a sweet and gentle drama that doesn’t try to take any emotional advantage of Ailbhe Keogan’s screenplay (also a solid debut). Instead, it presents us a sober approach, expressing a lot of feelings in its own way and being touchy in a legitimate manner. Mother of two kids, Vanetia Casey (Maxine Peak) is a frustrated and exhausted Irish housewife who accepts to host Ted Fielding (Will Forte) in her house for a while. Ted is an American doctor interested to make a case study of her husband, Conor (Edward MacLiam) who, at the age of 38, suffered a stroke that caused him deep personality alterations. Ted, little by little, starts to be a crucial figure inside the house, not only weaving a strong connection with Vanetia, but also with her lonely son, Lenny, who entered in a complicated process of self-discovery (perhaps an avoidable subplot). The ability here was not to rush things, but let them flow with sensibility and plainness. What I liked in Green’s approach was that the film never stepped into overused melodramatic scenes, choosing to look at the problems in a positive and non-manipulative way. The pleasant score fitted well in the mood intended, while in the visual aspect “Run and Jump” was able to pull out vivid colors from the lively, luminous frames. Peak was very believable in her performance, while Forte, after a great participation in “Nebraska”, demonstrates his adaptability.

Silence (2012)

Directed by: Pat Collins
Country: Ireland / Germany

Movie Review: Structured like a docudrama, “Silence” is a vague and occasionally haunting exercise on sound and childhood memories. Documentarian Pat Collins makes here an enigmatic transition into fiction to tell the subliminal experiences of Eoghan, a sound recordist now living in Germany, who goes back to its origins in Ireland, 15 years after his departing. With the single purpose to find and record places completely forgot by men, Eoghan has a few casual encounters and meaningful conversations with strangers who, deep down inside are just like him, solitary souls populating desolated landscapes. Ponderous, philosophical, visually and auditorily absorbing, “Silence”, might seem narrow in terms of plot for many viewers, but can stir some emotions and provoke our minds somehow. Sometimes it makes us fall in the nostalgic torpor of the mountain field’s tranquility, just to overwhelm us again with the sepia tones of an old video recording of a fishermen’s boat and a dog’s drowning in the sea, or the visit to a local museum that keeps record of documents and photographs of families that had to abandon their island, or a young man who brings to Eoghan’s mind the dilemmas of leaving home. After “Berberian Sound Studio” has used the factor sound in a completely different way, now is the time of “Silence” emerge with a much more deep conception and approach. Do we have a new trend on modern independent film? I don’t think so, but this one may offer something worthwhile if you have sufficient patience for its quietness.