The Banshees of Inisherin (2022)

The Banshees of Inisherin
The Banshees of Inisherin

Movie Details

The Banshees of Inisherin (2022)
Director: Martin McDonagh
Cast-Colin Farrell: Plays Pádraic Súilleabháin
Brendan Gleeson: Plays Colm Doherty
Kerry Condon: Plays Siobhán Súilleabháin
Barry Keoghan: Plays Dominic Kearney
Gary Lydon: Plays Garda Peadar Kearney
Pat Shortt: Plays publican Jonjo Devine
Sheila Flitton: Plays Mrs. McCormick
Bríd Ní Neachtain: Plays postmistress Mrs. O’Riordan
Movie type- Comedy/Horror
Release date- 21 October 2022
IMDB Rating-7.7
Languages- English
Duration-1 Hour 49 Minutes


The Banshees of Inisherin (2022)


Ireland, first half of the 20th century. The small remote island of Inisherin is nothing special at first, second, or third glance. The strangely inhospitable, yet extremely photogenic, almost virgin nature here is only occasionally disturbed by a small cottage with a thatched roof, two cows, a lone shepherd with a donkey or a port village with a pub and a post office. This is where director and screenwriter Martin McDonagh, who almost won an Oscar several times, decided years ago to set the story of his stage play The Banshees of Inisherin (good luck to parents who go to see a movie about fairies with their children), which was originally supposed to be the conclusion of his loose trilogy about the Aran Islands.

After the success of In Bruges, however, the career of the British creator took quite a different direction, and he returned to the Banshees script only now, when he converted it into a film. He then called an actor from his film debut for help, and the rest – as they say – is history. Or it will be if the film turns in at least one of its nine Oscar nominations (including those for best director, picture or original screenplay). But you’re probably wondering if it’s also a good movie. As a big fan of the creator, I was also interested, but the first preview could have hinted that this time it would be complicated.

The plot of the film is quite straightforward even by theatrical standards. The story revolves around two men. Pádraic (Colin Farrell) is a nice but rather plain guy, whom no one on the island has anything against. Opposite him is Colm (Brendan Gleeson), who tries to find some meaning in things, is pensive, but doesn’t get along well with others. Until recently, the two men were friends who went out for beer and liquor together every day. So when one day Colm suddenly starts ignoring Padraic, and even tells him that he doesn’t like him anymore, a logical search for possible causes begins.

Perhaps the most important piece of information is the fact that the film is about as friendly as most of its characters. As an almost two-hour conversation full of stimulating and completely irrelevant dialogues, it really does not give the viewer anything for free. Forget the fallout of In Bruges or the tension of Three Billboards. The Banshees has great immersive camerawork and director McDonagh knows when to stop at a scene, where to shoot it from and how to end a scene properly. However, the pace of the film does not change from the beginning, and if you are hoping for some brutal gradation and a strong conclusion, you will only get half of it. Maybe not even that.

Much more emphasis is placed here on the acting itself and on what comes out of the mouths of the characters and what remains forever unsaid, while the Oscar nominations are completely deserved and if it were up to me, I would easily give them to all three. In any case, the main theme of Banshees is interpersonal relationships, but it does not only apply to the main characters. For example, the civil war or the family, and to what extent it is fair to be dependent on someone, are dealt with through the lens of ordinary villagers. In this direction, the film is really not afraid to cut to the living, to look at one problem from multiple points of view, to take a pragmatic approach to some issues, and to others more from the heart. And yes, even though it is in a way a darkly humorous comedy, where you get a few laughs (probably mostly in connection with the local simpleton Dominic, wonderfully played by Barry Keoghan), the central conflict is so serious,

Composer Carter Burwell, who has already made soundtracks for Coen classics such as Fargo or This Country is Not for Old Men, and worked with McDonagh for the fourth time, nevertheless pulled out once again, and if you follow the philosophy that the music you don’t notice in the film (but still underlines and complements the most important moments), is the best music, you will be thrilled with his contribution. I recommend connoisseurs to give it a listen as well. In the end, my main criticism goes to that special sound, which will not be for everyone. After an interestingly detailed introduction and plot, the finale is simply a little shallow, although it is obvious that this was intended. However, the goal here is roughly as important as the journey itself, and here McDonagh with his colorful figures once again managed to play brilliantly.

Play the trailer-As a statement about human pettiness, depression, greatness, but also an attempt to escape one’s own fate, it simply works great, and McDonagh once again proves that he has no competition among screenwriters at the moment. This little big story may not excite you, and its gloomy atmosphere will try to put you off regularly. However, if you persevere and open yourself up to this island, you will find surprisingly many reasons to be happy.

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