A man’s obsession to find out why his best friend suddenly stopped talking to him spirals gradually out of control.
Funny, sad, nostalgic, and kinda heart-wrenching. Perfectly balanced, the drama goes hand in hand with the (dark) comedy in a small gossiping Irish society during yet another nasty civil war. The themes of hopelessness and helplessness prevail, characterising the two main heroes, Pádraic (Colin Farrell) and Colm (Brendan Gleeson), leaving still some room though for the ostensibly inescapable loneliness that tortures Siobhán (Kerry Condon). The underdog of the entourage, though, is Dominic (Barry Keoghan), the one who gets life’s shortest straw. What I believe, in this instance, writer/director Martin McDonagh’s brilliance is, is that all the characters above are experienced through the eyes of the villagers and each other (comedy), but also through their own eyes when they are alone and no one is watching (drama). The audience can experience the striking difference and inevitable clash between the two.
You may have heard of character-driven vs story-driven films, films driven by the characters’ actions, and films driven by events that set the cogs in motion, respectively. Upon explaining that difference to numerous people who watched it, I asked, and everyone told me that The Banshees of Inisherin is a character-driven story because the heroes’ actions escalate the situation and move the story forward. While I agree with that, I will note that the story taking place profusely in April 1923, towards the end of that civil war, is not a coincidence. Therefore, I argue that it is a story-driven narrative, and the war (and, maybe, the wars before it) has mentally affected everyone the way it has. Not long after the film starts, Pádraic walks along the shore and turns around abruptly when he hears the bombings coming from the mainland. McDonagh stays on him, looking in that direction until he says: “Good luck to ye. Whatever it is you’re fightin’ about…” In its simplicity, this couldn’t be more heartbreaking. He doesn’t know who to say good luck to, and he doesn’t know why, either. He only knows how he feels about seeing his fellow countrymen kill one another. Respectively, everyone copes with that atrocity in their own secret or more obvious way. And Pádraic, the once optimistic and cheerful chap, gradually… well, you’ll see…
I examine the way the filmmaking techniques interact with the film’s narrative more often than not, but there are times when I just let it go. This will be one of them. I’ll tell you this, though: Expect a brilliant soundtrack, astonishing photography, tear-jerking acting, and a thought-provoking journey that will make you laugh as much as it will bring tears to your eyes.
As per McDonagh, “there was no other way for the story to end.” I’m sure some people agree as much as others couldn’t agree less. The fact that he makes all of us contemplate it, agree, disagree, or even create our own endings in our heads shows how powerful his story is. An absolute must-watch!
P.S. It already has and will keep rightfully claiming every award under the sun.
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Solidarity for all the innocent lives who suffer the atrocities of war!
Stay safe!
