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The Banshees of Inisherin

Darrel’s Dozen for 2022

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The time has come to share my favorites of the last year. Things are still struggling to get back to normal in the world of movies. But things are beginning to look up with films from both established and upcoming filmmakers. The order of my list would probably change on any given day, but these are the ones I think need to be highlighted. Of course, my motto for lists like this is “De gustibus non disputandum est.”

But feel free to disputandum.

Bill Nighy as Williams in LIVING.
Photo credit: Jamie D. Ramsay. Courtesy of Number 9 films / Sony Pictures Classics
  1. Living. (Directed by Oliver Hermanus.) Masterful reworking of Akira Kurosawa’s Ikiru with a screenplay from Nobel winner Kazuo Ishiguro. Bill Nighy plays a very strait-laced bureaucrat who learns he is dying. But first he’s going to have to learn how to live. An emotional dive into the search for the meaning of life that dates back (at the very least) to Ecclesiastes. Living  is currently in theaters.
  2. EO. (Directed by Jerzy Skolimowski. Poland’s submission for Best International Feature) This is also an emotional dive into the search for the meaning of life, but from a much different perspective—that of a donkey. It is not so much a remake as an homage to Robert Breeson’s Au hasard Balthazar. EO is currently in theaters.
  3. Women Talking. (Directed by Sarah Polley.) A group of battered women in a religious compound debate whether to leave the community and the only life they have known, or fight the oppression and violence of the men. While it may seem a unique setting, the issues of women’s oppression are far more universal. Women Talking is currently in theaters.
  4. RRR. (Directed by S. S. Rajamouli.) This was the most fun I had watching a film this year. It is part Bollywood, part bromance, part martial arts action film, part anti-colonial statement. An Indian police officer vows to bring in a revolutionary. When they meet (without knowing who the other is), they strike a great friendship and set out to save their country. RRR streams on Netflix.
  5. Close. (Directed by Lukas Dhont. Belgium’s submission for Best International Feature) In this coming-of-age story, two boys who are best friends suddenly are confronted with societal expectations of same sex friendship. A story of tragedy, grief, and possible healing. Close arrives in theaters soon.
  6. The Inspection. (Directed by Elegance Bratton). During the don’t-ask-don’t-tell period, a gay black man joins the Marines. He has no one who accepts who he is. His mother rejects him. Can he persevere through bootcamp to come out as someone who knows (and is known for) his value?
  7. No Bears. (Directed by Jafar Panahi.) Panahi (who has now been jailed by the Iranian government) makes a film about being forbidden to make films. Working near the border (where he could escape to the West), he struggles to make the film remotely and gets embroiled in a local feud. No Bears is currently in theaters.
  8. The Banshees of Inisherin. (Directed by Martin McDonagh.) A long time friendship comes to an end suddenly for what seems no good reason. Brendan Gleeson and Colin Farrell play out this tragic story that is at time comic but also deeply sad. Banshees of Inisherin streams on HBO Max.
  9. Call Jane (Directed by Phyllis Nagy) and The Janes (Directed by Tia Lessin and Emma Pildes.) These two films (the first narrative, the second documentary) tell the story of a group of women in pre-Roe v. Wade Chicago who helped women secure illegal abortions. I found Call Jane the more engaging because of its storyline, but the two films enhance each other. Call Jane can be rented on Prime Video; The Janes stream on HBO Max.
  10. Tár. (Directed by Todd Field.) A woman has risen to the top of her profession as an orchestra conductor. She is strong, confident, and full of hubris. As she prepares for an important concert, everything comes crashing down—both professionally and personally. Tár is in theaters and can be rented on Prime Video.
  11. You Will Remember Me. (Directed by Éric Tessier.) A man with dementia connects with a girl who lives in a world of constant screens. It is a look at not just memory, but what kind of reality we have crafted in today’s world. Rémy Girard offers the best monologue/rant of the year when the tells us “You are prisoners of the eternal present.” You Will Remember Me can be rented on Prime Video.
  12. Last Flight Home. (Directed by Ondi Timoner.) Documentary about a man who had great success and loss in his life. As he seeks an end to his terminal illness, his family (including his daughter who made the film) gathers in support. A beautiful look at the end of life and the love within a family. Last Flight Home streams on Paramount+ and can be rented on Prime Video.

Of course, twelve is never enough (even if it’s thirteen), so let me add a few honorable mentions alphabetically.

  • After Yang. (Directed by Kogonada.) A story of love and loss and the meaning of being human. After Yang streams on Showtime.
  • Argentina, 1985. (Directed by Santiago Mitre. Argentina’s submission for Best International Feature.) A team of lawyers prosecute the military junta that oppressed the country. Argentina, 1985 streams on Prime Video.
  • The Eternal Daughter. (Directed by Joanna Hogg.) Tilda Swinton plays both mother and daughter on a trip to recall the past. The Eternal Daughter can be rented on Prime Video.
  • The Fabelmans. (Directed by Steven Spielberg.) Spielberg’s semi-autobiographical account of family and the love of film. The Fabelmans is in theaters and can be rented on Prime Video.

SF Radio 9.05: Screaming at THE BANSHEES OF INISHERIN

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In THE BANSHEES OF INISHERIN, Padraic (Colin Farrell) is thrown when his dear friend Colm (Brendan Gleeson) suddenly announces that they’re no longer friends. As Padraic attempts to make amends, the situation spins wildly out of control, exposing the underlying hurt and rage that bubbles within this quaint Irish town. This week, Dave Voigt (InTheSeats.ca) and Deb Whalen stop by for a pint to talk about the pain of escalation and poisonous power.

You can stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

9.05-The-Banshees-of-InisherinDownload

The Banshees of Inisherin: Holding on to Ghosts

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Set upon a fictional island off the coast of Ireland, The Banshees of Inisherin tells the story of Padraic (Colin Farrell), a man who spends his days caring for the sheep and chatting with his pal Colm (Brendan Gleeson) at the local pub. But today is different. Colm won’t answer his calls for their daily pint and Padraic is confused. When he confronts his friend, the only answer that Colm offers back is that he ‘doesn’t like him anymore’. Even so, Padraic refuses to accept Colm’s rash decision and decides to do whatever he can to make up for… well… whatever it is that’s he done to offend his friend. But as Padraic continues to push, the gap between himself and Colm continues to widen, further shattering what was once a great relationship.

Directed by Martin McDonagh, Banshees is a surprisingly funny and heartfelt film to add to his catalog. Unlike his most recent Oscar-winning work, Three Billboards Outside Ebbing, Missouri, Banshees is far lighter in tone than its predecessor, allowing the quaint surroundings and quirky conversations to lead the way. 

At least, at first.

Best known for unleashing man’s inner darkness, McDonagh lets his film operate on a slow burn. Beginning with one man’s spontaneous decision to end his friendship with his best pal, the film opens with such buoyancy that the viewer cannot help but be drawn into the madness of McDonagh’s world. But darkness looms on the horizon. By highlighting the humour of the film, McDonagh somehow makes the inevitable release of rage even more shocking and disturbing.

It’s been many years since Farrell has appeared to be having as much fun as he is here, bringing a buoyancy to the film. With a smile on his face, Farrell simply cannot understand why his friend refuses his time anymore and he is willing to do whatever it takes to repair the damage. However, as the film progresses, one can see the darkness that gradually grows within Farrell’s heart as his becomes increasingly frustrated with his friend. At the same time, Gleeson plays Colm with such a heaviness that one cannot help but wonder what the true reason is behind his refusal of friendship. Having worked together in In Bruges, both Gleason and Farrell have always done well in roles that required them to reveal the shadows within the human spirit, and that serves them well here. Whether they’re arguing about friendship or pretending to play nice with one another, their chemistry on screen is palpable and amazing to behold.

Although there are no particular ghosts within the film, the titular ‘banshee’ appears in the form of Ms. McCormack, an older woman who bears prophetic threats. Clothed in black and standing ominously on the path, McCormick appears at random with words of warning, even as Padraic remains optimistic about his situation. As such, there’s a certain sense of inevitability of death and destruction that hovers over the film like a black cloud ready to unleash its storm.

Interestingly, McDonagh juxtaposes the simple story of two men in a dispute with a mysterious Civil War that lies across the sea. Although we occasionally hear guns flaring, we are never allowed to know what that battle is truly about. At the same time, the ‘row’ between Gleason and Farrell falls in step with the unknown battle that continues to rage, creating an interesting tension between the two situations. While McDonagh offers no clear answers to their connection, Banshees appears to highlight the pointless realities of war. Beginning over the silliest of misunderstandings or arguments, the tensions between Padraic and Colm are of such a ridiculous nature that one wonders why there’s a conflict at all. However, the tensions continue to escalate and the reason for the dispute becomes irrelevant. As the beginning of this battle falls further and further into the distance, the quest for peace disappears further on the horizon. All of a sudden, what once might’ve been repaired is now irreparable, and what began as a simple ‘row’ evolves into full-blown war. 

In this way, McDonagh unleashes the true terror of his Banshees. Although the reasons appear insignificant, the ghosts of the past refuse to allow the present to heal. With humour and a heart of darkness, McDonagh highlights the pain that is caused when people hold on to their hurt and how quickly the damage can escalate.

The Banshees of Inisherin premiered at TIFF ’22. For more information, click here.

TIFF ’22: The Banshees of Inisherin

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Set upon a fictional island off the coast of Ireland, The Banshees of Inisherin tells the story of Padraic (Colin Farrell), a man who spends his days caring for the sheep and chatting with his pal Colm (Brendan Gleeson) at the local pub. But today is different. When Colm won’t answer his calls for their daily pint, Padraic is confused. When he confronts his friend, the only answer that Colm offers back is that he ‘doesn’t like him anymore’. But Padraic refuses to accept Colm’s rash decision and decides to do whatever he can to make up for… well… whatever it is that’s he done to offend his friend. But as Padraic continues to push, the gap between himself and Colm continues to widen, further shattering what was once a great relationship.

Directed by Martin McDonagh, Banshees is a surprisingly funny and heartfelt film to add to his catalog. Unlike his most recent Oscar-winning work, Three Billboards Outside Ebbing, Missouri, but Banshees is far lighter in tone than its predecessor, allowing the quaint surroundings and quirkly conversations to lead the way. 

At least, at first.

Best known for unleashing man’s inner darkness, McDonagh allows his film to operate on a slow burn. Beginning with one man’s spontaneous decision to end his friendship with his best pal, the film open with such buoyancy that the viewer cannot help but be drawn into the madness of McDonagh’s world. But darkness looms on the horizon. By highlighting the humour of the film, McDonagh somehow makes the inevitable release of rage even more shocking and disturbing.

In this way, McDonagh unleashes the true terror of his Banshees. Although the reasons appear insignificant, the ghosts of the past refuse to allow the present to heal. With humour and a heart of darkness, McDonagh highlights the pain that is caused when people hold on to their hurt and how quickly the damage can escalate.

The Banshees of Inisherin premiered at TIFF ’22. For more information, click here.