Date Showing Showing On 13, 15, 16 February
Time Showing Monday 6pm, Wednesday 4pm & 6.30pm and Thursday 6pm

THE BANSHEES OF INISHERIN

M 1hrs 54mins
drama | 2022, Ireland, UK | English
Overview

Two lifelong friends find themselves at an impasse when one abruptly ends their relationship, with alarming consequences for both of them.

Warnings

Mature themes, coarse language, injury and brief nudity

Director
Martin McDonagh
Original Review
James Mottram, NME
Extracted By
Gill Ireland
Featuring
Colin Farrell, Brendan Gleeson, Kerry Condon

Watch The Trailer

The Banshees of Inisherin | Official Trailer | Searchlight Pictures

Storyline (warning: spoilers)

Sometimes, words can sting far harder than a punch to the face. “I just don’t like you anymore,” says Brendan Gleeson’s fiddle player Colm in Martin McDonagh’s wondrous new fable, The Banshees of Inisherin. The target of this rancour is Pádraic (Colin Farrell), his best mate on the (fictional) island of Inisherin, off the coast of Ireland. Set in 1923, as the civil war rages on the mainland, the conflict on this small spit of land is every bit as combustible. Dairy farmer Pádraic lives with his book-reading sister Siobhan (Kerry Condon) in a tiny cottage, gently tending to his animals, including Jenny the miniature donkey. He’s left aghast. Has he done something to upset his long-standing drinking pal? Scratching his head, he’s left to chew the fat with Dominic (Barry Keoghan), the dim-bulb son to the island’s curmudgeonly copper.
The big draw here is Farrell and Gleeson, reunited after previously co-starring in McDonagh’s 2008 feature debut In Bruges, where they played two bickering hitmen. Farrell, who won Best Actor at the recent Venice Film Festival for his performance here, is heartbreaking as Pádraic, a man who loses more than just his lifelong friend in these few days. His eyebrows furrowed in sadness, it’s a masterclass in making a character accused of dullness feel sympathetic. Gleeson is just as good, the glint in his eye an intoxicating blend of melancholy and madness. McDonagh suggests, more than once, that Colm suffers from “depression” or “despair”, though it’s a subject treated with dignity.
McDonagh’s writing is crisp, puckish, and very, very funny – a stark reminder that he’s also a hugely successful playwright too. But the sharpness of the dialogue is complemented by Ben Davis’ beautiful images of Inisherin. Much of the film was shot on the island of Inishmore, and Davis truly captures the slow-moving rhythms of 1920s life on a remote isle.
There are no easy solutions or happy endings all round. But The Banshees of Inisherin is that rare thing: a film that will have you chuckling one minute, gasping the next. A story about what matters more – your legacy or your life – McDonagh has created a work of feckin’ brilliance.

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