The Banshees of Inisherin

Martin McDonagh’s latest film, written and directed by himself, was searingly witty and funny, and also unexpectedly poignant that may have worked a lot better as a stage production than a cinematic experience. It told an intimate story of being unexpectedly blindsided that a relationship is over, and the fallout from that on both parties and the people around them. What could be more intimate than grieving, because really this was a story about people coming to terms with death and the end. But perhaps McDonagh could have been a wee bit less heavy-handed with the metaphors and allegories, especially that rather unnecessary epilogue highlighting that what we had just watched was a metaphorical allegory to the Irish civil war. Nevertheless, the core cast was exceptionally strong and like “The Power of the Dog” may very well land all four of them Oscar nominations. 

Colin Farrell continued his renaissance, that started with 2008’s “In Bruges”, and is definitely deserving of the Best Actor Oscar for a touchingly affecting and finely nuanced performance that asked for a lot from a non-showy character. And Farrell absolutely delivered with a full-bodied, all-in performance and lots of face and eye acting. 

Brendan Gleeson as the other half of this bromance was a complex curmudgeon that just wanted his space. A lonely man that wants to be alone, but yet not. Gleeson portrayal was oddly relatable and although his character may be highly contentious, Gleeson injected in him a deep sense of empathy and sympathy.

The other Best Supporting Actor in contention was Barry Keoghan. His role may have been small but it was memorable and truly the innocent heart of the film.

Lastly was the only female character of note as played by Kerry Condon. If Keoghan was the heart of the film, Condon was the brain. The smart, intelligent one who deserved better and knows she deserves better. However, as a character, she lacked urgency. Condon got short shrift by McDonagh who used her more as a plot and narrative device to move his two male leads to where he want them to be. Nonetheless, Condon shone when she got her own moments. 

A definite year-end awards contender for multiple categories, including Best Picture, Best Cinematography (for Ben Davis), Best Score (for Carter Burwell) and Best Original Screenplay for McDonagh, with McDonagh a long shot for Best Director.