15 Sep TIFF REVIEW – ‘The Banshees of Inisherin’ is a deceptively simple Irish folk tale with plenty hiding beneath its surface

In 2008, writer/director Martin McDonagh announced his arrival in a major way with the delicious black comedy caper In Bruges. As far as directorial debuts go, it’s up there with the best. The film also proved quirky indie films were where Colin Farrell truly belonged, particularly after a series of disappointing big-budget blockbusters (remember Alexander?). The pairing of Farrell and veteran character actor Brendan Gleeson was a match made in heaven and fans of this modern cult classic have been clamouring for a reunion ever since. Their prayers have finally been answered. And the result is nothing short of cinematic perfection.

A brilliantly subversive film that will no doubt prove a strong contender come awards season, The Banshees of Inisherin is a deceptively simple Irish folk tale with plenty hiding beneath its surface. Beautifully written by McDonagh and brought to life by one of the finest ensemble casts of the year, it’s delightfully funny and curiously subtle until the point McDonagh takes a turn down a swarthier path and never looks back. Love it or hate it, you won’t easily forget this sublime piece of cinema.

Set on the fictional titular island during the Irish Civil War of 1923, the film centres on sweet-natured local lad Pádraic Súilleabháin (Farrell, never better). Much like he has every day for seemingly years, Pádraic is on his way to pick up his fiddle-playing best friend, Colm Doherty (Gleeson) so the two can head to the local pub for a pint. But something is off today. Colm isn’t at home when Pádraic arrives and he’s soon shocked to find his buddy is already at the tavern without him; something that clearly never occurs.

Things quickly become stranger when Pádraic confronts Colm and is bluntly told the two are no longer friends. Stunned by Colm’s sudden change of outlook on their relationship, Pádraic begs for an explanation as to what brought on this rash decision. Was it something he said or did? Is there an apology that can fix everything? Or something else he can do to make amends? Name it and he’ll do it. But Colm is fiercely steadfast in his conclusion to call it quits.

Refusing to believe this is really the end of their once-unshakable kinship, Pádraic desperately seeks to find a way back into Colm’s good graces with support from his wise sister, Siobhan (a magnificent Kerry Condon) and young village idiot Dominic Kearney (a scene-stealing Barry Keoghan). But Pádraic’s stubborn rejection of Colm’s wishes only solidifies his former’s friend resolve and Pádraic is only making matters worse by continuing to pester Colm for a resolution. As events and emotions begin to escalate, an ultimatum is brewing with shocking consequences for both Irishmen.

McDonagh has always had a penchant for cinema that dances on the darker side of life. The Banshees of Inisherin is another “feel-bad” work where initially light proceedings soon take a nasty turn that might prove somewhat divisive. It’s a dark comedy with a caustic bite and the guile to tackle heady subjects like depression, domestic violence, and the pressure to leave behind a legacy that will prove your life was worth some merit. This is McDonagh’s most mature work to date and might just be his best. His screenplay features a hefty helping of hilarious dialogue, situational comedy, and batty supporting characters that wisely cuts through the darkness and serious subject matter like a razor-sharp knife.

Ending a friendship is tricky business, particularly when the other party hasn’t inherently done anything wrong. McDonagh deliberately hesitates from revealing the true motivation behind Colm’s unexpected decision to keep his audience as exasperated as Pádraic and just as hungry for answers. It’s a tantalising mystery that ultimately hides one man’s ensuing depression and the realisation the clock is ticking on him discovering a way to leave a mark on this world. There’s so much substance to what McDonagh is trying to say, much of which is hard to discuss without entering spoiler territory.

Reteaming with McDonagh proves to be a wise decision for Farrell, as he quietly and masterfully delivers the best performance of his career and one that will surely net the actor his first Oscar nomination. You’ll be hard-pressed to find a more lovable character on screen this year than Pádraic. His adorable puppy-dog eyes convey the perplexing confusion and overwhelming sadness at a crushing decision he had no hand in. Farrell finds the deep pathos in Pádraic’s anguish that soon transforms into something rather desperate and poisonous. He’s a bit of a simple dullard, to be sure, but McDonagh offers Farrell a character with endless range and depth that’s marvellous to behold. And his gorgeous chemistry with Gleeson hasn’t diminished a drop in the 14 years since the pair last shared the screen.

In what will likely be deemed a “supporting” performance, Gleeson is happy to allow Farrell to take the reins of this film but knows when it’s his turn to shine. And, boy, does he shine. As the gruff and stoic fiddle player, Gleeson expertly plays a man at a crossroads in his life. He’s purportedly content with his decision to sever ties to the loyal man who’s always been by his side, but Gleeson is deft enough to allow slight moments of tenderness to slip through the walls Colm has put up before a hasty retreat so as not to break his resolution completely. There’s a brutal coldness to Gleeson’s performance, but it’s easy to see it’s merely a front for an ageing Irishman aching to make something of his spartan life.

But it’s Condon and Keoghan who truly steal this film away with two terrific supporting turns that also demand attention from awards voters. As Pádraic’s endlessly savvy and tough-talking sister, Condon is stuck right in the middle of this squabble and she’s the intelligent voice of reason amid plenty of pettiness. Her unshakable devotion to her brother is beautifully touching, but it’s clear it’s holding her back from a fulfilling life of her own away from the tiny confines of Inisherin. Much like Colm, Siobhan is also stuck at an intersection without any easy choices, and Condon handles this deeply complex woman with aplomb.

And then there’s the ever-reliable Keoghan. The dotty Dominic begins as the film’s comic relief, particularly when he takes a doe-eyed shining to Siobhan, a woman twice his age. He potters about town without much purpose, dismissed by most of the locals as nothing more than the village dolt. But he’s sharply observant of everyone and everything around him and clearly knows far more than he lets on. Unsurprisingly, McDonagh adds a touch of blackness to Dominic’s backstory that explains so much about a young man who could easily be a throwaway character in the hands of a lesser writer and actor. Keoghan is the perfect choice for such a quirky character who’s harbouring much damage that’s affecting him more than it initially appears.

Aided by stunning location cinematography from Ben Davis and a charming score from Carter Burwell, McDonagh delivers a feckin’ captivating film without any easy answers or tidy solutions. That’s always been McDonagh’s calling card, so considered yourself warned. This modest story still packs a mighty punch you won’t see coming. The comedy lands so damn well, but the drama is even more impactful. In short, it’s one of the very best films of the year. The highly-anticipated reunion of McDonagh, Farrell, and Gleeson was worth the wait. And then some. May this trio continue to work together for years to come.

Distributor: Searchlight Pictures
Cast: Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan, Gary Lydon, Pat Shortt, Jon Kenny, Sheila Flitton, David Pearse, Bríd Ní Neachtain, Aaron Monaghan
Director: Martin McDonagh
Producers: Graham Broadbent, Peter Czernin, Martin McDonagh
Screenplay: Martin McDonagh
Cinematography: Ben Davis
Production Design: Mark Tildesley
Costume Design: Eimer Ní Mhaoldomhnaigh
Music: Carter Burwell
Editor: Mikkel E.G. Nielsen
Running Time: 114 minutes
Release Date: 21st October 2022 (US/UK), 26th December 2022 (Australia)