Banshees and Bitter Hearts
The Banshees of Inisherin (2022)
Directed by Martin McDonagh
Starring Colin Farrell, Brendan Gleeson, Kerry Condon and Barry Keoghan
By Peter Cameron
Life almost never gives us what we want. It bitters our hearts. We stuff those bitter hearts into cities and towns and, with The Banshees of Inisherin, Martin McDonagh stuffs them onto an island in the Irish Sea. If our hearts want conflict, that is one thing from life they will surely get.
For whatever reason, Colm no longer wants to speak to Padraic, but that’s pretty much all Padraic wants: a normal fecking chat with his friend. So, what changed? Padraic certainly didn’t, and that might simply be the problem because Colm surely did. The two men start rowing, and their row, born of Colm’s bitter heart, starts a series of strange and senseless events that bitter Padraic’s heart as well.
This film is full of glory—the glory of the Irish coast. Its tall cliffs and jagged edges, caked in green, stand bold against the endless sea, plump clouds and setting sun. Part of me wants to live on that island and experience that glorious scenery; thoughtfully walking beside the stone walls that line its winding roads. But then I’d be stuck. I’d wanna hide from the Mrs. McCormicks, the gossips and the needy, knowing full well that there’s nowhere for me to hide on an island.
Which is to say, community is hard. It’s difficult to get up each day and face expectations, the potential shame of a job undone or an unrequited love that could’ve possibly been the one. Community is also the source of joy, security, and strength. It’s the source of love. But it’s hard, and that difficulty blends with bitter hearts into a tinderbox of tension. One day, and for strange reasons, Colm decides to bring his flame too close to the tinder.
Banshees is masterful in many ways. The cinematography, for one, is undeniably stunning. Ben Davis, whether it’s en plein air or indoors, paints each scene with a rich palette of light. Banshees is so beautifully filmed that it functions as a tour brochure for Irish immigration, but it’s the faces that really tell this tale. Colin Farrell already won the Golden Globe, but I wholeheartedly endorse a Best Supporting Actor nom for his eyebrows. Those burly bastards pitch like a Victorian roof. Brendan Gleeson’s portrayal of Colm is superb as well, especially considering the actions he takes and how believable they have to be. Kerry Condon deserves all the accolades for her portrayal of the long-suffering-sister Siobhan, and Barry Keoghan has really carved out a solid niche for himself as a creeper. In all, it’s a wonderful ensemble.
Director Martin McDonagh’s experience as a playwright comes through with his direction of the ensemble and their hyper-localized tension that works so well on a stage. The Banshees of Inisherin, however, is a dark morality tale unbounded by the stage and perhaps more powerful on screen.
This film could be a parable, but the parables I know are a few sentences long at most. Instead, this film gives us pause. How senseless is hate? How bitter can we be? We glean no clear answers from Banshees – all we experience is a reflection of ourselves and the unpalatable flavors stewing slowly in our hearts.
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