The Banshees of Inisherin (2022)

Martin McDonagh’s back catalogue thus far is impressive to say the least. Up until now, In Bruges (2008) is arguably his masterpiece, but he’s followed that up with the hugely enjoyable Seven Psychopaths (2012) and bagged a BAFTA for Three Billboards Outside Ebbing, Missouri (2017), a film that also saw Sam Rockwell and Frances McDormand win Oscars for their roles. His latest, The Banshees of Inisherin could (should) well see him win Oscar gold for his script here, if not one or two more in other categories. Colin Farrell is Padraic, who lives with his sister (Kerry Condon) on the remote small island of Inisherin off the coast of Ireland. The film begins as Padraic makes his daily stroll down to his friend Colm’s house to call for him on the way to the pub. It transpires that Colm doesn’t wish to be Padraic’s friend anymore, or indeed to speak to him again; a bizarre turn of events which leads to Colm’s threat of cutting off his own fingers one by one, every time Padraic speaks to him from now on. The performances from Farrell and Brendan Gleeson (as Colm) are exceptional, drawing you into the tight knight feel of a small community with their feud, and McDonagh sprinkles the drama with fantastic supporting characters including a magnificent turn from Barry Keoghan as the local policeman’s son Dominic. The cinematography by Ben Davis shimmers with rural beauty, drawing comparisons strangely enough with Graham Linehan and Arthur Matthew’s Father Ted (1995-98) albeit with a much more sinister tone. Having said that, McDonagh’s unbelievable ability to fuse drama and comedy, often drastically changing your mood within seconds, means there’s more familiarities with Father Ted than you might think, not least because a couple of Ted alumni show up as supporting characters. Like In Bruges, Farrell is required to show us a vulnerable side to his character, which he does with wonderful range. McDonagh’s astonishing script means that the lack of apparent plot or legitimate reason behind Colm’s actions aren’t relevant; the film is about so much more than its simple synopsis; but is encompassed by a setting and characters that make the intimacy all the more efficacious. Kerry Condon is absolutely sublime as the buffer between Colm and Padraic but her character is fleshed out just as well as the two ex-best friends, meaning that a film essentially billed as a two hander, frequently becomes a three hander every time she’s on screen. For those that felt McDonagh had peaked with In Bruges, The Banshees of Inisherin takes his status to a new level, and if it’s not up for every award possible come next year, it will be robbery of the highest order. 8.7/10