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In 1923, as the Irish Civil War continues on the mainland, simple Irishman Pádraic Súilleabháin (Colin Farrell) resides on the isle of Inisherin with his sister, Siobhán (Kerry Condon). Without any grand ambitions, Pádraic happily spends his days at the pub with his lifelong friend, Colm Doherty (Brendan Gleeson). However, Colm abruptly begins ignoring Pádraic, telling the bewildered and devastated man that their friendship is over because Pádraic is too dull and he would rather spend the rest of his life pursuing fulfilling things like composing music instead of engaging in pointless chatter. Unsure what to do, Pádraic refuses to leave his former friend alone, continually pestering him and hoping that Colm will eventually see the error of his ways and reinstate their friendship. However, the effort only infuriates Colm, who threatens to cut off his fingers if Pádraic ever tries to speak to him again. Pádraic also connects with troubled local boy Dominic (Barry Keoghan), whose policeman father (Gary Lydon) frequently engages in physical abuse. Meanwhile, the more sensible Siobhán grows fed up with the male behaviour around her, trying to diffuse the feud between Colm and Pádraic to no avail.
McDonagh deservedly earned an Academy Award nomination for his screenplay, which is a masterclass of rich character work, meticulous storytelling, and sharp, shudderingly hysterical dialogue. It takes several viewings to absorb all the niceties of the dialogue, with McDonagh devising laughs through broader comedic exchanges (a conversation about a bread van) and sly asides (Dominic discussing his pub ban with the publican). McDonagh's writing also leans into the Irish vernacular, with conversations sounding astonishingly naturalistic yet distinctly poetic and incredibly engaging, and the humour never seems forced or contrived. For its first hour in particular, The Banshees of Inisherin is intensely funny, but the story's dramatic elements start to take shape once violence enters the equation, leading to despair and tragedy. It is a testament to McDonagh's writing and direction that the film remains compelling and palatable despite the tonal changes as the third act devolves into cruelty and sadness. McDonagh also uses the setting to enhance the picture's themes; the screenplay draws parallels between the circumstances on Inisherin and the tumult of the Irish Civil War, underscoring the conflicts as pointless and senseless.
The Banshees of Inisherin is visually distinct and aesthetically rich, with the old-fashioned execution ideally serving the material. McDonagh's third collaboration with cinematographer Ben Davis (Seven Psychopaths, Three Billboards Outside Ebbing, Missouri), the film looks magnificent, with the photography taking advantage of the gorgeous Irish vistas and intricate production design. Shot on location off the coast of Ireland, the sense of authenticity is astonishing, with buildings and clothing that look lived-in and genuine instead of artificial, and with no trace of distracting digital trickery. Additionally, with McDonagh specifically requesting no Irish music for the soundtrack, composer Carter Burwell delivers a beautifully melancholic original score reminiscent of his contributions to In Bruges. Burwell's music meaningfully contributes to the storytelling, with distinct motifs for Pádraic and Colm that reflect their different personalities and dispositions. Irish musicians also appear to play fiddle music on-screen, contributing further flavour to the production. Furthermore, McDonagh confidently guides the narrative with his superlative direction, unafraid to hang onto pauses or silences but consistently maintaining a steady pace.
Four of The Banshees of Inisherin's nine Oscar nominations were for acting, as the Academy acknowledged the quartet of leads for their note-perfect performances. McDonagh creates distinct, fully-realised characters with unique personalities, traits and speech patterns, while the superb actors sink their teeth into the meaty material. Farrell is terrific in practically everything, but his performance as Pádraic is one of his finest, bringing dramatic gravitas and emotional depth to a complex character. Farrell superbly portrays fluctuating emotions throughout the story, trying to maintain his cheerful, fun-loving disposition while confronting loss and loneliness. This is Farrell's third time working with McDonagh (he did not appear in Three Billboards Outside Ebbing, Missouri), and it is easy to see why Farrell continues collaborating with the director. Alongside him, his In Bruges co-star, Brendan Gleeson, is equally fantastic, bringing humanity and depth to a character who seems unnecessarily callous. With the script revealing more and more about Colm as the picture progresses, Gleeson handles the philosophical and dramatic dialogue with utmost confidence, and his portrayal of Colm is a far cry from his compassionate In Bruges character. McDonagh specifically wrote Pádraic and Colm for Farrell and Gleeson, and they positively light up the screen with their chemistry; they are a superb pair.
Kerry Condon's Siobhán provides a dramatic anchor for the absurdity throughout the story, serving as a scolding mother to the juvenile male characters. However, the screenplay gives her more dimension, as Siobhán has ambitions beyond Inisherin. Meanwhile, after his foray into superhero cinema with The Eternals and The Batman, Keoghan shows his incredible acting chops here with a subtly nuanced performance wholly deserving of an Oscar. His comedic timing is remarkable, and he expresses so much through facial expressions and understated changes in the delivery of his dialogue. See, for example, Dominic realising Pádraic is not as nice as he once thought, or the boy responding to Siobhán rejecting his romantic proposition; his responses to both situations are extraordinarily authentic. The Banshees of Inisherin also demonstrates that it is possible to make a tremendous impact with limited screen time, as even minor members of the talented ensemble deliver huge laughs. For example, David Pearse is gut-bustingly funny as a priest whose confessional scenes with Colm had this reviewer in tears of laughter, while Aaron Monaghan only has one notable scene as a fiddler from the mainland but is responsible for numerous belly laughs.
Like McDonagh's Irish plays, The Banshees of Inisherin is a tragedy; it is not a mainstream comedy with clichés, schmaltz or a happy ending. The ambiguous, open-ended conclusion ends the story on an intense note of melancholy, but once the sense of despair wears off and you can reflect on the story and the characters, it is difficult to imagine the movie playing out more perfectly. With his fourth feature film, McDonagh demonstrates yet again that his ability to mix comedy and pathos is unmatched. Hilarious and heartbreaking, The Banshees of Inisherin is one of the best and most memorable movies of 2022.
9.0/10
