Review: Glory

 

DIR: Kristina Grozeva, Petar Valchanov • WRI: Kristina Grozeva, Decho Taralezhkov, Petar Valchanov  PRO: Kristina Grozeva, Konstantina Stavrianou  DOP: Krum Rodriguez • ED: Petar Valchanov • MUS: Hristo Namliev • DES: Kristina Tomova • CAST: Stefan Denolyubov, Margita Gosheva, Ana Bratoeva

Glory is a rare gem of a film. The second of Kristina Grozeva’s Newspaper-Clippings trilogy, Glory is an exploration of corruption and accountability that highlights the class tensions of contemporary Bulgarian society. When railway trackman Tsanko Petrov (Stefan Denolybov) alerts the authorities to a large amount of money found on the tracks, he finds himself swept into the middle of an aggressive PR battle. In order to distract from accusations of corruption within the Ministry of Transport, Julia Staykova (Margita Gosheva), the boujie and militaristically corporate head of PR decides to parade Tsanko as a hero in order to spin press attention away from the brewing scandal. Poor, dishevelled, and speaking with a stutter, Tsanko is ridiculed and discarded once he has fulfilled Julia’s needs. However, he proves difficult for Julia to get rid of, as he relentlessly presses her to return his father’s watch, taken from him at the press conference. Julia tries her best to worm away from culpability, but soon finds some actions just can’t be undone.

Corruption and class tensions are themes which consistently boil close to the surface of the film, with a sharp contrast drawn between the tough, tireless and ramshackle lives of the lower class trackmen and the clean, profit driven world of the upper class PR workers. Tsanko and his co-workers break their backs to keep the tracks maintained and the trains running, yet they are completely alienated from the means of their labour and thus lead impoverished lives while the minister and his employees get rich and postpone the payment of wages on a whim. Tsanko even makes a point of bringing direct evidence of corruption to the minister, who brushes him off continuously while smiling for the cameras. Tsanko is hailed as a hero but is ultimately used as a distraction; no one actually cares about him or the quality of his life.

The notion of accountability is threaded throughout the film; Tsanko hovers like a ghost as the edge of Julia’s life and though she tries to ward him off she can’t escape him. Though she is the one who lost his watch, and though she is the one who placed him in compromising and increasingly dangerous positions, she refuses to be held accountable for her impact of his life. It is only when consequences come to a searing boil that she realises her mistake, and the question then is whether her acceptance of culpability comes too late. Her treatment of Tsanko is clinical, unfair, and infuriating to watch, but his final slice of retaliation is sharp and satisfactory. Thoughtful, pointed, and emotive, Glory is a film which stares the uncomfortable inequalities of state capitalism in the face, and refuses to look away, even when its nasty nature begins to unfold.

Sadhbh Ni Bhroin

12A (See IFCO for details)

101 minutes
Glory is released 26th January 2018

 

 

 

 

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Review: Battle of the Sexes

DIR: Johnathan Dayton, Valerie Faris  WRI: Simon Beaufoy  PRO: Danny Boyle, Christian Colson, Karen Ruth Getchell, Robert Graf  DOP: Linus Sandgren • ED: Pamela Martin • DES: Judy Becker  Ed: Stephen Mirrione  MUS: Nicholas Britell  CAST: Emma Stone, Steve Carell, Andrea Riseborough, Sarah Silverman, Bill Pullman and Jessica McNamee, Austin Stowell, Alan Cumming

Based around the events of the 1973 “Battle of the Sexes” tennis match between Billie Jean King (Emma Stone) and Bobby Riggs (Steve Carell), this sports biopic dramatizes the personal and professional lives of King and Riggs in the run up to the match. Angered that the prize money of Jack Kramer (Bill Pullman)’s latest tournament is unevenly distributed – winning women receiving just an eight of what is to be awarded to the winning men, with the assumed natural inferiority of women offered up as explanation – King and close friend Gladys Heldman (Sarah Silverman) vow to start their own women’s league.

Expelled from the Lawn Tennis Association, the team struggles before winning sponsorship from Virginia Slims cigarettes, thanks to King’s star pull and Heldman’s persistence. While preparing for their tour, King meets Marilyn Barnett (Andrea Riseborough), a hairdresser who quickly steals the tennis player’s heart – and concentration, as King is beat in the finals by rival Margret Court (Jessica McNamee). Meanwhile, with a gambling problem destroying his marriage, Riggs decides to challenge the top female player in America in an attempt to revitalise his career and prove that men are superior at the sport. A self-proclaimed chauvinistic pig, Riggs hams up the misogyny which was rife throughout the seventies, and as Court folds horrifically under the pressure of Riggs’ match, the torch is passed to King. Determined to trash Riggs and achieve equal pay and equal standing for the women of the tennis world, King has to fight to put her personal life on hold.

This proves most difficult, as King is torn between her newly discovered sexuality and attraction to Marilyn, and her loyalty to her husband Larry (Austin Stowell). Helped along by Ted Tinling (Alan Cumming), King begins to settle in her skin, and when Larry calls for Marilyn to attend the Battle of the Sexes match, the immediate soothing effect of her presence hints at a dualistic liberation for King.

Funny, touching, and exciting, Battle of the Sexes is a film about perseverance and standing your ground. Although the intersectional liberation movements of the period go unexplored, the film provides a vignette of the intense misogyny aimed towards women, and the sacrifices and energy required to challenge it and to spark change.

Sadhbh Ní Bhroin

12A (See IFCO for details)

121 minutes
Battle of the Sexes is released 24th November 2017

Battle of the Sexes – Official Website

 

 

 

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Review: The Florida Project

DIR: Sean Baker • WRI: Sean Baker, Chris Bergoch  PRO: Sean Baker, Chris Bergoch, Kevin Chinoy, Andrew Duncan, Alex Saks, Francesca Silvestri, Shih-Ching Tsou • DOP: Alexis Zabe • ED: Sean Baker  DES: Stephonik Youth  MUS: Lorne Balfe • CAST: Willem Dafoe, Brooklynn Prince, Valeria Cotto, Christopher Rivera

 

 

Centring round the lives of hidden homeless families sheltering in a motel standing just a stone’s throw from Disneyland, The Florida Project juxtaposes two very different kingdoms. The first is Disneyland, ever-present via its ambiguous presence in conversation, a capitalist paradise where dreams come true if you can afford them to. The second is the Magic Castle budget hotel, a defiant purple landmark against the Florida skyline, where those who can’t afford their dreams seek refuge. Avoiding condescension in favour of humanisation, this juxtaposition allows The Florida Project to take a long, hard look at our dystopian capitalist society, filtered through the eyes of Moonee (Brooklynn Prince), a six year old who manages to find wonder and adventure, unaware of the delicate nature her and mother Halley’s (Bria Vinatie) living situation.

Run by the tired yet fatherly Bobby (Willem Defoe), the Magic Castle is both a playground for Moonee and her friends Scooty (Christopher Rivera) and Jancey (Valeria Cotto), and a constant reminder of the systemically enforced nature of poverty. Single twenty-something Halley struggles to make enough to pay her weekly rent, resorting to selling knock-off perfume to tourists and escort work to support herself and her daughter. The unasked yet constantly present question threaded through the action of The Florida Project is why must people be forced to earn a living, by any means, when the system is so often stacked against us and structured in such a way that those in poverty never reach higher than just about scraping by. The little money Halley happens by goes towards keeping a roof over their heads and food in their stomachs, exposing the cycle of boredom and poverty innately tied to existing on a small and disproportionately disposable income. Social isolation is also portrayed via a lost middle-class couple exasperated distaste at the possibility of spending the night amongst the Magic Castle’s homeless residents, further demonising Halley and her daughter, and othering them in contrast to “normal” Americans.

Notions of friendship and reliability spike through the film, and as Halley and her close friend dramatically – and violently – fall out, Moonee and Jancey fall together in a triumphant celebration of young female friendship. Unattended in their adventures, the girls explore and grow as close companions; their relationship doesn’t rely on gendered expectations of young girls, and they share bursts of rough and tumble, as well as gentle moments of reflection. Their final and daring race towards the Magic Castle of Disneyland indicates a longing to escape, to break free from a system that holds them in aimless poverty and the fear of being taken into care.

All in all, The Florida Project is a film with an abundance of heart, one which highlights and commends relentless perseverance, but which recognises that it should not be needed; that the shiny, exciting aspects of capitalist life often work to hide its victims, thrown to the wayside and struggling to get by.

Sadhbh Ni Bhroin

15A (See IFCO for details)

111 minutes
The Florida Project is released 10th November 2017

The Florida Project – Official Website 

 

 

 

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Review: Professor Marston and the Wonder Woman

 

DIR/WRI: Angela Robinson  PRO: Terry Leonard, Amy Redford • DOP: Bryce Fortner • ED: Jeffrey M. Werner  DES: Carl Sprague  MUS: Tom Howe • CAST: Rebecca Hall, Bella Heathcote, Luke Evans

 

Focusing on the polyamorous throuple between professors Elizabeth (Rebecca Hall) and William (Luke Evans) Marston and their assistant Olive Byrne (Bella Heathcote), Professor Marston and the Wonder Woman is a study in the importance of honesty, compassion and perseverance. Elizabeth and William first meet Olive at Radcliffe College, where she volunteers as an assistant for their research on the DISC theory of human interaction. From the beginning there is an overwhelming chemistry between the three, and, despite the rocky results of a breakthrough with their lie detector, they soon open themselves up to their undeniable connection and embark on a polyamorous relationship, one which inevitably inspires the legendary character of Wonder Woman.

The depiction of polyamory – and more specifically romantic love between women – is always a cause for potential concern, specifically when the interests of a male character are also involved. The concern is often over the potential for the female participants to be reduced to receptacles for emotional labour, and screens for sexual fantasy, stripped of autonomy and painted as two-dimensional candidates vying for the affection of the man. Gloriously, this is not the case in Professor Marston and the Wonder Woman; even the ambiguity of which professor the title refers to is wonderfully clever. Rather than framing the throuple as innately jealous and inevitably self-destructive, the dynamic is presented as supportive and protective. Though the beginning is rocky and there are bumps in the road – this relationship dynamic was unheard of and classified as deviant in the 1930s and ’40s – the ultimate indication is that the three of them can only be comfortable and happy when they are all together. This isn’t to say the nature of polyamory is easy and uncomplicated, but the cinematic representation of a throuple as viable and motivated beyond male desire is rare and refreshing.

The love between Elizabeth and Olive then becomes perhaps the most important in the film, not for the sexual gratification of William, but as its own intimate and personal relationship – end credits inform that the women spent the rest of their days as a couple following the death of William in 1947. Although there is initial tension and slight cause of jealousy, Olive is open with her feelings for Elizabeth, and confesses her love for the professor before indicating her interest in William. Elizabeth is confident and rational, but has trouble admitting her emotions, even to herself. The love of Olive allows her to resolve this, and within the polyamorous dynamic, care is taken to paint the women as whole and multifaceted characters who need and love each other just as much as William. This goes beyond the tendency for female homosexuality to be used as titillation, or as a means to reassert heterosexuality; Elizabeth and Olive do not perform for William, and in turn he does not frame them as a kink. Instead, he encourages their romantic and emotional growth, reuniting them following tensions, and never challenging their autonomy.

Narratives involving same-sex love and queer dynamics often end in sadness, furthering the historic cinematic understanding that homosexuality and queerness are unnatural and in need of punishment or abjection. Professor Marston and the Wonder Woman, however, pushes against this, and indicates that natural order can only be restored, and happiness only possible, when Elizabeth, Olive and William are united. For the throuple, communication and compassion are all-important, with consent an ever present and normalised factor of their romantic and sexual relationships. The thread that their unconventional love is potentially deviant is spun through the narrative, and when the Wonder Woman comics are pulled as crude by the Child Study Association of America, William’s defence of his work is also a defence of his family, and the burning of his work is also a burning of his family.

The character of Wonder Woman is explained as a fusion of psychology and multifaceted femininity meant to further the feminist cause, with the action of the comics inspired by both the personalities of Elizabeth and Olive, and by the breakthroughs of Marston’s DISC theory research. Feminism and female autonomy, then, are also central players in the film; Olive’s aunt was the famous radical activist Margaret Sanger. Social expectations are brought under scrutiny, Olive is encouraged to follow her own desires and not the ones dictated to her, and the notion that passionate emotion between women is natural is brought to the fore. As the ambiguous title indicates, the Marstons are an academic team, a powerhouse of co-operation which allows, within the realm of the personal, a certain equality. The women are never presented as fantasy for consumption, and the concept of the male gaze, if not cast out, is definitely offered up for discussion. In essence, the film channels early steps of feminism, which by today’s standards seem un-radical and slow, but were once important catalysts for social interrogation, and for change.

Professor Marston and the Wonder Woman is a thoughtful story, woven with care and working to challenge both cinematic convention and social understandings. It is a celebration of a strong, revolutionary character, and, more importantly, the women who inspired her creation.

Sadhbh Ni Bhroin

16 (See IFCO for details)

108 minutes
Professor Marston and the Wonder Woman is released 10th November 2017

  Professor Marston and the Wonder Woman – Official Website 

 

 

 

 

 

 

 

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Review: Goodbye Christopher Robin

DIR: Simon Curtis  WRI: Frank Cottrell-Boyce, Simon Vaughan  PRO: Steve Christian, Damien Jones • DOP: Ben Smithard • ED: Victoria Boydell  DES: Ellen Brill  MUS: John Debney • CAST: Domhnall Gleeson, Margot Robbie, Kelly Macdonald, Alex Lawther

 

Goodbye Christopher Robin is a film which delicately weaves together the threads of family, fame, and recovery. Touching on transgenerational trauma and regret, the film is preoccupied with the notion of recapturing a feeling of warmth and happiness. Upon receiving a life-changing telegram on the status of his son fighting in World War Two, A.A Milne (Domhnall Gleeson) begins to remember the tender interactions with his child, events which inspired his famous Winne-the-Pooh novels.

Tainted by the trauma instilled as a result of serving in the World War One, Milne returns to London feeling disenchanted and uncomfortable at the ease at which upper-class life returns to normal. Suffering from PTSD and vehemently opposed to the concept of war, Milne relocates to the countryside, much to the annoyance of his wife Daphne (Margot Robbie). Isolated by quiet country life, Daphne returns to the city. Shortly after, their nanny, Nu (Kelly Macdonald), also returns to aid her sick mother, leaving Milne alone with his son, Billy Moon (Alex Lawther). Being unaccustomed to child-care, Milne and his son tentatively begin to bond, growing fiercely close as Milne finds new inspiration in his son’s games with his stuffed animals. Daphne returns, and the first Winnie-the-Pooh stories are published. However, the success of the books thrust shy Billy Moon, the real-life Christopher Robin, into the spotlight, and soon the line between the novelty of child fame and exploitation begin to blur.

Healing appears to be the main theme of Goodbye Christopher Robin, the film is spiked by its stages; denial, resistance, relapse, accidental selfishness. Milne hopes that running from the chaos of London will prevent his PTSD from being triggered, but soon finds that countryside sounds can be just as violent. His time with Billy Moon proves soothing, as the child helps to rationalise frightening noises and encourages Milne to push through pain. Without sufficient medical support, there are aspects to Milne’s actions that are slightly volatile, and he is tinged with regret from the times he’s lost his temper. Working on Winnie-the-Pooh and bonding with his son prove therapeutic, but as celebration spills over into exploitation a certain sadness is passed onto Billy Moon, who grows up under the shadow of the boy his father has penned him to be. What had brought Milne and Billy together drives a hard wedge between them in later years, with Billy’s longing for anonymity resulting in him signing up to fight a war. In his desperate pursuit of happiness, Milne’s accidental selfishness pushes his son far, far away, and the film becomes a study in bittersweet remembrance and the taunting nature of hindsight.

Touching and heartfelt, Goodbye Christopher Robin is a biopic that finds its focus beyond the books it celebrates, and instead searches for a human connection behind the childhood characters and scars of war.

Sadhbh Ni Bhroin

PG (See IFCO for details)

106 minutes
Goodbye Christopher Robin is released 29th September 2017

 

Goodbye Christopher Robin – Official Website

 

 

 

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Review: Kingsman: The Golden Circle

DIR: Matthew Vaughn   WRI: Jane Goldman,  Matthew Vaughn  PRO: Adam Bohling, David Reid, Matthew Vaughn • DOP: George Richmond • ED: Eddie Hamilton  DES: Darren Gilford   MUS: Henry Jackman, Matthew Margeson • CAST: Taron Egerton, Colin Firth, Julianne Moore, Channing Tatum, Mark Strong, Halle Berry, Elton John, Jeff Bridges, Edward Holcroft, Pedro Pascal, Hanna Alstrom

Following the success of 2014’s Kingsman: The Secret Service, director Matthew Vaughn is back with its sequel, Kingsman: The Golden Circle. Set a year on from the closing events of the first Kingsman film, The Golden Circle sees Eggsy Unwin (Taron Egerton) adjusting to life without his mentor Harry Hart (Colin Firth). The action of the film kicks off right away, and after an ambush by failed Kingsman trainee Charlie Hesketh (Edward Holcroft) results in the destruction of all Kingsman headquarters, Eggsy and his trainer Merlin (Mark Strong) are left to deal with the aftermath. As sole survivors of the attack, they follow their Doomsday protocol which leads them to Kentucky in search of American spy organisation Statesman. After making contact with Ginger Ale (Halle Berry) and agents Tequila (Channing Tatum) and Whisky (Pedro Pascal), Eggsy and Merlin discover that Harry Hart survived the attempt on his life and has been left with invasive amnesia.

Working with the agents of Statesman, Eggsy and Merlin try to reboot Hart’s memory, but the task proves much more difficult than originally thought. They also uncover that Hesketh has been recruited by The Golden Circle, a New World Order drugs cartel helmed by Poppy Adams (Julianne Moore). Viewing herself as a top-class entrepreneur, Poppy resents that the illegality of her trade pushes her into hiding, and releases a deadly virus into her product, infecting millions across the globe. With Poppy only promising the antidote once her drugs are legalised, the race is on for Eggsy to reboot Hart and get his hands on the cure.

In a slightly unusual move, the promotional material for The Golden Circle heavily featured Firth’s character, back and very much alive following his presumed death. The content advertising the film alerted would-be audiences to Hart’s survival, rather than keeping it secret so as to surprise viewers. As a result of this, the moment of revelation within the film does fall slightly flat; the audience already knew he had survived, and so the narrative confirmation loses its punch.

In spite of this, The Golden Circle maintains all the personality of the first Kingsman movie; high-energy fight scenes are intercut with brief moments of sincerity and humorous one-liners. Themes introduced in the first film continue to thread through the action, with notions of class and privilege coming under closer scrutiny as a result of the involvement of drugs in the storyline.

Issues with narcotics are framed largely as a problem of the working classes, with the references to the US War on Drugs also drawing in the racialized aspects of demonising drug culture over providing rehabilitation outlets. However, as Poppy’s virus begins to affect those of privileged and upper-class backgrounds – Eggsy’s girlfriend Princess Tilde (Hanna Alstrom) falls victim to the tainted drugs – the moral and social stigma surrounding drug use shifts and it is paramount that these people are saved, indicating how the ethics of some issues aren’t considered until they begin to affect those at the top.

In this way, The Golden Circle allows for brief moments of critical engagement, as well as kick-ass action.

Sadhbh Ni Bhroin

18 (See IFCO for details)

140 minutes
Kingsman: The Golden Circle is released 20th September 2017

 

Kingsman: The Golden Circle – Official Website

 

 

 

 

 

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Irish Film Review: Nails

DIR: Dennis Bartok • WRI: Tom Abrams, Denis Bartok • PRO: Brendan McCarthy, John McDonnell • DOP: James Mather • ED: John Walters • DES: Damian Draven • DES: Til Frohlich • MUS: Ade Fenton • CAST: Shauna Macdonald, Ross Noble, Steve Wall, Leah McNamara, Richard Foster-King 

Nails is an Irish horror film with fantastic jump scares and a deflated sense of purpose. Following a horrific car accident, Dana (Shauna Macdonald) finds herself paralyzed, unable to speak or walk and confined to a hospital bed. Despite a friendship with nurse Trevor (Ross Noble), and frequent visits from her husband Steve (Steve Wall) and daughter Gemma (Leah McNamara), Dana is extremely ill at ease. Following a series of violent supernatural occurrences which are written off as night terrors, Dana soon finds herself tormented by Nails (Richard Foster-King), the vicious spirit of murderous nurse who is out for the blood of one last victim.

With the slasher/gore horror film’s tendency to explore the need to dominate, maim, and control (often female) bodies, Nails takes the convention a step further by having a protagonist who is completely bed-bound, unable to coherently cry for help or run to escape attack. The movie is also careful to indicate Dana’s deteriorating physical strength; as the film opens she is a fit, health-obsessed woman who wakes early to work out and go jogging, but by its midpoint she’s barely able to lift herself up. Her weakness is juxtaposed against Nails’ autonomous physicality; he is tall and quick moving, and gets his name for the sharp, unkempt nails he uses to torture Dana. When we learn that Nails had once been a nurse at the hospital, our understanding of his authority grows. Granted access to young female patients, he would kill them before clipping their nails and storing them in envelopes for safe keeping. This positions Nails as an aggressive masculine presence whose one drive is the violent physical violation and dominance of feminine bodies.

A lot of time is put into emphasising Nails’ interest in Dana, with the initial revelation of her time spent in the hospital as a child spurring exciting questions. Why is Nails so preoccupied with her in particular? Did she warn the other girls? Did she raise the alarm? However, the potential behind these questions fizzles out once it’s confirmed that Nails simply wishes to kill Dana because she didn’t die the first time. In this way a horror film filled with potential – it’s aesthically creepy, it boasts quite good effects, it has a story that could inspire insightful development – starts to fall flat. The motive just isn’t gripping enough. And as a result, Dana’s final self-sacrificial act just seems pointlessly hollow, and the film doesn’t get its final girl.

Sadhbh Ni Bhroin

76 minutes
16 (See IFCO for details)

 Nails is released 16th June 2017

 

 

 

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Irish Film Review: Twice Shy

 

DIR/WRI: Tom Ryan • PRO: Fionn Greger • DOP: Kevin Minogue • ED: Matthew Supersad • DES: Damian Draven • MUS: Patrizio Knight • CAST: Iseult Casey, Shane Murray-Corcoran

Twice Shy tells the story of Maggie (Iseult Casey) and Andy (Shane Murray-Corcoran), a young Irish couple en route to London as a result of an unplanned pregnancy. Funny and sad, this is the filmic stamp of a current socio-political zeitgeist. With mounting tensions over Ireland’s eighth amendment – a hyper-restrictive law which equates the life of the unborn with the life of the mother; a law which has been condemned as inhumane by the UN – this film speaks to the very real experience of countless women across the country. With at least twelve women flying from Ireland to Britain for an abortion every day, Twice Shy exemplifies what has unfortunately become normal place, with women having to leave their own country in search of paramount medical procedures. The film also speaks to the residual shame and secrecy clinging to unplanned pregnancies and abortions in this country, highlighting the longevity of patriarchal conditioning and the reach of the catholic church.

Told via the framing narrative of the car journey to the airport, the film dips back in time to the couple’s life together, from their first kiss, to college, to their breakup and Maggie’s crisis. The segments in the car are tense, with Andy stoically burdened and Maggie trying to hold it together through humour. Andy’s authoritative attempts to police Maggie’s reaction also set the slightly unfortunate tone for the film, as Twice Shy toes the dangerous path of centring a male character in a story about the restrictions placed on female bodily autonomy.

Throughout the film, aching images of Maggie wrestling with shame and silence and attempting to sooth herself are undercut by the return to Andy, to allow his emotional state to validate the events. This viewpoint is acknowledged sporadically; in one instance Andy snaps “I’m supporting you, aren’t I?” while Maggie coolly replies “are you?”, expressing that for Andy at that moment the most important person to support is himself.

In this vein, Andy’s character becomes the manifestation of repressed emotion, and his inability to explicitly address what has hurt him results in the cold treatment of the people who love him the most. His discomfort over his father’s suicide attempt leads Andy to treating him with kid gloves while ducking out of any situation where his father tries to raise the topic seriously. This discomfort results in Andy keeping his home life secret from Maggie, yet he constantly uses her ignorance on the topic against her. His harmful tendency to weaponise the things he has kept from her is what causes them to break up, and indicates that he would be better off approaching the things that scare him head on.

Despite this, this film is exceedingly poignant in its depiction of Maggie, from her timid talk with her sister to her decision to travel, and these scenes are made all the more painfully tender by the understanding that for many women this is reality. For me, the stand-out moment of Twice Shy is Maggie getting ready the morning she is to attend the clinic. Bare faced and exhausted, we watch as she starts to apply her makeup in the mirror of the tiny bathroom. The framing is very tight, everything is very close, and there is nowhere else to look as she slowly cracks and begins to cry. The experience is raw; throughout the film she is – as many women are – expected to be controlled and reserved, to accept her situation in silence and recognise the strain it has caused. So watching Maggie cry is perhaps the most important and meaningful moment in the film, as is the way she calms herself down and folds her heavy emotions small, in the ritual of pretending everything is fine even though it is not. It is then important that we stay with her, from the click of the closing hotel door, to the bus journey through dappled sunlight, to the moment a nurse appears, and her name is finally called.

Sadhbh Ni Bhroin

76 minutes
16 (See IFCO for details)

Twice Shy is released 23rd June 2017

 

 

 

 

Tom Ryan, Writer / Director of ‘Twice Shy’

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