Adam Matthews lands his paws on Mark O’Connor’s Amongst the Wolves.
Like Cardboard Gangsters and King of the Travellers of yesteryear, Mark O’Connor once again invites his audience into another sharp and gritty world of Irish indie cinema. Amongst the Wolves crafts an unromantic narrative centred around the visceral and callous reality of Dublin City, touching on themes of homelessness, immigration, and the scars left by trauma.
Danny (Luke McQuillan) is a man haunted by his past and grappling with the heavy burden of PTSD. Returning from the horrors of war in Afghanistan, Danny’s life spirals into chaos after a tragic event that left him broken, desperate and locked in a battle for custody of his son. Living on the fringes of society, he tries to piece together a semblance of normalcy while battling the ghosts of his former life. His journey is intertwined with Dublin’s grimy underworld, where he crosses paths with the hardened gang leader Power (Aiden Gillen). As Danny seeks redemption and a way to make peace with his past, he is drawn into a revenge plot that blurs the lines between justice and vengeance, leading to a confrontation that could quite possibly destroy him.
McQuillan’s performance as Danny is sedated, almost lethargic, reflecting the fatigue and frailty that come from carrying such a heavy emotional burden. But whenever interacting with his son, one senses a well of devotion. The film excels in capturing moments where Danny is tormented by fiery phantoms in the flames of every fire. One particularly striking scene sees the glow of a campfire dancing on his face, pulling him back to the pivotal moment that shattered his life. While ambitious, the film struggles in parts with the multiple threads depicting a multifaceted perspective of contemporary Dublin.
Amongst the Wolves’ intro sequence sets the tone with a stark portrayal of urban sprawl, bringing to life the harshness of the city’s underbelly. It finds ample footing as it moves forward, offering vivid scenes that contrast with the bleak urban landscape. Yet, the film’s portrayal of gangland Dublin, particularly through Aidan Gillen’s character Power, feels too familiar. Power almost falls into the trap of becoming a caricature of the tough-as-nails gang leader. Although he shows flashes of a more nuanced and manipulative figurehead, these moments are overshadowed by his ‘Kick the Dog’ moment.
The film juggles multiple genres, blending a kitchen sink drama with a bleak, documentary-style depiction of Dublin, and a classic revenge plot. Danny’s transformation into a small-time punisher feels heightened in contrast to the realistic depiction of violence. What the film offers spectacularly in its opening is such a promising premise that deviates to march in step with genre, with no fulfilling resolution to his battle with PTSD.
Jade Jordan delivers a solid performance as Danny’s ex-wife, Gill, and with a strong presence and perspective, her charachter is missed from the later sequences. Louise Bourke as Kate stands out as a sympathetic friend to Danny, offering a second chance for redemption through her connection to her deceased brother, who was also homeless. Danny’s dynamic with Will, played by Daniel Fee, offers a glimpse of a redemptive arc. Will represents the son Danny failed to save, and their relationship is one of the film’s stronger elements with a respectable performance from Fee.
The film’s soundtrack shifts tones throughout the film. Its opening track sets the mood effectively, but the film shines brightest in its quieter moments, where natural sounds underpin the emotion of the scenes. These are uncomplicated while reinforcing the atmosphere.
Ignas Langalis, the cinematographer behind Amongst the Wolves, delivers a visual experience that is as striking as it is haunting. Langalis’ keen eye for detail is evident in the way he captures the urban sprawl of Dublin, juxtaposing the city’s stark, unforgiving landscape with the intimate, often painful, moments of the characters. A rich palette of dark tones and muted colours enhances the film’s sombre mood. The choice of lighting, especially in scenes by the canal and under the city’s harsh streetlights, reflects the cynicism and brutality of the world the characters inhabit. His use of shadows and natural light creates a sense of claustrophobia and tension which pulls the audience deeper into the protagonist’s troubled psyche. These strong cinematic visuals are in stark contrast to the gritty, shaky final fight scene.
Amongst the Wolves hits moments of greatness, particularly in its depiction of urban despair and the toll of trauma. The film showcases a raw, unpolished talent delivering something deeply accomplished. Voices like Mark O’Connor are ones that needs to be heard.
Amongst the Wolves premiered at the Galway Film Fleadh 2024.
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