Aoife Fealy takes a grave look at Irish language horror An Taibhse.
Set in Ireland in 1852, at the tail end of the Great Famine, An Taibhse (meaning “the ghost”) is a tense and creepy tale of family, exploring the monsters we create and the ghosts of our past. Written and directed by emerging filmmaker John Farrelly (The Sleep Experiment), this story unfolds in a large, isolated country mansion, maintained through the winter months by Éamon (Tom Kerrisk) and his daughter Máire (Livvy Hill).
Taking influence from The Shining (1980)—which made fantastic use of the Overlook Hotel as a location—An Taibhse does the same with Coollattin House. Filmed in Wicklow, this private Georgian estate is the largest in Ireland, with nearly 120 rooms in total, providing a labyrinth of corridors and dilapidated hallways as well as a grand reception area. Máire’s simple quarters, featuring the remains of dollhouses and toys, serve as the setting for her nightly terrors. The grounds themselves offer some breathtaking shots of frosty lawns overlooking the surrounding countryside, as well as mossy woodlands where Máire escapes for solitude. The iconic red living room—reminiscent of Suspiria (1971) and The Shining—is one of the few sets we see fully lit and ultimately becomes the setting for Éamon’s own descent into madness.
Using lanterns, and a fireplace, Farrelly and cinematographer Ross Power utilise natural and atmospheric lighting to great effect. This fuels suspense, creating a halo of light and warmth around Máire as she wanders the hallways. While there are some historical inaccuracies in production and costume, considering the film had almost no budget, this is easily forgiven. In fact, Livvy Hill, who embodies the young protagonist Máire, even designed her own costume for the shoot. Her emotional range is impressive as she transitions from loving and devoted daughter to distraught survivor, crossing between sanity into madness at ket moments. Tom Kerrisk delivers a committed performance as Éamon, his moods swinging wildly from a loving to an angry father, drunken maniac, and tortured soul.
The ghost of the title is introduced early on—an entity named Alexander, who Máire has seemingly encountered before. Dismissed as a figment of her imagination, Alexander is the underlying threat that follows Máire throughout. This haunting tips the balance from domestic contentment to a traumatic existence, with disruptive and violent awakenings in the night. As the incidents escalate, it becomes clear that Alexander is not the only malevolent presence in the house. Máire encounters whispered messages and warnings that lead her to the library room, where a red children’s book provides abstract context for her terror. The ghost’s repeated rendition of “Ná Bíodh Eagla Ort” (“Don’t be afraid”) builds to a satisfying conclusion, yet certain clues as to this entity remain vague.
Farrelly employs an interesting editing style, using subtle foreshadowing and jump cuts to integrate horrific visuals of unknown past or future events. This, combined with the slow draw of Máire tiptoeing through dark hallways and Éamon’s Jack Torrance-style gazes, creates an effective juxtaposition of pacing. The ending, though fragmented, allows for a glimpse of strong special effects makeup. The audience finally gets a fleeting glimpse of the creeping entity—providing the scariest moments in the entire film.
Overall, John Farrelly has made a remarkable start to his career as a horror director. The film is an impressive example of what can be achieved on such a limited budget. While there are some slight inconsistencies in story and execution, the fact remains that this is Ireland’s first and currently only fully Irish-language horror feature. Though the story takes place during one of history’s most tragic and disruptive periods, the time and setting are ultimately irrelevant to the traumatic experiences it explores. The narrative could be removed from its historical context and still deliver with the same weight.
Farrelly has crafted a strong film that explores personal trauma and the origion of fear, and does so with successful suspense, creepy tension, and a effective jump scares. The result is a highly enjoyable watch.
In cinemas from 28th March 2025.
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