OKOKOKOKOK, I admit it. My first day’s complaints seem to have been heard by the gods of cinema. I believe that by day 7, it is safe enough to say that, despite of the limited amount of movies we are seeing this year, our little Mostra team is pretty satisfied with the 2022 festival’s global level. When I think of some past years during which, by day 8, we were still desperate to see at least one decent movie, I have to say it is definitely not a given. Let me thus already express some gratitude for this year’s selection.
Yesterday’s screening was no exception to this trend. Again, a high expectations movie. As for those who do not connect Martin McDonagh’s name with any film, let me remind you that he is the one behind, among others, “In Bruges” and “Three Billboards outside Ebbing, Missouri” (which should have won the Golden Lion in 2017, according to me, in place of Guillermo Del Toro’s “The Shape of Water”) #verypersonalbutdamnconvincedopinion
After his American getaway with Frances McDormand, McDonagh dives deep back into his Irish roots with this one. It will not be a surprise to those who know me well and since long, that my little soft spot for Ireland (and the one I have now developed as well for McDonagh himself) made me very excited about seeing this movie. Since the morning I was in a “this one cannot disappoint me or I shoot” mood. And (good for him) it seems that (additionally to the gods of cinema), Martin heard me loud and clear. If he could as well listen to me right now and aim at living a long and happy life keeping on making such precious movies, at least once in a while, it would be much appreciated.
Set during the Irish civil war but on a remote island (thus withessing the war just through the sounds coming from the “mainland”), the movie takes us to a small rough and poor local community, where life revolves around the local pub, local gossips, local traditional music, local violence, talking and drinking. It is as well a lot about friendship and animals – animals that, besides being key to providing for basic daily income are as well companions against the loneliness that, by definition, comes with living in such a place. “The Banshees…” could be presented best as a tale of a friendship that goes utterly wrong. As wrong and as out of hand as one can go.
But, as always with Martin McDonagh, things can become terribly violent and cruel but tenderness and laughter are never far away. Again as always with McDonagh, the dialogues are pretty brilliant and as sharp as could be.
Though I fear that a big part of the movie theatre did not get half of those because of the characters’ pretty intense irish accent and of the English subtitles being unfortunately placed quite deep down below the screen (it’s the same issue since years in the Palabiennale and, if I could give my little advice to the Mostra team, I would tell them to look into it – as “international” film festival means not only Italian public).
Finally and again as always with McDonagh, the cast is splendid and absolutely perfectly fitted to the decor – as rough as the Irish countryside. A special mention to Brendan Gleeson in this context, who manages to be as hard as an island rock and as fragile as an island seagull, both at the same time.
Not the first time this year we get out of the screening saying “this one could be worth the golden lion”.
Klara's cinema 