The film is shot in the classic Academy-format and despite Bairéads wonderful use of this aspect ratio, one wishes for the shy and introverted 9 years old girl a temporary escape into dreams in Cinema scope. Cáit, the girl is often glancing out of the window of the small kitchen or of the side windows of a driving car. Landscapes pass by quickly but her glance evokes an unsaid longing. Rather than the cliché of endless green fields of Ireland, Bairéads film deals at first with the narrowness of rooms and with the difficulties of Irish farmers in the 1980s to earn their living. There is a complex relationship between the film´s uncompromising sober view on the tristesse of the every day life of Irish farmers in the 1980s. But on the other hand the film is also punctuated with short and fleeting, almost dreamlike moments which does not evoke happiness but suggest its possibility.
During car rides when Cáit looks out of the window, the passing landscapes melt together into a blurr of lights and trees. This film is sober and realistic on its surface seems dreaming itself like its protagonists.
Cáits parents are overstrained by the work on their farm and the many children they have (the mother is pregnant again) Cáit is the outsider, the problematic child who is wetting her bed and who is always daydreaming. During holidays they send her to Seán, a cousin of her father and his wife Eibhilin far away. Received warmly by Eibhilin and ignored at the beginning by Seán who is tight-lipped and grumpy. As her father has forgotten her suit case she wears clothes of an unknown boy. Encouraged by the care of the elderly lady and the gradually growing affection by the aging man, the girl adapts her new environment very quick. The couple has not less troubles to manage their farm like Cáits parents. And even unwanted, Cáit discovers a hidden family tragedy. Opposite to her life with her own family, the girl seems to grow with new challenges. Even though her “holidays” are not idyllic, she experiences love and care, things she did not know that they even exist. The film which seems as tight-lipped like its protagonists allows in the midst of its laconic narration moments of revelations, wonder and poetry. The girl witnesses a funeral service (an old neighbour has died), in another moment she feeds with Seán a little calf. Eibhilin shows her a hidden well. Especially through these inserts of revelations, poetry and wonder in his reluctant simple but exquisite images, Colm Bairéad evokes an incredible respect for the things and the living beings.
Once the girl and her father´s cousin made a night excursion to the sea. Landscapes only lighted by the moon, it is one of the most engrossing scene in this film. The look to the seaside evokes infinite scope. From faraway, they see three lights of boats. Between its accurate look on every day life of Irish farmers, the film offers these moments I would like to call pure cinematic when we look at something and dream at the same time. This moments seem to encourage the people to continue with their difficult life. No wonder that the Irish, repressed for centuries and often confronted with extreme poverty made the most beautiful folk songs in Western Europe.
By the way, the film is made entirely in Irish-Gaelic language which is just another proof for the film´s authenticity and its unique artistic vision. The film does not conquer our hearts with cheap melodramatic approaches. The closer the film comes to its end, it is evident that its laconic narration is nothing else as respect and love for the things and people it reveals but as well for the audience who get a taste what it means “film is the art of seing”. One might have to make some efforts to adapt this films unique style, a little bit like the girl has to adapt her new environment with strangers far away from home. But the reward is much more worth than the efforts we have made.
At the end the almost secretly hidden poetic moments lead to a strong emotional moment, I do not want to give away. All the beautiful fleeting moments the film is punctuated with lead to a very special cinematic wonder, as intense as some moments in films by Terrence Malick and as mesmerizing like so much songs Ireland is famous for.
There is a moment when the Seán sings a song in Irish-Gaelic. It is one of the small moments which makes this film unforgettable. Sooner or later this will will become in my memory a song itself.
Rüdiger Tomczak
Further screenings:
Fri, 18.02, Urania 11.00
Sun, 19.02 Cubix 8, 17.00
What a well written, from the heart and great review. I still remember having the feeling after the screening that I had seen a very special film which would remain with me. Thanks and congrats for your passion for cinema and remarkable writing style.
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