Comparing The Banshees Of Inisherin

The Banshees of Inisherin is the long-awaited reunion of In Bruges writer-director Martin McDonagh with actors Colin Farrell and Brendan Gleeson, but this is a vastly different movie than their earlier collaboration. Both films are morality tales with solemn philosophical themes, but whereas In Bruges was a fast-paced black comedy with a touch of action, The Banshees of Inisherin is downbeat and dialogue-based, supplementing the pitch-black hilarity with strong melancholy and despondency. After the momentous critical and commercial success of 2017's Three Billboards Outside Ebbing, Missouri, which also earned Academy Award recognition, it is encouraging to see McDonagh avoid the temptation of pursuing big-budget blockbusters or superhero movies,

It takes several viewings to absorb all the niceties of the dialogue, with McDonagh devising laughs through broader comedic exchanges (a conversation about a bread van) and sly asides (Dominic discussing his pub ban with the publican). McDonagh's writing also leans into the Irish vernacular, with conversations sounding astonishingly naturalistic yet distinctly poetic and incredibly engaging, and the humour never seems forced or contrived. For its first hour in particular, The Banshees of Inisherin is intensely funny, but the dramatic elements of the story start to take shape once violence enters the equation, leading to despair and tragedy. It is a testament to McDonagh's writing and direction that the film remains compelling and palatable despite the tonal changes as the third act devolves into cruelty and sadness. McDonagh also uses the setting to enhance the picture's themes; the screenplay draws parallels between the circumstances on Inisherin and the tumult of the Irish Civil War, underscoring the conflicts as pointless and

McDonagh's third collaboration with cinematographer Ben Davis (Seven Psychopaths, Three Billboards Outside Ebbing, Missouri), the film looks magnificent, with the photography taking advantage of the gorgeous Irish vistas and intricate production design. Shot on location off the coast of Ireland, the sense of authenticity is astonishing, with buildings and clothing that look lived-in and genuine instead of artificial, and with no trace of distracting digital trickery. Additionally, McDonagh specifically requested no Irish music for the soundtrack, and composer Carter Burwell instead delivers a beautifully melancholic original score reminiscent of his contributions to In Bruges. Burwell's music meaningfully contributes to the storytelling, with distinct motifs for Pádraic and Colm that reflect their different personalities and dispositions. Irish musicians also appear to play fiddle music on-screen, which contributes further flavour to the production. It is easy to see why the Academy also recognised McDonagh with a Best Director nomination: the filmmaker confidently guides the material, unafraid to hang onto pauses or silences but consistently maintaining a steady