The Banshees of Inisherin sometimes it almost feels weird to laugh during a Martin McDonagh movie. His stories are hilarious, with memorable quotes, and yet deeply sad. It's hard to explain how it works, but he does. It is as if after realizing that the world is doomed and there is no hope, we just sit there smiling.
In fact, that's how it all begins, with the words: "I just don't like you anymore." It's childish, it's weird, but Colm (Brendan Gleeson) has made up his mind. He feels his life slipping through his fingers, so he refuses to listen to any more litanies about donkey shit, or was he a pony? He has decided to end the relationship with his young friend, who follows him despite everything, reacting with timid smiles or outbursts of drunken rage. At this, Colm, a passionate violinist, threatens to cut off his fingers if he doesn't leave him alone.
In someone else's hands, this might have made for a nice story, but McDonagh always manages to infuse human weakness, cruelty, and of course graphic violence into whatever is being created. While the whole town watches them, between indifferent and amused, these two men continue to hurt each other.
Currently, the only way to watch The Banshees of Inisherin online is to rent or buy the movie through Amazon Prime Video or Vudu. Isolation and idleness arouse madness in everyone, not just in the two protagonists. There's a creepy old lady wandering around at night, as if one of Macbeth's three witches has gotten lost, and then there's Pádraic's sister (Kerry Condon), too smart to be happy in this strange place. McDonagh's superpower is being able to accumulate pain and loneliness to end up building something warm, moving and very funny.
There is something deeply personal about some of the themes raised in the film, such as the cruelty of time passing and the legacy we want to leave behind, as Colm begins to ask himself what is more important in life: art, work, or life? just be nice? Is it worth sacrificing everything in the hope of being remembered centuries later?.
These questions are handled with care and deliciously obscene language by two actors who seem to enjoy every second of their characters' tragic confrontations, reveling in the dialogue and letting it all flow. For his part, Farrell takes on a role he wouldn't have played two decades ago, when he was still busy starring in blockbusters. McDonagh's Hidden in Bruges gave him his best performance in years, also opposite Gleeson, and this collaboration continues to pay off.
It's a wonderful duo, although all one of them does is try to escape, getting to drink his pint outside the pub. Someone recently told me that the end of a friendship hurts more than the end of a love relationship. On the other hand, it's probably the same. And this movie is a love story.
The Banshees of Inisherin is an Irish/UK/US co-production produced by Metropolitan Films, Blueprint Pictures, Fox Searchlight Pictures and McDonagh himself.
The film 'The Banshees of Inisherin', the first feature film by Galician director Alberto Armas and shot entirely in Córdoba, has won the first national prize for best film at the festival of series B, attached to the Catalonia Film Festivals, 'B-Retina'. The festival, which held its seventh edition in the city of Cornellá from September 13 to 18, is the ultimate showcase for lovers of horror, series B and movie buffs.
In his first feature film, Armas The Banshees of Inisherin "manages to put the viewer squarely in the skin of the murderer, as has never been described before in the cinema." It tells the story of Julio, The Banshees of Inisherin an 8-year-old boy who lives with his parents in a secluded house in the middle of the forest. His father is dedicated to murder hiding his face under a mask; his mother, Carmen, runs a small grocery store.
Ten years later, a group of friends decides to spend a weekend The Banshees of Inisherin in a rural town house, but first, they stop by Carmen's store on the day of Julio's 18th birthday. What this group of friends did not count on was crossing paths with destiny. Will Julio follow in the familiar murderous footsteps of his father or embrace love with one of the girls in the group?.
The feature film, which continues The Banshees of Inisherin its journey through different festivals, has also won ten official selections in countries such as Peru (Festival Insólito), China (Festival Pumking), Colombia (Festival Fecili), Mexico (Festivals de Espanto y Oculto) and Ecuador (Geek Film Festival). Ha was shot in August 2021 entirely in the province of Córdoba, passing through Montoro, Azuel, Cardeña and Priego de Córdoba.
Because The Banshees of Inisherin was released as part of Universal and Blueprint Pictures exclusive streaming deal made in 2022. It had been more than six years since The Banshees of Inisherin had premiered in theaters. His latest film, 'The man with a thousand faces' (2016), won two goyas with his adaptation of the book 'Paesa, the man with a thousand faces', by Manuel Cerdán, about one of the most enigmatic characters in Spanish politics of the eighties and nineties. Alberto Rodríguez since then, the two seasons of 'La peste' (2018-2019), at the time the most ambitious series in the history of Spanish television, a huge project set in 16th-century Seville, in the midst of an epidemic of, obviously plague. After the exhaustion of energy that it meant to carry it forward, Rodríguez promised to take some time off.
And now he's back with 'Alberto Rodríguez', a feature with which he plunges back into the waters of the past to try to explain Spanish identity in the present. Together with his screenwriter, Rafa Cobos, Rodríguez has been planning this prison-political thriller since 2005 based on thousands of true stories, those of those prisoners who, in 1977, joined Copel (Cooperative of Prisoners in Struggle) to ask for the general amnesty, because they considered that, in a certain way, their convictions were the product of a political regime that had disappeared with the arrival of the Transition.
'Model 77' was shot in the Modelo prison, but also on Alberto Rodríguez a set where they built replicas of the cells, and it is perhaps that sensation of built recreation that makes the film feel somewhat old, like a type of cinema that puts recreation before risk. In 'Modelo 77' the ambition is evident, that of reaching the general public, that of unleashing the epic, that of provoking social reflection, that of entertaining with a story full of tension and suspense. But you can also see the manufacture of a film that favors the codes of industrial cinema —known and resolute actors, great production designs against a more intimate and risky point of view. In plan, everything is in its place.
Rodríguez repeats with Javier Gutiérrez and Jesús Carroza (who always manages to Alberto Rodríguez endow his characters with an irresistible 'intimacy'), while he has opted for Miguel Herrán ('In exchange for nothing', 'The paper house') as the protagonist, who he is sometimes overshadowed by the characters around him. Herrán plays Manuel, a young man from a poor neighborhood accused of having stolen money from the company he works for. Manuel feels that prison is not his place, and that he is different from the rest of the common prisoners. But his class consciousness and his sense of justice push him to quickly get involved with Copel. His cellmate, Pino (Gutiérrez), on the other hand, is a regular prisoner, unbelieving and lonely, who finds his way out by reading science fiction novels.
The first place The Banshees of Inisherin will be streaming is Peacock, but it will likely be available on Netflix, HBO, or Hulu sometime after the exclusive Peacock window. What will the future of our civilization and the human species look like? It's a question pop culture frequently asks. Especially when the possible answer encompasses the way we conceive of collective identity. In fact, dystopian and utopian films are the order of the day. Will there be great technical advances? An unknown physical and intellectual evolution? A conquest of space at levels that we cannot imagine right now?.
The cinema provides, perhaps, the most amazing answers to these questions. It does so from the point of view of speculation, reflection and exploration of scenarios that would otherwise be impossible to build. From a world in which artificial intelligence is capable of acting with subversive independence, to amazing interplanetary travel. For the cinematographic world, the future is made up of stories and images that defy any concept of reality. They resize it and go through it from new perspectives, each time wider and more amazing.
But they don't always do it through hope. Dystopian films, that dark and disturbing reverse of utopia, are also frequent in cinematographic science fiction. Being able, in addition, to offer the most sinister perspectives on the evolution of the human race and its environment centuries away. Can the worst of our culture and society become a danger to the survival of the species? Even more complicated, can what we expect of a future unthinkable become a terrifying vision?.
We leave you five dystopian Netflix movies that try to explore those reflections. And they do it, moreover, from completely different points of view and from dark extremes. A disturbing look at good, evil and what awaits us, perhaps in possibilities still unthinkable for anyone. A review of the twisted image of what reality could be.
Blade Runner 2049 analyzes the future from despair. In this dystopian Netflix movie, technology is everywhere, but so is the certainty that human life is uninspiring. A topic that the iconic Blade Runner already addressed and that ended up turning its main premise into a paradox. Is artificial intelligence an answer to all man's questions about his ability to create? If so, why is there a confrontation between androids and humans?.
For director Denis Villeneuve, what is really important is the fact of deciphering the nature of the relationship between man and machine. What are we? It is the question that is repeated over and over again. He does it in the appearance of the replicants, neat and indistinguishable from the human. The way in which society contemplates and assimilates them with difficulty, but never accepts them.
For the occasion, Villeneuve builds, in this dystopian feature film, a harsh background that surrounds the replicants after the rebellion. He achieves it through a measured and methodical subtlety, which is almost melancholy. The “K” of him (Ryan Gosling) observes the world from an uncertain distance. The character lacks an identity and performs his job as a policeman as a practical duty. There are no ethical sentiments. For the director, the plot is a journey through the pain of a society that collapses aimlessly.
Which makes the movie more complex than it seems. Androids are built—and thrive—as a reflection of the human and nothing more than that. A double look at humanity that is distorted, collapses and, in the end, ends up being a desolate landscape. But human desolation is barely shown and glimpsed through his works and creations.
Considered slow, pretentious, and yet a visual gem with subtle context, this dystopian Netflix film is still searching for its place in pop culture. For now, it remains, like its iconic predecessor, a gem worth pondering.
What happened to Monday?, The Banshees of Inisherin a hidden treasure among Netflix's dystopian movies
In a world where conceiving a baby is a dangerous crime, being a large family is a risk no one wants to take. In the year 2043, world population is already a crucial debate. It overwhelms the most pessimistic calculations and has become an unprecedented crisis that devastates cities and natural territories alike. This dystopian Netflix film from Tommy Wirkola delves into an ingrained collective fear that, in the plot, takes the form of an all-out cataclysm. One that also impacts the perception of the human race as the center of the history of culture and the future.
The Banshees of Inisherin has a runtime of 130 minutes and an R rating.. To interview Álvaro Morte (Algeciras, 1975) now and to do it when La casa de papel was still being broadcast openly is to realize that he has become a star who is now premiering his first leading film (on September 30, Objects arrives on cinemas) and that has the great luxury of being able to choose a project. Despite this, he does not forget when he did not have enough money to buy a butane cylinder to light his catholic stove, nor those moments in life when he felt the rejection and indifference of others. . No one suspected then that the series that gave him international fame would become one of the greatest successes of Spanish fiction, nor that the Professor would be idolized worldwide. Much less him.
Note that when we were making La casa de papel we had made a first episode with a brutal audience on television, and we were very happy. But the next week he went down, and the next week he went down again. So until we stabilized in an audience that wasn't bad, but it wasn't a thing either. We were all very sad, because we said: 'Holy shit, if we think that this is really good, that it's a product that I could have gone a little further'. And then, look... My goodness, the one we've screwed up.
It is the first as a protagonist. I also did During the Storm, in which I had a secondary character, and then I shot one years ago that, basically, was never even released. This could be said to be the second one that I do like this with scope.
That anonymous hero, a bit of an outsider, may have a certain resemblance to the Professor in certain aspects, and look, it was something that I perceived when analyzing the script and precisely for that reason I wanted to remove him, to do something different. The character of Mario there are certain decisions that he makes and with which I do not agree, that seem bad or clumsy to me, no matter how well he intends.
Elena López Riera is an anomaly in Spanish cinema. Even within auteur cinema. Born in Oriehuela in 1982, Riera formed the artistic collective Lacasinegra, a project born "by and from a deep collective consciousness", she has also been a programmer for festivals such as Valencia's Cinema Jove and, with her first short, Pueblo (2015), participated in the Cannes Directors' Fortnight.
With the short documentary 'Las vísceras' (2016) he participated in the Locarno talent section of tomorrow, to win the Pardino d'Or at the Swiss festival with his next work, 'Those who wish' (2018), a documentary about a career typical of Orihuela in which male pigeons compete to mate for as long as possible with a female pigeon.
It was this year that Riera made the leap to feature film with 'El agua', a learning film shot in her hometown and performed by teenagers with no previous experience in cinema -the only familiar faces are those of Bárbara Lennie and Nieve de Medina-, in which he explores the power of collective storytelling and myth, while portraying the desires and frustrations of a group of teenagers and the rural, working-class environment in which they have been raised.
According to the film, in the town there is a fable that, when the river falls in love with a young girl, it runs away from her in order to take her with it and that is the reason why the river overflows from time to time. With 'El agua', Riera returned to the Cannes Directors' Fortnight -one of the few Spanish selected-, this time with the long format, and now she has presented her film in the Zabaltegi section of the 70th edition of the Festival de Saint Sebastian.
It is the first time in the history of cinema. I can't think of many examples in Spanish cinema and in European cinema where the middle classes agree to direct films. This also has to be reflected in a way of telling the rural from other points of view, because until now it had been told from the country house and the hunting ground. Many times we forget this class analysis and we only talk about gender, which is also important, but gender, if it is not mainstreamed with class, we forget an important part.
The trailer for the Disney remake The Banshees of Inisherin now with actors and actresses of his film The Little Mermaid sparked an unbridled amount of racist prejudice for the simple reason that it is the Afro-descendant actress Halle Bailey who puts the body on Princess Ariel.
Elimination of red-haired people! A black woman The Banshees of Inisherin usurping the place of a white woman -even though it was only a cartoon before-! Racism festers everywhere and comes hand in hand with the radicalization of the right, however, also in networks, the joy of black and brown girls was recorded for this representation that is not a gift but the result of the persistence of movements anti-racists.
“Stop so much progressive movement and respect the original films. It's insulting”; "It was my favorite movie, they ruined it"; "We don't want her, we want a white redhead, you sold us that in 1989 and that's what we want!"; "What happened to the beautiful little mermaid we all knew, she sang beautiful melodies, she didn't look like she was going to rap"; “It is not a matter of racism, but why do they come to change something that we are already used to seeing in a certain way, just for pure moralism?” and the best of all: “Seriously... We should encourage redheads who are dying out. Disney please! Please help and stop deleting them like they don't exist anymore."
These are just some of the cries of despair left by the defenders of white supremacy in the twitter thread with which Disney presented the trailer for the new live-action version of The Little Mermaid. This remake seems to be a copy of the original animated version, which was released in 1989.
The same planes, the same aquatic atmosphere, the same main song, but there is one detail: the Little Mermaid, starring Halle Bailey, is black. This casting choice was read by the champions of racial purity not only as a lack of fidelity to "reality" (as if there were scientific proof that mermaids exist and could only be white). But also as a betrayal of "traditional Disney values" in favor of "progressive political correctness."
However, immediately and as a counterpart, The Banshees of Inisherin of black girls began to circulate virally on social networks who, for the first time, see with amazement and illusion how this new marine princess looks. “Mommy, she's brown like me!” she exclaims one in pajamas, rolling around in happiness.
“The representation of body aesthetics different from those historically The Banshees of Inisherin dictated by the white-centric canon is important,” reflects Liliana Ferrer-Morillo, an Afro-Venezuelan writer and activist living in Argentina, on these gestures of childhood joy.
“Our black and native girls consume products from a cultural industry that until recently silenced, erased, denied them. I have a black girl, I think of her, in the erasure of her skin, her hair, her beauty that I must reaffirm at every moment, given that the body stereotypes of the seventh art, of TV and of society as a whole insist on worship the hegemonic and Eurocentric West. For her, for my daughter, and for all black and native girls, I celebrate this performance. She is not a gift, nor is she a wink; They do not deceive us, they are crumbs and it is not the most important thing either. She is a little bit of the results of our anti-racist, decolonial and black fight”, explains Liliana.