Emily Watson in God's Creatures Photo: A24
Directed by Saela Davis and Anna Rose Holmer, and written by Shane Crowley from an idea he co-wrote with the film’s producer, Fodhla Cronin O'Reilly, God’s Creatures centres on the fallout from an accusation. Shortly after her estranged son Brian O’Hara (Paul Mescal) returns home from Australia, Aileen (Emily Watson) is forced to choose between her moral sense of duty and protecting her only son, when Sarah (Aisling Franciosi), who she supervises at the seafood processing factory, accuses him of rape. Eileen chooses to lie to the police, and then her family begins to slowly unravel. Meanwhile, Sarah withdraws and is shunned by the tight knit community.
In conversation with Eye For Film, Davis and Holmer discussed building the mechanics of their story around breathing rhythms and replacing words with images. They also spoke about exploring oppressive structures that trap men and women alike,...
Directed by Saela Davis and Anna Rose Holmer, and written by Shane Crowley from an idea he co-wrote with the film’s producer, Fodhla Cronin O'Reilly, God’s Creatures centres on the fallout from an accusation. Shortly after her estranged son Brian O’Hara (Paul Mescal) returns home from Australia, Aileen (Emily Watson) is forced to choose between her moral sense of duty and protecting her only son, when Sarah (Aisling Franciosi), who she supervises at the seafood processing factory, accuses him of rape. Eileen chooses to lie to the police, and then her family begins to slowly unravel. Meanwhile, Sarah withdraws and is shunned by the tight knit community.
In conversation with Eye For Film, Davis and Holmer discussed building the mechanics of their story around breathing rhythms and replacing words with images. They also spoke about exploring oppressive structures that trap men and women alike,...
- 4/2/2023
- by Paul Risker
- eyeforfilm.co.uk
Just two dizzying years after bringing the nation to a standstill in lockdown lodestone Normal People, Paul Mescal has become an indie film star everyone wants to work with. How did it happen? He talks to Aaron Hicklin
The actor Paul Mescal is a lucky man – his words, not mine. In the course of our conversation – mid-morning in London for him, pre-dawn in New York for me – he uses the word “lucky” at least eight times to describe his life and career. He was very lucky to go to school in Maynooth, Ireland, where it was compulsory to audition for the school musical. Lucky, also, to graduate from drama school at the precise moment that BBC Three was casting for Normal People, the first bona fide hit of the pandemic and the show that turbo-charged Mescal’s career. And he was “very, very lucky” that playing Connell Waldron in that...
The actor Paul Mescal is a lucky man – his words, not mine. In the course of our conversation – mid-morning in London for him, pre-dawn in New York for me – he uses the word “lucky” at least eight times to describe his life and career. He was very lucky to go to school in Maynooth, Ireland, where it was compulsory to audition for the school musical. Lucky, also, to graduate from drama school at the precise moment that BBC Three was casting for Normal People, the first bona fide hit of the pandemic and the show that turbo-charged Mescal’s career. And he was “very, very lucky” that playing Connell Waldron in that...
- 11/6/2022
- by Aaron Hicklin
- The Guardian - Film News
Early in Saela Davis and Anna Rose Holmer’s dark and stately God’s Creatures, screening in Directors’ Fortnight here at Cannes, one of the younger women at a wake in an old Irish fishing village declares that her new baby will definitely be learning to swim. The dead man drowned, a professional risk on the surging waters of the west of Ireland. Even now that the fishing industry has given way to oyster beds suspended in chest-deep water, the farmers wear heavy waders and the worst can happen. The other women are startled. Swimming lessons? That’s not how things are done around here.
Like a gun pulled in a play’s first act, this bit of distaff chat is a clear indicator of where we’re headed; death hovers over every scene that follows, as persistent as the wind that whistles around the single glazing of the workers’ cottages.
Like a gun pulled in a play’s first act, this bit of distaff chat is a clear indicator of where we’re headed; death hovers over every scene that follows, as persistent as the wind that whistles around the single glazing of the workers’ cottages.
- 5/19/2022
- by Stephanie Bunbury
- Deadline Film + TV
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