Piccole cose come queste

Cillian Murphy is always a celebration for the large and small screen. This time he travels several decades back, to the eighties in Dublin. He is a coal seller, that keeps his house warm and sells coal for other houses and places to keep them warm in Ireland's cold winter. His five daughters and wife are the apple of his eyes and he would do anything for them.

Until...one day he stumbles into a situation in a monastery, which hosts young catholic girls, sometime against their will, that keeps his confused and torn between his will of normality and his conscience. The catholic church is being criticized here in a way that one can easily be reminded with the classis "The Magdalene Sisters".

During several segments of the movie the past keeps reminding Bill with his childhood traumas. He is described as a generous and simple guy, that wants only to earn money to keep his family on track with food in their bellies, fire in the fireplace and off course proper education, but he still has great virtues and gentle heart, as far as it goes to other people, that their daily suffering doesn't go unnoticed.

It's a slow burner, that is directed with a fine and gentle hand and mindset. It has a lot of criticism, as mentioned, of the church and cynical use of religion to oppress the common folks. On the other side it has a lot of humanity, love and care in it. It feels long, but it is a straight forward film, that catches the essence of the era and state of mind of these days.

I haven't felt always the strong connection between the flashbacks to current plot developments, but all helped to better build the protagonist character and to better understands him and his motivation. Murphy's character has been built well, from a script perspective and also thanks to an enormous performance from Murphy himself.

I could watch Murphy stare at a wall watching paint dry for 2 hours and I'd still buy a ticket.

Here, as Bill Furlong, he conveys a sadness that is rarely seen or understood by the people close to him. But we (the audience) can see it's there.

I won't go into the story that much. Honestly, there's not much there. But that doesn't mean it's a bad movie. It just means that it's a simple story. But one that is very well written, beautifully shot (The whole time, I believed I was in Ireland during the eighties) and incredibly well acted.

The Magdelene laundries were a real thing up until 1996, when the last one closed. Unmarried, pregnant teens were sent to monasteries to give birth and lose their child to forced adoption. All the while, they were abused as cheap labor by the nuns who were running the laundries. Sometimes, they were also physically abused and mistreated. It has left a mark on the soul of the country.

Eileen Walsh, who plays Ms. Furlong, also starred in the Magdalene sister, a movie from 2003. Coincidence or not: I suggest that you check it out because it's a perfect bookend to this gem of a movie.

It's unbelievable to know that this story takes place in 1985 and went on until 1997. Cillian Murphy's breathtaking performance takes you through the struggles from his past and the struggles in his present until the character of Bill Furlong can't take it any more. Filmed up close and very personal. You can hear every breath and feel his pain. Beautifully portrait by Tim Mielants. He is so close to all the characters, you can almost feel their hearts beat.

The story is one of the many sad examples of the influence of the churches in Europe until recently. Seeing this film at the Film Fest Gent gave it an extra dimension with Cillian Murphy introducing the film and wishing everyone a pleasant screening in Dutch. From the screen, due to his work on PB7 as we speak.

In 1985 devoted father of 5 Bill Furlong (Cillian Murphy) discovers disturbing secrets kept by the local convent and uncovers shocking truths of his own.

As my title says, this is a very tricky film to review. It's a heartfelt project which raises issues that cut deep in the religious country of Ireland. The Magdalene Institutions on which it is based, took in women and girls who were pregnant outside of marriage, sex workers, orphans, or just women who did not conform to social expectations of that time. They were typically worked hard and kept in austere circumstances, but the truth of the "Magdalene Laundries" run by nuns of the Roman Catholic faith, came out only when the buried remains of hundreds of women were found. And yet for decades there was talk about these inhuman institutions, run almost like workhouses or even prison camps by the nuns. And no-one did anything as the church was too deeply embedded in society. In the film Bill is warned not to say anything about what he witnessed at the convent, "because the nuns have fingers in everywhere, and if word got out it would backfire on you." And that's how it actually was, we know now. The nuns were evil, brutal women who sought not to rehabilitate, but exact vengeance on women they saw as unfit.

Now, the film reveals a little of that, but only a little. The manner in which it is filmed actually does not help it's message. Cillian Murphy spends a lot of the time in his scenes looking at the ground, or having flashbacks, and it is so much time that he is silent that I almost turned it off. I get that they were trying to offer some trauma from his childhood that explained why he intervened with the convent, but the message was almost lost in the long spans of...frankly...tedious nothingness. There was only 1 girl who we saw being mistreated so it would be easy to say, well all the other ones were treated much better. We now know they were not, but the film doesn't show that. They have taken an arty sort of approach which promotes the film, not the subject of the film.

That's why I think the film is tricky to review. On one hand it's beautiful cinema, albeit with too many, too-long pauses and introspective moments. On the other it is bringing...poorly...a deeply worrying and saddening message about the Magdalene Laundries. So for cinematic I would rate it one way, for the message it was trying to get across I would rate it much less, for the wasted 20 minutes on pauses that were unnecessary, and some flashbacks which being honest, I didn't even understand properly, I would rate it even less again.

I enjoyed it on some level but I think when you review a film of true events that caused trauma to countless thousands of young women over 70 years, you have a responsibility to make it the very best it can be. Front of stage, all of the time, should not be a coalman and his emotions, it should be the women who suffered. I finally decided on a score of 6, but I think I am rating it higher than I feel it should be, because the story...the true story of the Magdalene women, needs to be heard. I would love to see a better version.

'Small Things Like These (2024)' is a quiet character study about a working-class man who learns of a long-ignored abusive situation and grapples with his conscience - as well as those around him - as to whether he should, or even could, do anything to prevent it. It feels incredibly relevant in today's society, essentially making the case that we shouldn't turn a blind eye to suffering just because it's easier - and expected - to do so. It posits that you should help in whatever small way you can, that kindness is courage and that going against the grain to do what's right is paramount even when the weight of the world's injustices feel so overwhelming that to ignore them seems like the only option. At the centre of the picture is Cillian Murphy's low-key, almost entirely insular performance. He puts in some phenomenal work and is able to convey a complete character arc with very little dialogue and even less on-the-nose exposition. The screenplay mostly implies rather than states, forcing the audience to interpret its events in order to fully understand the narrative (which isn't so much ambiguous as it is not spoon-fed). This makes for a deceptively quiet and mundane experience that feels really realistic. It's not the most entertaining movie in the world, but it isn't supposed to be and its creeping power can't quite be denied. Although I wish it did expand its ending somewhat to deliver at little more denouement, the final frames make it clear that the film has been about a choice rather than its aftermath. The climax cements the film as a character study, reinforcing the fact that each and every moment has been building up to the decision the lead makes in the last act. While the affair is generally rather slow and its pacing initially feels somewhat skewed, it's ultimately a rewarding and distinct effort that doesn't need to shout in order to be heard. It's pretty strong stuff.