Tu ne mentiras point

'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.

Only a glimpse of the harsh reality that is the Magdalene laundries of Ireland.

Bill is a working class Irish man. He is married to Eileen and they gave 5 girls at home. Bill works on a coal yard and delivers it to various people. Bill heads to a convent where he becomes unsettled and after more deliveries he becomes more concerned with the happenings of the nuns. Bills dread follows him into Christmas as we get glimpses of his past as we piece together why he is so upset.

I think the movie is an important watch, I did think it would have leaned more into the convent side of things and the atrocities that took place but this was Bills story.

The whole movie I felt a pain in my chest, wanting him to say something to do something but also knowing the repercussions he and his whole family would face if they dare question the church.

The fact that these Hell holes were open til 1998 is a disgrace and embarrassment to this country, and the church, seeing the power nuns and priests believed they were entitled to is infuriating.

A good watch, beautiful performances, 7/10.

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.

A friend of mine used to own a big gay bar in Dublin, and I recall being in it the day that marriage was legalised in Eire. One of the women celebrating was telling us of her childhood at the hands of the nuns in the 1970s. It was a ghastly story of women who hadn't an ounce of compassion between them all, and this film picks up that cudgel and swings it squarely at what it is little better than a religious equivalent of a Dickensian workhouse. The story is told from the perspective of local coal merchant "Bill" (Cillian Murphy) who lives with his wife and five daughters in a small town in Co. Wexford. Nobody has much money and some are reduced to gathering wood from the forest floor to heat their homes. By comparison, his family are quite well off and with Christmas looming all are anticipating a good family time. He supplies the local convent-cum-orphanage where the unwed girls of the community are deposited when they get in the family way, and it's here that he encounters a young lass locked in the coal shed. Freezing and terrified, he wonders how she got herself trapped in there - and that's where the story starts to focus on not just the inhumanity that prevailed, but on the internecine, web-like, tendrils of a church that brooked no resistance or interference. If you want a "peaceable life" then you'd best leave well alone. Can he, though? He is frequently reminded of his own childhood. One of tragedy, kindness, an hot water bottle and a jigsaw puzzle. "Bill" is a troubled man who has much to mull over as his conscience refuses to accept the societal compromises even his wife (Eileen Walsh) might prefer he adopt in the face of what he has now witnessed. This is definitely a less-is-more film, with an effective paucity of dialogue and a sense of oppressiveness that frequently overwhelms with it's simplicity. The setting demonstrates a degree of menace way more poignantly than any horror film, but horror this is - and an illustration of cruelty in it's most devastatingly subtle form. Murphy shines here, his performance allows his character to take us with him as we all observe a scenario unfold that might not have been out of place in 1885 - but in 1985? Not an easy watch, but well worth ninety minutes of your time.

This sombre insightful drama takes us back to an earlier Ireland, a long way from the young vibrant and open society of today, an Ireland (well, to be accurate, Irish republic) where the Catholic Church dominated life culture and even politics, as it had done since the 1920s. Ordinary folk were either brainwashed into submission or intimidated into repressed poverty stricken acceptance of the status quo. It really does seem that it largely was like that.

We've seen other films, in particular The Magdalene Laundry, about the practice of sending young women who became pregnant 'out of wedlock' to convents where their babies were taken away at birth, and the women 'enslaved' into the Laundry, ostracised by all. Cruel and vindictive, this went on until 1998!

Cillian Murphy plays an ordinary family man with five daughters in country Ireland who runs a coal supply firm, its 1985. He sees without really understanding all that's wrong around him and how young women are treated. When delivering to a convent he chances upon its cruelties and he recalls his own difficult early life, and tries to take action in what is a severely compliant almost closed society.

It's sombre, low key, and it took me time to understand, but this slow burn approach pays off as I gradually understood how through the central character we experience his world and realise just how wrong so much of it all seems. It's heart rending stuff, truthful, and dark, particularly the malevolent portrayal of the nuns, with a great turn by Emily Watson. The film will not cheer you up, but it's an important historical reflection on a world thankfully has now disappeared.