Reviews Joyce Glasser Quiet girl (May 13, 2022) Cert. 12A, 94 min.
Debut in feature film Colma Bareada, Quiet girl easy not to notice. Like his eponymous hero, it is a quiet and gentle move without a known cast. The fact that it doesn’t have as much plot and it’s in Gaelic with subtitles may also not be a starting point for sale, although unfamiliar cast and Gaelic improve the story, which takes place in rural Ireland around 1980.
Not to notice Quiet girl it would be to underestimate one of the most difficult tasks a director can only give himself: to stage the evolution of a relationship between three people over the summer season and make you care about the outcome.
An adaptation of his screenplay from the story of Claire Keegan Foster, Bairéad relieves tension and emotional catharsis from this restraint and rewards you at the end with an emotional shock that is hard to get rid of.
This is not to say that the film is perfect, but a big flaw arises in the first ten minutes. Little Kate (Catherine Clinch), who is unhappy in her unstable family life and at school, reacts by retreating within herself. She hardly speaks and seems to have no friends. The slender, beautiful girl in a dress she liked shares in an abandoned farmhouse with her constantly pregnant, exhausted mother (Kate Nick Chonai), her alcoholic, gambling parents (Michael Patrick) and siblings she has nothing to do with. Cáit eight or nine and still wet the bed.
Spartan house without amenities. Lunch – slices of bread. Hay has not been harvested, and a new cub will be born at the same time as the new calf. Something has to go, and that’s Kate, who will spend the summer with her mother’s childless cousin Ablin (Carrie Crowley) and her husband Sean Kinsella (Andrew Bennett).
Being in this familiar, unfortunate porn setting, you may want to head for the exit, but resist because it is this setting that makes what will be so welcome next.
After a tiring, hot, silent journey with her stern, gloomy father, Kate arrives at a beautiful, immaculate, old stone house and is warmly received from Ablin. It can be said that a couple feels uncomfortable with a father who lacks any resemblance to social graces. Ablin is horrified by his behavior at dinner when he puts a cigarette on a plate and does not even say goodbye to his daughter.
Ablin realizes too late that he left with Kite’s suitcase in the trunk of his car, and she begins to worry about her cousin, who lives with such a beast. When she asks Kite why the hay was late, Kate bluntly replies that her mother didn’t have the money to pay the mercenary for his cleaning. Aiblin can only guess where the money went. “God help me,” she muttered spontaneously. “If you were mine, I would never leave you in a house with strangers.”
But in this case, it turns out it’s the best thing that has ever happened to Kate.
However, she is wary when she realizes that there are no children in the house. Cáit has never been the center of attention and has never known such peace and quiet. We also gradually realize that Ablin is making a mistake by leaving Kate with a community that is a community that is a rogue – like Kate – and the subject of double-edged gossip. The simple premise expands when we begin to focus on the vulnerability and loneliness of an adult couple, not just their ward.
Ablin is a tactile woman, perhaps too any, and we quickly suspect why. She slowly and rhythmically combs Kite like some kind of therapy, but for whom? And Ablin watches as Kate carefully steps into the bath with the steam, as if it were a tidal pool, happy to be able to offer the girl this little luxury.
Water becomes important again when Ablin leads Kite to the well, a place that gives life, a place of danger and death. “There are no secrets in this house,” says Ablin Kaitu. “If there are secrets, then shame.”
But there is a big mystery in the house. There are clues that the audience will discover, but Kate doesn’t. On her first night in someone else’s house, for the first time in her life resting in her room, her and our eyes landed on old wallpaper adorned with miniature trains. And since Kite was left with nothing to wear after her father’s carelessness, Ablin brings old clothes from the closet. Although they seem to fit the baby, which is strange, but they seem to be the boy’s clothes.
While food is healthy and regular, and Kate loves to help Ablin with cooking, Sean remains distant and restrained. After he expresses annoyance when Kate goes to church in boyish clothes, Ablin leads her shopping and she has her first brand new, stylish outfit.
Due to incorrectly read signals the first time Kate was alone with Sean, it was a disaster. When she wanders in the barn, Sean is alarmed and goes looking for her, mad that she crashed on his watch. Kate treats his panic as anger and she backs away.
However, the next time Kate makes an effort to be helpful in the barn is watching Sean’s assignments and carrying them out. And gradually Kate notices signs of rapprochement: a biscuit, a reward, a symbol left on the table. Ice cream and rest days will soon appear, which most children take for granted.
One day Sean asks Kate to run to the mailbox at the end of a long, tree-lined strip between the property and the road. He is impressed by her speed and she warms up in praise. This daily task becomes a routine, and Sean determines her time. The camera focuses on Kate’s face as she runs with the absence, and a smile on her face. This motif returns at the end of the film so poetically and cathartically that the depth of emotion will transport you.