Banshees of Inisherin

Martin McDonagh's dark comedy has nine nominations, while Charlotte Wells' 'Aftersun' has eight.

This year’s winners will be announced at London’s May Fair hotel on February 5, for the first in-person ceremony after two years of virtual editions. It is closely followed by Charlotte Wells’ debut, Aftersun, which is featured in eight categories. All four of its principal stars have received acting nominations.

The much-anticipated nominations list was unveiled during an event at The May Fair Hotel in London, with the winners set to be announced in a ceremony on ...

Colin Farrell – The Banshees of Inisherin Martin McDonagh – The Banshees of Inisherin FILM OF THE YEAR

After shooting in Inishmore, the crew relocated to Achill Island to shoot the pub and Colm's (Gleeson) home. The pub – described as a “major character” in the ...

After shooting in Inishmore, the crew relocated to Achill Island to shoot the pub and Colm’s (Gleeson) home. The movie also stars Kerry Condon and [Barry Keoghan](https://decider.com/tag/barry-keoghan/). Production designer Mark Tildesley explained, “Martin took us to some super extreme places. Consider the setting – lovely scenery, dim lighting, silence, nothing to distract one from the flawed workings of one’s mind, as the sun, an orange coin on the horizon, sets majestically.” He said, “Inisherin is a fictional island, so I didn’t want it to be specifically one place. I wanted it to be more mythical,” per production notes.

He utilizes the dimmed lighting that permeates the film's interiors, contrasted against the more exposed exteriors.

See our [latest prediction champs](https://www.goldderby.com/best-prediction-scores/awards/league-data/). [Colin Farrell](https://www.goldderby.com/t/colin-farrell/)) on the fictional island of Inisherin, a small remote community off the coast of Ireland during the Irish Civil War. [Make your predictions](https://www.goldderby.com/leagues/) at Gold Derby now. Speak up and share your huffy opinions in our [famous forums](https://www.goldderby.com/forums/) where 5,000 showbiz leaders lurk every day to track latest awards buzz. So, the idea was to sit them back at the beginning, make them feel relaxed, and then as it sort of starts to unravel, you want to get to a place where it’s uncomfortable.” Download our free and easy app for [Apple/iPhone devices](https://apps.apple.com/us/app/id1460576753) or [Android (Google Play)](https://play.google.com/store/apps/details?id=com.pmc.goldDerby) to compete against legions of other fans plus our experts and editors for best prediction accuracy scores. [The Banshees of Inisherin](https://www.goldderby.com/t/the-banshees-of-inisherin/),” which he says was ultimately more rewarding than challenging. When you look at a scene, it’s always good to look at it and say, ‘if I was watching this particular dynamic take place and I was invisible, if I was a fly on the wall, where would I want to observe it from?’ And that’s always a good starting point. I always think that when blocking a scene now, but there was this idea that as things start to become more and more unhinged,” he says, “that we would gradually put the audience into place where it becomes slightly uncomfortable because of the proximity of the camera. The [Searchlight](https://www.goldderby.com/t/searchlight/) Pictures black tragicomedy was written and directed by Oscar winner Martin McDonagh, reuniting Farrell and Gleeson, who previously worked together on McDonagh’s directorial debut “In Bruges” (2008) and with Condon after previous collaborations on stage in “The Lieutenant of Inishmore” and “The Cripple of Inishmaan,” and McDonagh’s last Oscar-winning film “Three Billboards Outside Ebbing, Missouri.” So, if anything that there was the emotional challenge of that, but luckily no one cut their fingers off thankfully,” he smiles. about the painterly visual aesthetic of “

The linkage of melody and carnality harkened back to early and middle Tolstoy, who employed musical forms as markers of sexual brooding (folk songs in Cossacks) ...

Fortunate because in the morning Father Sergius trims his hair and beard, dresses in the clothes of a peasant and leaves the hermitage. A hellish fire (have you guessed the name of the vengeful arsonist?) destroys Colm’s cottage, formerly a place of song and of love. He works in the owner’s kitchen garden, teaches the kids, and tends to the sick. And herein lies a transformation of the Tolstoyan theme of desire, perhaps even McDonagh’s polemical rejection of the ending of Tolstoy’s Father Sergius. In the course of this (failed) confession, the priest asks Colm if he is having “impure thoughts” about men, and Colm angrily turns the question around. In a follow-up scene, Colm takes off the remaining fingers of his left hand, forever parting with his own life as a fiddler. There are three main deaths in the film: the death of a village fool whose father, the island’s single constable, abuses him in multiple ways; the death of a beloved pet; and the death of an intimate friendship. In McDonagh’s morbidly exquisite film, not Tolstoy’s vague pro-Irish sentiment but rather Tolstoy’s embattled, intertwined spirits of desire and music—and the self-amputated finger of his Father Sergius—clamor for recognition. “I’m not the devil, but simply a sinful woman, who is lost—not figuratively but literally—(she laughed)—“frozen and begging for a shelter...” He pressed his face to the glass. He swiftly grabbed the chopped off piece of finger with the flap of his cassock and, pressing it to his hip, he went back inside through the door, and after pausing in front of the woman, he lowered his eyes and quietly asked: “What do you want?” She starts undressing, in part because her clothes are wet, in part because she is attempting to derail a saint in the making. Yet one of the greatest pleasures of reading Tolstoy’s life and art is that his views of desire became less dogmatic during his last decade.

'The Banshees of Inisherin' led the nominations at the London Critics' Circle Film Awards with nine nods, with 'Aftersun' close behind with eight.

And each year it’s great that we can highlight films, filmmakers and performances that deserve attention.” Sebastian Lelio’s “The Wonder” also scored six nominations. “So these nominations represent a cross-section of the very best of the movies we watched in 2022.