The Quiet Woman is, not unexpectedly, a quiet movie. With dialogue nearly solely in Irish, a language nonetheless woefully underrepresented on display, the movie follows Cáit, performed by newcomer Catherine Clinch with a tiny whisper of a voice and massively spectacular understatement. She’s a shy, unhappy schoolgirl in an sad household, despatched away to spend the summer time together with her mom’s cousin; there, she’s proven a easy, uncomplicated tenderness, forging a household of the type she’s clearly by no means skilled earlier than. It’s a easy however artfully efficient debut characteristic from Irish filmmaker Colm Bairéad, with a outstanding, heartbreaking debut efficiency from Clinch, whose face betrays anxieties she doesn’t but absolutely perceive.
The movie is low on incident, however beneficiant to its characters and invigoratingly candy.
The dialogue, when it comes, is light and lyrical. Bairéad’s screenplay (adapting a novella by Irish author Claire Keegan) finds poetry within the shapes and contours of his native tongue, and even in the event you’re not an Irish speaker, you’ll discover magnificence within the language. It’s an apparent consolation to Cáit, too; tellingly, the few English audio system within the movie are characters she fears or struggles to belief, akin to her belligerent, emotionally inert father (Michael Patric), who solely has time for speak of climate or playing.
The title nods to the quietness of its title character, however in fact, this can be a movie full of individuals unable to precise themselves, internal turmoil in several kinds. Cáit’s dad and mom are unhappy and unfulfilled; Cáit herself struggles to make pals; and her foster dad and mom, although far more open and loving, have a grief-filled historical past they don’t seem to be sharing. It takes acts of mutual care and affection for any traces of communication to open.
With artfully sedate camerawork — the angle by no means leaves Cáit’s vantage level — and naturalistic cinematography from director of images Kate McCullough, Bairéad’s debut movie finds a consolation in stillness. A stunning minimalist rating from Stephen Rennicks (Regular Individuals) augments the impact. The movie is low on incident, and will simply threaten to be slight, however it’s beneficiant to its characters and invigoratingly candy, finally singing to the virtues of peacefulness. Generally, the movie ponders, it’s higher to not say something in any respect. “She says as a lot as she must say,” Cáit’s adoptive father says of her. “Might there be many like her.”