Belfast

"Go. Go now. Don't look back. I love you, son." Granny (Judi Dench)

You can complain that Kenneth Branagh his filtered his 9-year-old Buddy (Jude Hill) through his own rose-colored revery of the 1969 bloody ethno-nationalist uprising in Belfast, and you'd be right. However, like all of us remembering, that past is most pleasantly remembered through the lens of loving family struggle that binds.

While Branagh doesn't shy away from how the Northern Ireland Troubles between Protestants and Catholics was challenging all families, his endearing portrait of Buddy as a curious and sweet, albeit precocious, school boy for whom the biggest conflicts are figuring out how not to emigrate from Belfast because of the violence and connecting with the elusive little blonde who occupies the top of her class with Buddy.

One of the best movies of the year, Belfast gives scant references to Branagh's eventual rise to the top of his filmmaking class and emphasizes the effect a loving family can have on a small-town lad. Especially nostalgic is his interaction with his Granny (Judi Dench) and Pop (Ciaran Hinds), who best represent the benign Belfast world, the one so difficult to leave behind.

Branagh brilliantly chooses a sharp black and white for most of the film, as if to say, "Unlike the color opening, my story will be realistic in a cinematic sense that black and white usually represented in mid-20th century films." Adding a bunch of bad-boy Van Morrison tunes is a perfect surround-sound for the contradictions of Buddy's coming of age in a civil war that is both secular and religious.

The joy of this film is the 9-year-old's warm, nostalgic remembrance of a war-torn land. Belfast confirms the suspicion that those of us lucky enough to grow up in a loving family can survive war and even coronaviruses and become world-renowned filmmakers.

Belfast is one of Kenneth Branagh's best films, and that is saying much.

Writer-director Kenneth Branagh tells a semi-autobiographical story. Young Jude Hill is playing in the street outside his row house, when suddenly Protestant gangsters march through and smash every Catholic household's windows, rip up the paving stones, and drive everyone, Catholic and Protestant alike to refuge. Soon the British Army is setting up occupation of the street, as the neighbors help each other, and Hill's immense extended family, presided over by grandfather Ciarán Hinds and grandmother Judi Dench seem to take everything in stride. But there's family problems as well as religious ones.

This movie reminded me of 2018's Roma, an important moment in history through the eyes of a boy filtered through the adult sensibilities of the film maker.... but without the extreme deep-focus camerawork that kept me wondering when we were going to start telling another story. Branagh gives us visual fireworks, with the attack on the street shown from young Hill's perspective, with a double-360-degrees panorama in slow motion.

In the end, the story is less about flashy camerawork or the religio-political uproar of the times, but how a loving, committed, decent family gets on with life, raising children, earning a living, and loving each other. Most stories about love are about the big events, the flashy events. This one shows us the day-to-day of love while everyone else is worrying about the big events.

To some it would come as a surprise that Kenneth Branagh is from Northern Ireland.

He never hid the fact that his family moved to Britain once the Troubles started in the late 1960s.

Once they arrived Branagh had to modify his Irish accent to fit in.

The semi autobiographical Belfast expands on the forces that drove Branagh's parents to take the momentous step to move away from their homeland.

Starting off in colour, it moves into black and white. Buddy is playing with other children in his neighbourhood. It is 1969 and both Protestants and Catholics live on the same street.

Suddenly shocking violence erupts, a Protestant mob wants to force the Catholics out.

In this turmoil, Buddy's dad who works as a carpenter in London contemplates moving to the mainland. Not helped by the financial woes over a tax demand.

For Buddy it also means leaving behind his grandparents and the girl he fancies at school.

For his dad, he is being pressurized to choose sides. It is no coincidence that one of the movies the family watches at the cinema is High Noon.

The Troubles is now mainly consigned to history. I speak to my children in the past tense as to my experience of growing up during the IRA bombing campaign ranging from the 1970s to the 1990s.

There was always a danger that visiting a city centre in the mainland during Christmas meant the risk of some kind of car bomb suddenly going off. In fact there was a day when I was stuck in a traffic jam meaning I was delayed getting to a place that was earlier blown up by an IRA bomb.

Belfast has been called nostalgic, having a thin plot. It is life affirming but does not shy away from the turmoil. It is framed in a child's viewpoint, wonderfully played by Jude Hill.

The events of the film are still relevant. Brexit has placed dangers on the Good Friday Agreement. The present Tory government is cynically playing fast and loose with it. The impact of the Troubles must never be forgotten.

This film was funny, heartfelt, sad and scary all in one. Although it is based at the start of the troubles the film didn't fully focus on the terror those times caused. It was good to see the Northern Irish humour being portrayed. Belfast isn't just about bombs and religion.

For those distraught about the film being black and white. Seriously?! I didn't even notice after about the 30seconds. It brought the film to its time and gave it charm. In all a great, mostly, light film based around a horrible time in Belfast.

A lovely film, well filmed and beautifully acted by the main actors and particularly by Jude Hill. Filmed in black and white it caught the era well and the soundtrack by Van Morrison was perfect.