It Is in Us All

Not sure what sort of person would either make or watch this movie. A manic depressive? A suicidal, basket case?

On the plus side, Ireland looks OK, I guess. Although it is filmed in muted tones and at night!?

I am sure some 'clever' person will talk about the 'message' of the movie but it is an interminable slog to get to the end of this uneventful , borefest.

Not sure what sort of person would either make or watch this movie. A manic depressive? A suicidal, basket case?

On the plus side, Ireland looks OK, I guess. Although it is filmed in muted tones and at night!?

I am sure some 'clever' person will talk about the 'message' of the movie but it is an interminable slog to get to the end of this uneventful , borefest.

Hamish has a full head on collision, not his fault, but could have moved with more precision, leaves him with a broken arm, he later fixes with alarm, and some gaffa tape with very high adhesion. He's in Ireland to sell off his dead Aunt's home, while he's there he gets to wander and to roam, meeting up with some young guys, whose car crash friend instantly died, he seems to be in some lost world that's full of gloam.

Not even the exceptionally talented Cosmo Jarvis can raise this slow burn from its dying embers as he portrays a person you will find it difficult to align your own reality with and find any common ground.

'It is in us all' is not a satisfying watch. It has all the look and self-importance to become a very serious art-house deep dive into a human psychology... or something -from the mysterious characters to sweeping wide shots of the landscapes to an extended scene that nearly amounts to body-horror. I sat there and waited something to happen, to go deeper, perhaps even dark. It didn't. It's all misty to the end.

But at least it made me think about one aspect, which the director may never have intended and I may have totally blown out of proportion, but... I find the dynamic of Anglo-Irish relationship featured in the film rather interesting.

For many British (especially English), Ireland remains something blurry back in their mind. A kind of a little brother figure, still feels like a forgotten part of their nation, somewhere they can always visit and impose themselves on but nowhere they particularly want to be anyway. This attitude you can picke up from Hamish's English father. For him, Ireland is just a backwater, and the difficult relationship of the past (represented by his failed marriage to Hamish's Irish mother) is just water under the bridge. In other word, it's just not worth putting much thought to.

On the other hand, the Irish response to the English visitor is a complex mixture of curiosity, fascination, and veiled suspicion. One moment very friendly, but just below the surface there's hostility that runs deep from their acrimonious past relationship.

Hamish, half Englsih half Irish, sits right between these 2 clashing dynamics, and eventually breaks down in the subtle but unbridgeable gap. He arrivs Ireland first as a totally unsympathetic stranger. Even the fatal car accident doesn't seem to stir him much, and he seems to take it as just something happened. Only when he realises the forgotten Irish root, he finally looks around. He's inexplicably attracted to it, yet he can't really understand it nor fully accept it.

This is just my unsubstantiated rant about the film. But it could be a way to see this rather vague film? The very fact that the director chose an English actor as her leading man for her feature debut, and thus making her own country 'the Other' in the dynamic is a telltale sign.

Reading through some of the suspiciously high ratings here does reveal a theme of trying to paint this film as arthouse surrealism with nuanced and hidden messaging but it seems to be rather insulting to intelligent audiences and it may work with some but the majority will see it for what it is, a badly written and badly directed project which is redeemed in part by a good lead actor and beautiful location. All of which cannot however, redeem the attempts to pitch this as a gay movie, which seems an afterthought that should have been left at just a thought. Why, because anyone setting out to make a gay film could do better, way bettter and likely would do better. The director/writer also appears in this as an actor and doesn't lift the film in any way and should have probably stopped short of a complete vanity project. I would have rated this slightly higher were it not for the blatant pumped up reviews spouting rubbish analogies.

The blurb suggests a daliance between the main protagonist and a lad who is highly sexed apparently. Nothing happens, nothing but shared grief and realisation of loss. I heard it was shown at LGBTQ film festivals and to be frank, it's impossible to see why.

There is more physical contact between the main character and a cow than anyone else and that was a light petting in a shed. There is a hint at some attraction but it does smack of baiting an audience who might find Cosmo, who was great in Calm with Horses as a good choice to play a gay man, but he doesn't seem to think he is in this film and its probably best given the immaturity and bizarre writing attached to the other character: Certain written behaviors that don't make sense and wouldn't happen in real life, so they just come across as made up for effect rather than substance.

The lead actor, Cosmo is good, supporting cast is ok with moments, particularly efforts at crying which were bad, cringe. It would have been better to cut them out.

Overall, it's essentially about nothing much, even the beautiful scenery is not the best of what Donegal has to offer and they could have shown more. There are stunning vistas everywhere you turn in Donegal and the production wasted that in my view, settling instead for repetitive shots along roadways.

Upon completing my watch of this indecipherable, preposterous cinematic mess, I couldn't help but come away from it asking myself, "What the hell did I just watch?" Writer-director Antonia Campbell-Hughes's debut narrative feature is so "nuanced" as to be utterly vague and patently incoherent. I probably gave this one more than sufficient benefit of the doubt while screening it, awaiting a payoff (or even a half-hearted rational explanation) come movie's end, but no such luck. The meandering, improbable screenplay of this unfocused tale about a car accident victim who becomes inexplicably fixated about a younger uninjured survivor from the same incident makes virtually no sense, jumping from one ostensibly random situation to another without seeming rhyme or reason, much of it padded with repetitive extraneous shots of the rural windswept Irish landscape. What's more, it's puzzling why this offering was selected as a featured presentation for an LGBTQ+ film festival, given that there are almost no references to the protagonist's sexuality or the gay community at large. It truly boggles my mind how reviewers have praised this incomprehensible exercise in ill-conceived, poorly executed celluloid self-indulgence. Avoid this one at all costs.