(spoiler free)
The bond between a mother and son can be one of the most unshakable of family relationships. The most intense examples of these connections are often primal and uncomplicated, but when these come at the expense of reason, are they really something to be admired? In Anna Rose Holmer and Saela Davis’ sophomore feature God’s Creatures, such a relationship is brought under scrutiny.
Based in a small Irish fishing village, Aileen (Emily Watson) works as a shift manager in the local seafood factory. After the death a local fishermen, her estranged son Brian (Paul Mescal) unexpectedly returns home after living in Australia. The pair quickly reconnect and Aileen is delighted at the prospect of having her son at home again. However, cracks soon begin to show in this charming family reunion and Brian’s behaviour quickly forces Aileen to reveal her true character.
There’s an immediately sombre tone to God’s Creatures, both in its aesthetic and its plot. Opening with a tragedy in the village, life for its residents feels truly bleak. Although with the arrival of Brian, there’s a certain uplift in mood as his return almost resembles a beacon of hope; maybe not for the whole village, but at least for his doting mother Aileen. Despite this jubilant homecoming the film’s tone is reluctant to fully align itself with the feelings of this newly reunited mother and son. Instead it carries with it a sense of dread and foreboding. This is achieved by way of its piercing score that suggests something truly sinister is on the horizon. The combination of percussion with heavy breathing as well as the surrounding sounds of oysters clicking together and waves crashing creates a varied, yet contextually specific sonic accompaniment for the film.
What follows is a devastating exploration of Aileen and Brian’s relationship, and the lengths that Aileen will go to preserve it. She keenly attempts to make his return home as effortless as possible; helping him restart the family oyster farm and giving him the benefit of the doubt when family frictions arise. However, these acts of motherly love pale in comparison with what’s to come.
As Aileen, Emily Watson is fantastic. She captures that special, unique love that mothers have for their sons perfectly and goes on to demonstrate the tremendous power this staunch emotion has over her. Alongside her, Paul Mescal similarly excels in a role miles away from his Oscar-nominated turn in Charlotte Well’s Aftersun. The contrast is striking and showcases a wonderful bit of casting. As you would expect, Mescal initially charms in the role, yet he has far more to offer here than just his natural allure. His assured portrayal of this young man proves his range and delivers the necessary presence required for the story. Together the pair are superb, allowing the film’s central focus to engross and enrage in equal measure.
The film is also witness to a number of good performances beyond the central duo. Most notably there’s Aisling Franciosi who plays Aileen’s colleague Sarah, a woman caught in an abusive relationship. Whilst not always the focus (deliberately so) when she takes centre stage she gives a commanding portrayal of a woman failed by all those around her. Toni O’Rourke is also impressive as Brian’s sister, Erin. While she’s similarly happy to see her brother again, O’Rourke ensures that Erin’s considerably less forgiving feelings than that of her mother’s for him, are delivered in an effective manner.
These performances allow God’s Creatures to present a damning portrait of not only the larger societal protection of men, but the more specific familial protection that is also afforded to them. Shane Crowley’s screenplay is clear and pointed concerning its subject matter, giving each character the appropriate sympathies they deserve. Subsequently the film delivers an engaging commentary on real world issues that need urgent attention and immediate action.
Holmer and Davis have translated this well-informed narrative to the screen with much skill, accentuating the considerable ability of their cast in the process. As a result Watson and Mescal become a thoroughly compelling dramatic focal point, both giving very different performances, but ones that are deeply connected. Ultimately God’s Creatures is a disturbing, yet necessary exploration of society’s most evil and the measures – both big and small – in place to protect them.
Written by Hamish Calvert
★★★★
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