In the 1970s, a young trans woman, Patrick "Kitten" Braden, comes of age by leaving her Irish town for London, in part to look for her mother and in part because her gender identity is beyond the town's understanding.
Kate and Martin escape from personal tragedy to an Island Retreat. Cut off from the outside world, their attempts to recover are shattered when a Man is washed ashore, with news of airborne killer disease that is sweeping through Europe.
Pig and Runt - born on the same day, in the same hospital, moments apart. Twins, all but by blood. Inseparable from birth, they are almost telepathic. They are also partners in crime, with an appetite for recklessness, exploration and destruction. But days before their 17th birthday the perfect balance of their world begins to shift. Pig's sexual awakening and increasing jealousy begins to threaten the private universe they have spent their lives constructing. Unable to contemplate the loss of Runt, Pig's unpredictable nature spirals out of control in a trail of violence. The invisible thread between them is stretched to breaking point, the inseparable are about to separate, and which one will survive depends on which one can break free. Written by
The second song played during the credits called "So New" was written and performed by Cillian Murphy, who played Pig. See more »
During the flashback to Sinéad being spanked by her father Ger Canning can be heard commentating on a hurling game between Cork and Kilkenny, mentioning the names of DJ Carey, Henry Shefflin, Charlie Carter and Diarmuid O' Sullivan, who would only played with and against each other in 1999 at the earliest. The flashback was obviously intended to have been set long before then. See more »
Once upon a time, before there was any blue, I'd take a long long nap in a brand new home. This place, it's like I make up my mind to stay in this lovely warm pink room. The thumpity thump of the heart. My only true path. I tell the noisy world outside to fuck off with all your play-actin', for Runt. She go no where, for no one. That was a time when silence was some sort of friend.
But then my mom would heave and wake all inside. And Runt, she wakes up, cause a baby can't stay ...
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There's a large psychiatric literature on the "twinning effect," which is often a beautiful thing, but in its pathologic manifestation shows up as what's called "symbiotic psychosis." In plain language, although not biological twins, the two main characters here grew up so closely intertwined that their private world disallowed the intrusion of mundane reality. "Private language" is often a characteristic of this clinical syndrome, and in the movie the heavy Cork dialect accentuated (at least for non-Irish) the barrier between the characters and the viewer. Does anyone remember Melanie's song, "We were so close, there was no room/ We bled inside each other's wounds"? Quite apropos. Also, I felt reflections of "David & Lisa," but updated and sort of run in reverse. As with much Irish literature, one has to be prepared for a view of humanity that never crawls out from under Original Sin, but nevertheless this is a serious work, very much worth watching, and deserved a better title.
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