Early in Saela Davis and Anna Rose Holmer’s dark and stately God’s Creatures, screening in Directors’ Fortnight here at Cannes, one of the younger women at a wake in an old Irish fishing village de…
plays her prodigal son. Like so many cinema mammies before her, Watson’s Aileen is a tower of strength physically and emotionally, just as competent working the oyster beds as she is fixing arguments over the kitchen table. Her husband Con has settled into a disagreeable middle age, which shadows the joy she clearly feels when their son Brian suddenly returns from several years in Australia., gives Brian O’Hara such honeyed charm that any disapproval slips off him.
It is only gradually that we realize we are seeing him through the eyes of a mother who, like so many mothers, has been in love with her son since he was born. She realizes it herself only after she finds herself unthinkingly lying to protect him. Her alibi saves him. She isn’t alone – the community closes protectively over their golden boy like skin over a wound – but she is the not the sort of woman who tells lies. She has principles.
Writer Shane Crowley allows Fodhla Cronin O’Reilly’s story to unwind as a series of allusions to what is hidden in the depths. There are no expositions, revelations or confessions. So we never do find out what took Brian to Australia or what made him come back – although perhaps we can guess, once we see that jack-the-lad Brian has more than one kind of weather.
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