![\"\"](\"https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2023\/02\/279224978_322816539962641_8014342032554799242_n-e1677259969163.jpg\")
<\/p>\n<\/p>\n
\nI reviewed by Colm Bair\u00e9ad’s The Quiet Girl<\/i> (aka An Cail\u00edn Ci\u00fain<\/i>), an Irish-language film nominated this year for Best International Feature (a first for Irish-language films). Based on a famous short story by Claire Keegan (later turned into a novella), the film is told intimately from a child’s point of view, what she sees, hears, absorbs. It is a quiet film, indeed: she’s quiet, the people who care for her are quiet, and the rhythms are that of farm life – slow, deliberate, careful. But the film did its work. It’s been a long time since I literally dissolved into stormy tears at a film’s final sequence. I was a MESS. The film is not really bilingual. It’s mostly Irish. And that’s kind of a big deal. I reviewed An Cail\u00edn Ci\u00fain<\/i> for Ebert<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":" I reviewed by Colm Bair\u00e9ad’s The Quiet Girl (aka An Cail\u00edn Ci\u00fain), an Irish-language film nominated this year for Best International Feature (a first for Irish-language films). Based on a famous short story by Claire Keegan (later turned into a … Continue reading