‘The Quiet Girl’ Review: Colm Bairead’s Irish Oscar Entry

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‘The Quiet Girl’ Review: Colm Bairead’s Irish Oscar Entry
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Why do we have children? Cait’s Mam and Da would be hard-pressed to answer that, with a house full of sour teenage daughters, a toddler barely walking, another baby about to land and not enough mon…

) has learned to be silently wary, lowering her eyes as she walks by the school bullies and fading into the back seat of her father’s car when he picks up his fancy woman in the middle of nowhere on a country road, snickering with her as they drive along with no one to see them. No one who counts, that is.

But there are other kinds of secrecy: a sorrow that is simply too great to be spoken, for example. Arriving with only the cotton dress she is wearing, Cait wears the child’s trousers and jumpers already in the wardrobe of her room. The clothes of a boy, never mentioned. Then Eibhlin’s husband Sean , gruff and initially clearly reluctant to take on this strange, silent girl, says she can’t keep going to Mass like that and insists they go shopping.

Writer/director Colm Bairead works on a miniature canvas in his debut feature, using the lilt of the Irish language and expressive shots of fastidiously chosen details in the home to deliver an emotional punch much heftier than one might expect of a sliver of domestic drama. Based on, a 2010 short story by the superb Irish writer Claire Keegan , it is paced to chime with Stephen Rennick’s mournful score: a slow, loping, lyrical musicality.

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