When the estranged Brian (Paul Mescal) suddenly returns to his hometown, his mother (Emily Watson) is delighted to have him back. Still, Aileen's loyalties are soon tested when her son's character is questioned. Directed by the collaborative efforts of Anna Rose Holmer and Saela Davis, God's Creatures is a dark psychological drama that explores the depth of family ties.
Raw, subdued yet totally compelling, God's Creatures is a well-render example of Gothic drama, a film that lodges itself under your skin where it remains. Brilliantly atmospheric, the directing talents of Holmer and Davis extract such an unease from the film that skillfully builds to almost excruciating levels. Mining the natural environment around them to reflect the tone, presented effectively through Cayse Irvin's impressive cinematography that showcases a suitably gloomy side to the Irish fishing village that serves as the setting, the location becomes a character in its own right.
A lot of God's Creatures strength lies in its simplicity. The screenplay, written by Shane Crowley, is not a particularly dialogue-driven exercise, with a lot of the emotion unsaid and the drama unseen (a powerful decision on the whole), but contains details that enrich our understanding of the characters and their relationships. Perhaps there's a line to this - the overall story would benefit from a greater exploration of the family unit before the major incident, and what happened or cause Brian's absence - but this unknown may help maintain the film's intensity for as long as it does.
Casting can make or break a film like God's Creatures but the ensemble is terrific. Watson plays the bulk of the conflict superbly, examining Aileen's morality in an initially internalised way that soon begins manifesting in clearer ways as her concerns become more greatly realised. Measuring her performance to unravel alongside the gradually escalating nature of the drama and tension that begins to engulf, it's a well-orchestrated turn that only an actor of Watson's skill, modesty and experience could execute.
Most people will likely be coming to God's Creatures on the back of Paul Mescal's Oscar-nominated turn in Aftersun, and he takes on a prickly supporting role efficiently here; he remains purposely elusive and suitably chilling, a far cry from the emotionally softer and more sympathetic work he's been known for. Really though, the film belongs to Aisling Franciosi, who stuns with an emotionally gripping and layered performance as a woman processing a recent trauma and processing the aftermath of its publicity. It would be so easy to overplay this type of meaty role, yet Franciosi favours depth over flashiness and her performance thrives as a result.
Like the sea that forms such a crucial part of the plot, God's Creatures is about the undercurrents and ripple effects. A slow-burning, hauntingly quiet drama of a small family in a town with dark secrets, God's Creatures is a taut, tough watch but one whose achievements shouldn't go unappreciated.
God's Creatures is out in select cinemas today.