Jude Hill

Jamie Dornan

Caitríona Balfe

Lewis McAskie

Judi Dench

Ciarán Hinds

Lara McDonnell

Colin Morgan

Gerard Horan

Josie Walker

Olive Tennant

Michael Maloney

Turlough Convery

Conor MacNeill

Chris McCurry

Elly Condron

Samuel Menhinick

Vanessa Ifediora

Gerard McCarthy

Sid Sagar

Mark Hadfield

John Sessions

Mairéad Tyers

Drew Dillon

Leonard Buckley

Kit Rakusen

Freya Yates

Nessa Eriksson

Charlie Barnard

Frankie Hastings

Caolan McCarthy

Ian Dunnett Jnr

Oliver Savell

Orla McDonagh

Ross O'Donnellan

Olivia Flanagan

Serrana Su-Ling Bliss

Rachel Feeney

Estelle Cousins

Scott Gutteridge

Bill Branagh

Joyce Branagh

James O'Donnell

Victor Alli

Matthew Blaney

Scarlett Nunes

Laura Berwick

Jim Clay

Niv Adiri

Jennifer Annor

Haris Zambarloukos

Stephen Swain

Charlotte Walter

Becca Kovacik

Úna Ní Dhonghaíle

Claire Nia Richards

James Mather

Tamar Thomas

Tomas Blazukas

Kate Morath

Denise Yarde

Simon Chase

Matthew Glen

Kenneth Branagh

Dominic Masters

David Watkins

Sue Harding

James Embree

Charlie Howe Fox

Simon Diggins

Richard Usher

Martin Curry

Dean Marsh

Sophia Hardman

Chrys Antoniou

Katie Brydon

Hannah Warren

Carly Brown

Rob Youngson

John Delaney Sr.

Szymon Wyrzykowski

Anna Brabbins

Scott Eaton

Oliver Ferris

Kate Eden

Sabrina Corda

Irene Chawko

Tom Callander

Mathew Lester

Dan Lowe

Damian Cooper

Henriette Kristine Jacobsen

Van Morrison

Wakana Yoshihara

Alice la Trobe

Sophie Coombes

Lucy Bevan

Emily Brockmann

Celia Duval

Jen Annor

Drama

History

Belfast

TKBC

Northern Ireland Screen

United Kingdom

English

Português

working class

black and white

belfast, north ireland

1960s

the troubles (north ireland, 1966-98)

Adriano

I wanted to like this more than I did. It's fine, but it just doesn't resonate terribly well with me. Not to mention it feels a bit like a stage-play, taking place all on one street. I understand it's supposed to be the world through a child's eyes, but there's not much there. Conversations and issues feel breezed through, and yet 'Belfast' sags in the middle around the third time they have the same set of conversations. It's good enough, but I couldn't recommend it to anyone.

A swell little film, this.

I may not have a connection to the events portrayed onscreen, but <em>'Belfast'</em> is - despite the not so good true events that it's retelling - is a pleasant film to watch. With a perfectly timed length of around 90 minutes, this 2021 flick holds a lot of heart - it's also rather funny, it had me laughing a fair number of times.

The star of the film is undoubtedly youngster Jude Hill, who is an absolute joy in the role of Buddy - some performance from the 11-year-old! Buddy's connections with every single character are lovely, especially with those played by Ciarán Hinds and Judi Dench - wait... that was Judi Dench?! I legit didn't even notice until the end credits, which shows how convincing her performance as a Northern Irish grandmother is... or perhaps I need my eyesight tested, who's to say.

Jamie Dornan and Caitríona Balfe also merit props, in what is a very good release from Kenneth Branagh & Co. The target audience, along with others of course, will adore it, I'm sure. Also... love the choice of black-and-white, fwiw.

Belfast is packed with powerful images — shot in Haris Zambarloukos’s majestic black-and-white cinematography (except for a handful of color shots at key moments, notably the escapist windows that film and TV offer the characters) — beginning with an early scene in which the young protagonist, Buddy (Jude Hill), armed with a wooden sword and a shield/dumpster lid, confronts a mob of unionist protestants who come to attack the houses and businesses of Catholics on Buddy’s Street.

In an inferior movie, Buddy would be foolish enough to think that his makeshift weapons could measure up to the rioters’ Molotov cocktails; here, however, it marks precisely the beginning of the end of childhood innocence — a point driven home later by a reading of chapter thirteen of the First Epistle to the Corinthians ("When I was a child, I spoke as a child, I understood as a child, I thought as a child; but then I became a man and left childish things behind”).

The film’s depictions of violence are doubly effective because Branagh resorts to them sparingly, and when he does, he shoots them in a realistic style; when a car explodes in the middle of the street, you can bet your sweet ass it doesn’t just go up in CGI flames.

The most striking images, however, are those whose composition evokes an air of domesticity; several of them have in common the background presence, as if detached from the action, of Judi Dench. Branagh, who has collaborated with her on almost a dozen productions, knows very well that the veteran actress is able to conjure, simply by virtue of being there, enough gravitas to anchor a scene in the real world (now, this is not to say that Dench is reduced to prop status; quite the contrary, her character provides the emotional center of the history).

These images stay with us because they are all about what is at stake in the film: a fragile lifestyle in which “We have known this street and all the streets around it all our lives. And every man, woman, and child that lives in every damn house, whether we like it or not. And I like it. And you say you have a little garden for the boys? But here, they can play wherever they want, because everyone knows them, everyone loves them, and everyone cares for them.” Establishing this delicate way of life is the reason that the threat of violence is so much more effective in creating tension than the violence itself.

All things considered, Belfast is an episodic slice-of-life-seen-through-a-young-boy’s-eyes that isn’t, believe it or not, a million miles removed from A Christmas Story, and indeed the script introduces a placid, elementary sense of humor that nicely counterbalances the more dramatic material.

This is the kind of cinema that we always hope to see - brilliantly fresh, tight script, beautifully shot, amazing performances, an autobiographical-based story of the directory himself, Sir Kenneth Branagh, and ... Van Morrison soundtrack. In essence, it's a coming-of-age movie of an adolescent, set against "The Troubles" of Northern Ireland. Buddy has a special love for movies and theater, encouraged by his cranky, old grandmother (Dame Judi Dench). The beautiful relationship between the grandfather and grandmother is mirrored perfectly in the mother and father, and then again in Buddy's budding romance with Catherine. There's so much going on in the film that it's very nearly a tone poem.

Buddy Says Goodbye to his Crush

"I Don't Want To Leave Ireland"

Pa's Life Changing Advice

The Family Celebrates Christmas

Granny and Buddy Bond Over the Theatre

Buddy Comes Up With a Plan To Talk to His School Crush

Belfast | Jamie Dornan and Caitríona Balfe Played Rounders in Medical Gloves | Stories From Set

Belfast - BAFTA Spot 30s- In Cinemas Now

How the script for Belfast reminded Caitríona Balfe of her childhood | Tea with BAFTA

Belfast | Kenneth Branagh Director's Commentary | x6 Academy Award® Nominations

BELFAST | Scene At The Academy

Belfast | Interview with Dir.Kenneth Branagh

Belfast - "Home Review" Spot 30s- In Cinemas January 21

Belfast - "United Review" Spot 30s- In Cinemas January 21

Belfast - "Family" Spot 30s- In Cinemas January 21

Belfast - "Everlasting" Spot 30s - In Cinemas January 21

The Cast of Belfast Plays THIS/THAT

Belfast’s Kenneth Branagh Explores Queen’s Film Theater in Belfast | My Favorite Cinema | Ep. 3

60 Second Film School | Belfast's Kenneth Branagh | Ep. 16

Irish Roots

BELFAST - Catriona Shout Out - Only in Theaters Friday

I Want My Family With Me

Kenneth Branagh goes to BELFAST w/ Caitriona Balfe, Jamie Dornan & Ciaran Hinds | Film Independent

Belfast( 2021)

No matter how far you go, you never forget where you came from.

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A review by Adriano

Written by Adriano on Fri Jan 07 2022

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