5.7/10
Senior Film Conservator
A definitive 5.7/10 rating for a film that redefined the boundaries of cult cinema. Come Back to Erin remains a cornerstone of transgressive art.
Look, if you’re looking for a plot, look elsewhere. This isn’t a movie in the way we usually think of them. It’s more of a mood piece from a time when people thought Ireland was just green hills and sad violins. If you like travel docs or old-school nostalgia, you’ll probably find it charming enough. If you need conflict, pacing, or even a script that isn't just someone waxing poetic about the 'Old Country,' you are going to be bored to tears within three minutes.
The whole thing is silent, which is fine, but the voiceover is so relentless. It’s like being trapped on a bus next to a guy who read one book about Irish folklore and decided he was an expert. Everything is romanticized. The sheep are cuter, the cliffs are higher, and the people are all staring off into the distance with this look of noble melancholy.
I couldn't help but think about how different this is from the way we handle local identity in things like Blandt Samfundets Fjender, where the world feels lived-in and messy. Here, it’s all scrubbed clean. It feels like an ad for a place that doesn't actually exist. 🍀
It’s not a *bad* film, it’s just thin. It’s like a piece of paper that’s been folded too many times. It holds the shape, but you can see through it if you hold it up to the light. I found myself wishing they’d just shut the narrator up and let the wind noises do the work. Or maybe add some accordion music. Something other than that constant, droning narration.
If you enjoyed the quiet intensity found in Suzanne, you might appreciate the stillness here, even if the intent is completely different. But don't expect a revelation. It’s just a postcard. A nice one, sure. But still just paper.
