![]() ![]() Davison shirks those conventions in favour of a more stark and realistic appearance. These films are often swathed in rich autumnal hues, and generate an uneasy and ethereal tone. ![]() The viewer is instantly unhinged by her presence, and Crotty continues to push it further with each scene, ascending to a rather terrifying being.Ĭonsidering their long-standing association with fairy stories, films featuring witchcraft tend to take on an otherworldly air, opening up and tapping into the audience’s vein of preconception. Even in early encounters there’s an undercurrent of malice to every word from her. Crotty plays her with the perfect amount of threat. What’s more, Mullin’s portrayal is natural enough that you catch glimpses and aspects of the types of people who do throw themselves completely into their work.ĤK restoration of Walter Hill’s ‘The Driver’ coming to cinemasĭerbhle Crotty is similarly great as Mary who is harbouring a darkness inside her. Deidre Mullins does great work with the character, easily making her a sympathetic figure for the audience to latch onto. In an attempt to escape the complexities of her life, she has buried herself into work and it is exactly this mindset that places her into dangerous territory with Mary. Cathy is overworked, divorced, and disconnected from her young son. With those around her refusing to interact with Mary, it is left to Cathy to look out for the hopefully reformed woman, but after two local children go missing, Cathy must question how much her new ward has changed.įor a first-time feature, director Davison brings a lot to the table with Mandrake playing out like a Pagan Ken Loach movie. Mary was incarcerated for murdering her abusive husband, the wicked deed earning her the moniker around town of ‘Bloody Mary’. Set in the modern day in the grounded reality of a small village, Mandrake places social worker Cathy (Deidre Mullins) with recently released convict Mary Laidlow (Derbhle Crotty). ![]()
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