Buddy is a young boy on the cusp of adolescence, whose life is filled with familial love, childhood hijinks, and a blossoming romance. Yet, with his beloved hometown caught up in increasing turmoil, his family faces a momentous choice: hope the conflict will pass or leave everything they know behind for a new life.
Jude Hill Lewis McAskie Caitríona Balfe Jamie Dornan Judi Dench Ciarán Hinds Colin Morgan Lara McDonnell 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 Show All…
Niv Adiri James Mather Tomas Blazukas Denise Yarde Simon Chase Sophia Hardman Sue Harding Oliver Ferris
벨파스트, Belfāsta, Белфаст, 贝尔法斯特, בלפסט, بلفاست, Belfastas, ベルファスト, 貝爾法斯特, بيلفاست, เบลฟาสต์, ბელფასტი, बेलफ़ास्ट, Hồi Ký Belfast
USA
Telluride Film Festival
Canada
Toronto International Film Festival
UK
BFI London Film Festival
Hong Kong
European Union Film Festival 2022
Thailand13
Canada
Poland16
USAPG-13
Spain12
PortugalM/14
Ireland12A
UK12A
GreeceΚ-12
AustraliaM
Israel
SingaporePG13
Czechia
Germany12
Hungary12
ItalyT
Netherlands12
PortugalM/14
Austria
Sweden11
Belgium12
FranceU
Argentina
Brazil14
Mexico
Russia12+
Uruguay
FinlandK-12
Romania15
South Korea12
Turkey13A
Ukraine12+
USAPG-13
USAPG-13
UK12A
Brazil
FranceU
USAPG-13
France10
Brazil12
Hungary
USAPG-13
UK12A
France
Brazil14
Argentina
Australia
Austria
Belgium
Brazil
Canada
Czechia
Finland
France
Germany
Greece
Hong Kong
Hungary
Ireland
Israel
Italy
Mexico
Netherlands
Poland
Portugal
Romania
Russia
Singapore
South Korea
Spain
Sweden
Thailand
Turkey
UK
USA
Ukraine
Uruguay
there’s a scene in here that’s just a wide where the kid goes, “daddy are we gonna have to leave belfast?” the dad pauses, and then they immediately cut out of that scene. scenes and moments like this are littered throughout this film, all captured in a wide angle lens that makes the memories of branagh’s memoir feel cartoonishly distant from us. in this scene, he’s showing us an idea — that this kid is childishly unaware of the world that surrounds him and the dad doesn’t know how to communicate the reality to him —nothing more. we don’t watch the dad struggle to find the right words, we don’t see the kid discovering his father’s vulnerabilities, the scene feels…
"We had a neural network watch 100 Best Picture nominees and then asked it to create its own"
Kinda like a movie version of those framed quotes your grandma has hanging in her kitchen
Kenneth Branagh managed to make a movie about The Troubles without a political ideology, a movie about his childhood without any tangible specificity and a movie about Northern Ireland that felt like it could have been shot anywhere on the planet. he is a failure of a filmmaker. it is utterly maddening to me that he made a movie from the perspective of a family who just don't like the neighbourhood being in disarray, instead of being about the victims of the Troubles or the cruelties caused by the British government in response. sickening, soulless stuff. by the fifth time the ugly black and white photography captured B-roll of Belfast soundtracked by Van Morrison, I realised that Branagh was never going to say anything at all with his work. he never could.
25
Kenneth Branagh tries his hand at Social Realism and ends up with a movie that's all about a family that eavesdrops on each other. This doesn't feel any different from the trailer, in all honesty. You can watch that instead and you seriously won't miss a thing. Earnest fluff that, thanks to the baffling editing and flat b&w images, got on my nerves very quickly.
It’s all fun and games until you realise the kid grows up to break Emma Thompson’s heart
You: “This is Oscar bait fluff”
Me, as an intellectual: This is a very good film with passion seeping through it from start to finish.
All joking aside, I really did enjoy this.
gilderoy lockhart‘s career has taken an interesting turn ever since he lost his memory
Ya, this is my shit. I adored Belfast.
I find myself drawing a lot of parallels with this film - the Irish Brady Bunch dynamic of My Left Foot, the coming-of-age-in-a-war-zone story of Jojo Rabbit, or the strained working class relationship we see in something like Minari. This is because nothing in Belfast is entirely new, but what makes it feel so special is Kenneth Branagh’s heart and clear personal connection to what he’s putting on the screen. It’s a love letter to family, those who struggled in Ireland in the 60s, and his experience with film told through the lens of a child. The latter was especially impactful for me, as the films and plays they see are the…
