Review of “The Field”

𝐓𝐡𝐞 𝐅𝐢𝐞𝐥𝐝: 𝐀 𝐆𝐫𝐢𝐩𝐩𝐢𝐧𝐠 𝐚𝐧𝐝 𝐈𝐦𝐦𝐞𝐫𝐬𝐢𝐯𝐞 𝐓𝐫𝐢𝐮𝐦𝐩𝐡 𝐨𝐟 𝐈𝐫𝐢𝐬𝐡𝐒𝐭𝐨𝐫𝐲𝐭𝐞𝐥𝐥𝐢𝐧𝐠

“𝘈 𝘮𝘢𝘴𝘵𝘦𝘳𝘤𝘭𝘢𝘴𝘴 𝘪𝘯 𝘐𝘳𝘪𝘴𝘩 𝘴𝘵𝘰𝘳𝘺𝘵𝘦𝘭𝘭𝘪𝘯𝘨, 𝘥𝘳𝘪𝘷𝘦𝘯 𝘣𝘺 𝘢 𝘴𝘱𝘦𝘭𝘭𝘣𝘪𝘯𝘥𝘪𝘯𝘨 𝘭𝘦𝘢𝘥𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘢𝘯𝘤𝘦 𝘢𝘯𝘥 𝘢 𝘴𝘶𝘱𝘱𝘰𝘳𝘵𝘪𝘯𝘨 𝘤𝘢𝘴𝘵 𝘵𝘩𝘢𝘵 𝘣𝘳𝘰𝘶𝘨𝘩𝘵 𝘦𝘷𝘦𝘳𝘺 𝘮𝘰𝘮𝘦𝘯𝘵𝘷𝘪𝘷𝘪𝘥𝘭𝘺 𝘵𝘰 𝘭𝘪𝘧𝘦.” – Irish Times

It’s no surprise that The Field won Best Film and that Ollie Conlan took home Best Actor for his gripping portrayal of Bull McCabe. But what made this production truly special was the depth of talent throughout the cast, the meticulous attention to detail in the setting, and the wholehearted commitment from the wider community in bringing the story to life.

Ollie Conlan’s Bull was nothing short of phenomenal. He delivered each of McCabe’s powerful speeches with raw emotion, ensuring the audience felt every ounce of his obsession with the land. His presence alone was enough to drive out the ‘outsiders,’ and his passion for his family’s future was utterly convincing—just as it is for the real-life Ollie Conlan.

But this wasn’t a film carried by one man. Mick ‘Majoule’ Maguire as the Bird was exceptional, standing beside the Bull as his trusted confidant. His facial expressions alone could tell stories, and his chemistry with Conlan made every scene between them feel rich with history and unspoken understanding. Had the film not already won big in other categories, Maguire would have been a serious contender for Best Supporting Actor.

Equally outstanding was Kathleen Lynch as the Widow. She carried herself with a slow, deliberate grace, exuding quiet strength. Her measured delivery left no doubt that she was a woman in control of her own fate. You wouldn’t dare argue with her when she declared, “It’s my field, and I’ll sell it when I want, for the price I want.”

Among the many strong performances, Rebecca Hopkins as the Tinker’s Daughter deserves particular praise. On the night, her performance stood out as one of many great moments, but upon rewatching the film, it becomes clear just how stellar her portrayal was. Delivering a hauntingly powerful soliloquy with flawless timing, emotion, and grit, she held the audience captive. There wasn’t a soul in the room who wouldn’t have wanted to dance with her in that moment.

Alan Ryan was a commanding presence as Flanagan, steering the auction with authority before the Widow’s interruption brought everything to a standstill. Ryan Martin, as Tadgh, had few lines but commanded significant screen time. Acting alongside a character as dominant as the Bull is no easy feat, but Martin’s quiet, natural presence made his performance all the more compelling.

And then there was Errol Gannon as the Yank. From the second he stepped onto the scene, there was no mistaking who he was. The trench coat, the shoes, the unmistakable air of an outsider—he looked and sounded every inch the part. His final tense scene with the Bull was further heightened by the presence of the Priest, played fittingly by Fr. Sean Maher, whose quiet authority added to the weight of the moment.

Another standout moment came in the bar scene, where Eanan Lynch played the barman with a confident authority, firmly barring his own mother from entering. It was a brief but memorable performance, adding to the layered authenticity of the film.

Beyond the acting, The Field was a triumph of production design. No detail was overlooked, from the period-accurate costumes to the sourcing of vintage cars. The ceili scene, brought to life by the Loughrey Family musicians and high quality dancers, added a joyous authenticity. The bar and auction scenes were particularly striking, both in their realism and in the sheer number of quality extras involved.

Legendary local figure Dolly Kane’s cameo was an unexpected delight, further cementing the film’s deep roots in the community.

In the end, The Field wasn’t just a film—it was an experience, a shared effort that paid tribute to an iconic story with the passion and depth it deserved. A worthy Best Film winner, with performances that will be remembered long after the final scene faded to black.