Northern Ireland-born writer-director Cathy Brady's 2020 debut feature is an accomplished study of the potential impact of grief and mental health, drawn against the backdrop of the erstwhile political turmoil of Brady's home country. I found Wildfire to be, amongst other things, an intriguing title - certainly the outstanding performances of Brady's 'stars', (the now sadly deceased) Nika McGuigan as returning Kelly and Nora-Jane Noone as Kelly's married sister, Lauren, could be described as 'wild' and 'fiery' - but I also thought that 'borderline' would be equally applicable (if maybe too obvious), the pair inhabiting a community close to the Republic/Northern Irish border and Brady's film also being an impressive examination of the 'grey area' (certainly to 'external parties') between sanity and, as described here, 'weirdness'. The juxtaposition of what is a very personal story between the two sisters (and their grief in trying to recollect and rationalise the death of their mother) and the film's political backdrop (referencing the Good Friday Agreement and the recent Brexit vote) represents a tricky balance for Brady to negotiate (given the associated deep-seated polarisation) but the first-time feature film-maker makes a good (even-handed) attempt at it here.
Arguably, overriding the film's 'technical' accomplishments (cinematography, music, etc.), Brady's creation is likely best remembered for two outstanding central turns from Noone and McGuigan - their portrayals of the mercurial sisters veering from initial cold resentment (as Kelly returns home, following a year of no contact) to close bonding, at least partly in solidarity in their shared grief and confusion around their departed mother. Noone I knew from Peter Mullan's 2002 masterwork The Magdalene Sisters, but I had not come across McGuigan before and her inspired turn here merely makes her early demise all the more tragic. Acting-wise, elsewhere, Martin McCann impresses as Lauren's increasingly despairing husband, Sean, whilst the ever-dependable Kate Dickie turns in a solid turn as Veronica. Make no mistake, though, writer-director Brady does a deal more than just managing two stellar central acting performances. The 'troubles' (in all senses) are hinted at quite subtly - an early border road sign scratching out the word 'Northern' and replaced by 'One' Ireland whilst Lauren (in her well-observed, robotic job at 'mega retail warehouse' company Connect) points out to her ribbing workmates why a fellow employee is limping. Brady also demonstrates an ear (even if a little predictably!) for an uplifting musical interlude as Lauren and Kelly let themselves go to a cathartic jukebox rendition of Van Morrison's Them rocking with Gloria (itself a sequence worth an additional point in the film's rating!).
Given the film's obviously limited budget - with only a handful of speaking parts - Brady has given us a creation that represents more than the sum of its parts (something that is rare is most cinema these days) and marks herself out as a film-maker worth keeping tabs on.
Arguably, overriding the film's 'technical' accomplishments (cinematography, music, etc.), Brady's creation is likely best remembered for two outstanding central turns from Noone and McGuigan - their portrayals of the mercurial sisters veering from initial cold resentment (as Kelly returns home, following a year of no contact) to close bonding, at least partly in solidarity in their shared grief and confusion around their departed mother. Noone I knew from Peter Mullan's 2002 masterwork The Magdalene Sisters, but I had not come across McGuigan before and her inspired turn here merely makes her early demise all the more tragic. Acting-wise, elsewhere, Martin McCann impresses as Lauren's increasingly despairing husband, Sean, whilst the ever-dependable Kate Dickie turns in a solid turn as Veronica. Make no mistake, though, writer-director Brady does a deal more than just managing two stellar central acting performances. The 'troubles' (in all senses) are hinted at quite subtly - an early border road sign scratching out the word 'Northern' and replaced by 'One' Ireland whilst Lauren (in her well-observed, robotic job at 'mega retail warehouse' company Connect) points out to her ribbing workmates why a fellow employee is limping. Brady also demonstrates an ear (even if a little predictably!) for an uplifting musical interlude as Lauren and Kelly let themselves go to a cathartic jukebox rendition of Van Morrison's Them rocking with Gloria (itself a sequence worth an additional point in the film's rating!).
Given the film's obviously limited budget - with only a handful of speaking parts - Brady has given us a creation that represents more than the sum of its parts (something that is rare is most cinema these days) and marks herself out as a film-maker worth keeping tabs on.