Controversial director Terry McMahon (Charlie Cassanova) puts his desire to delve into the uncomfortable to intriguing use in Patrick’s Day, a thought-provoking and much-needed exploration of mental illness and intimacy.
Moe Dunford delivers a beautiful performance as Patrick, a young man with schizophrenia who escapes the eagle-eyes of his mother Maura (Kerry Fox) while on a day-trip to Dublin. There he meets Karen (Catherine Walker), a troubled woman who speaks in cliché. The two form an immediate bond, finally allowed to be just themselves.
McMahon’s writing embraces the ambiguity of his characters’ situation and motivations, which become particularly nettlesome when it comes to Karen and Maura. Patrick is kind and affectionate, but childlike; defiant Karen seems drawn to his dysfunction. Fox, meanwhile, cuts an intimidating figure: Maura’s understandable maternal protectiveness morphs into a terrifying need for control – a dangerous hold to have over someone often unable to distinguish between reality and delusion.
All of the performances are strong, with Dunford’s blend of innocence, frustration and volatility lighting, burning and exploding through the film. Meanwhile, McMahon’s POV camera work elevates the thematic roles of perception and empathy.
If anything, Patrick’s Day stumbles only when it plays it safe, including the misjudged “comic” tones of Philip Jackson’s garda, and clunky romantic scenes.
It marks an exciting career point for McMahon and Dunford, leaving one eager to see what they’ll do next.