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Lessandra Celesia’s film delves into the complex reality of the New Lodge estate in Belfast, blending elements of a seance and a news story. Through a documentary lens, the film sheds light on the sense of unresolved trauma still present in the families who have endured the Troubles for over 25 years, where the lingering effects of political violence coexist alongside issues such as sexism, domestic abuse, and substance abuse. And amidst the coverage of the Queen’s death, a startling revelation emerges: for the first time, the Catholic community in Northern Ireland outnumbers the Protestant community. Though it may be difficult to voice, could this signal a shift in the tides and the potential for reunification, a concept that has caused so much pain and loss, without further violence?
The film focuses on the life of Joe McNally, an older member of the Republican party who has been in jail for non-political crimes. McNally lives in a state of anger and trauma, haunted by the memory of his uncle’s murder by loyalists during his childhood. He has carried a desire for revenge ever since. Similar to Joshua Oppenheimer’s The Act of Killing, director Celesia convinces Joe to recreate his uncle’s wake in his flat, with younger members of the family. However, instead of finding closure, this psychodrama only intensifies Joe’s emotions and inner turmoil.
During a therapy session, Joe discusses his memories of attending the funeral for Bobby Sands. He is surprised to learn that his therapist also attended Sands’s wake as a child. Using the same coffin that was used for his uncle’s wake, Sands’s death is reenacted, causing Joe to contemplate his own mortality. Joe becomes angry when discussing the prevalence of drug dealers in his apartment complex and expresses a desire to go on a hunger strike to raise awareness. He also criticizes the Provisional IRA for their lack of concern about the potential consequences of their actions, comparing it to the situation in Dublin. His viewpoint suggests a very practical outlook on a united Ireland.
At the same time, a younger lady who is gifted in singing is also struggling with her past experiences of mistreatment. Celesia convinces her to relive her victimization by applying makeup to create bruises on her face. The lady finds it calming and preferable to actually getting hit. Additionally, her neighbor reenacts the moment when she shot her abusive spouse using an IRA firearm. This film is a compelling, pressing, and profoundly sorrowful watch.
The film titled “The Flats” was shown at the documentary film festival in Copenhagen.
Source: theguardian.com
