In 1985, a coal merchant uncovers disturbing secrets in a small Irish town that’s controlled by the Roman Catholic Church. A film by Tim Mielants, starring Cillian Murphy, Eileen Walsh, Michelle Fairley, Clare Dunne, Helen Behan, and Emily Watson.

In December 1985, coal merchant Bill Furlong (Cillian Murphy) makes a delivery to the Good Shepherd Convent, where he witnesses a distressing scene. A young woman named Sarah Redmond (Zara Devlin) is dropped off by her parents (Sarah Morris & Cillian O’Gairbhi). Visibly distraught, Sarah begs her mother not to leave her at the convent. As the two struggle, the door opens, and a nun appears to help push Sarah inside. Bill looks on, saddened by the scene, but feels powerless to intervene.

As Bill drives his pickup truck back to his workplace, he passes a local young boy, Diarmuid Sinnott (Tadhg Moloney), walking along the side of the road and picking up sticks. Bill decides to stop and talk to the boy. Diarmuid explains that he has come out to collect sticks for a dog that has just run away from him. Bill offers to drive him home, knowing Diarmuid lives a couple of miles away, but the boy declines. Before leaving, Bill gives Diarmuid some change and asks him to say “Happy Christmas” to his family.

At home, Bill lives with his wife Eileen (Eileen Walsh) and their five daughters: Kathleen (Liadán Dunlea), Joan (Giulia Doherty), Sheila (Rachel Lynch), Grace (Aoife Gaffney), and Loretta (Faye Brazil).

Bill tells his family about seeing Diarmuid picking up sticks near Tullogher. When he mentions giving the boy some loose change, Eileen questions his decision, asserting that Diarmuid’s father will likely waste the money on alcohol.

That night, Bill is restless, unable to sleep as his mind dwells on the day’s events. He goes downstairs and sits in a chair by the window, watching pedestrians pass by. Suddenly, his thoughts drift to a childhood memory. Young Bill (Louis Kirwan) watches his single mother Sarah (Agnes O’Casey) sobbing as she gently cleans spit from his coat.

While young Bill reads Charles Dickens’s A Christmas Carol to Mrs. Wilson (Michelle Fairley), a wealthy lady for whom his mother works, Mrs. Wilson becomes curious about what happened to Bill’s coat. Bill remains reluctant to share any details about what happened. When Mrs. Wilson asks what he wrote to Santa, Bill simply replies that he asked for a jigsaw puzzle.

Later, Bill makes another coal delivery to the convent and notices the door is left open. Curious, he grabs his notebook from the truck and lets himself inside. Sister Anne (Máire Ní Ghráinne) spots him and is displeased by his uninvited entry. Bill explains that he’s looking for Sister Carmel (Clare Dunne) or Sister Mary (Emily Watson) to check the invoice. Sister Anne points Bill in the direction he needs to go before leaving him alone.

Bill is startled when Lisa (Abby Fitz) approaches him with tears in her eyes, desperately pleading for his help. She begs him to take her to the river or beyond the gate. Their conversation is abruptly interrupted when Sister Mary sees Bill and expresses her concern about his unauthorized presence in the convent. She firmly makes it clear that such an intrusion cannot happen again.

That night, Bill shares his concerns with Eileen, telling her about the girl at the convent who desperately asked for his help. He explains that he couldn’t help her because it wasn’t up to him. Eileen reassures Bill that he did the right thing, asserting that to get on in this life, there are some things he must choose to ignore.

Directed by Belgian filmmaker Tim Mielants, with a screenplay written by Enda Walsh and based on the novel of the same name by Irish author Claire Keegan, SMALL THINGS LIKE THESE is a drama film drawing inspiration from the dark historical legacy of the Magdalene Laundries.

The Magdalene Laundries were institutions in Ireland, primarily run by Roman Catholic orders, that operated from the 18th century until 1996. They were established ostensibly to reform “fallen women,” including those labeled as prostitutes or women who had engaged in sexual activity outside of marriage. The name “Magdalene” is derived from St. Mary Magdalene, often misrepresented as a prostitute in Christian tradition, symbolizing redemption and repentance. The first Magdalene laundry was founded in London in 1758, and the concept spread to Ireland, where several religious orders operated these facilities. Between 1922 and 1996, an estimated 10,000 to 30,000 women and girls were confined in these laundries across Ireland. The women were subjected to unpaid labor, performing laundry work for up to ten hours a day under harsh conditions, with little food and strict discipline.

While Cillian Murphy delivers a quiet dramatic performance with minimal dialogue, the film struggles to maintain my attention due to its frequent and seemingly purposeless flashbacks. Murphy’s character, Bill Furlong, conveys a perpetual state of internal turmoil through his penetrating gaze and occasional teardrops, appearing simultaneously fearful, confused, and contemplative.

Yet, the film never clarifies what truly occupies his mind or why he repeatedly returns to his childhood memories. What drives him now? Is he grappling with a sense of responsibility for the girls who have been mistreated? The narrative hints at several subplots, but none prove compelling enough.

The entire film feels like a slow-burn narrative that keeps me anticipating a potential plot twist or a conclusion that might exceed my expectations, but ultimately, the film fails to deliver anything beyond what I didn’t already know.

For me, the standout performances in this film are by Michelle Fairley and Emily Watson. While Emily Watson delivers a powerful performance as Sister Mary, Michelle Fairley’s Mrs. Wilson remains a secondary supporting character with almost no impact on the narrative. It’s disappointing because Michelle Fairley is such a talented actress who is largely underutilized in this role.

SMALL THINGS LIKE THESE premiered at Internationale Filmfestspiele Berlin on 15 February 2024. The film was theatrically released in Ireland and the United Kingdom on 1 November.

The story of the Magdalene Laundries began to gain significant public attention in the early 1990s. In 1993, a scandal erupted when unmarked graves containing the remains of 155 women were discovered on the grounds of a convent associated with one of the laundries in Dublin. This discovery prompted media scrutiny and public outrage regarding the treatment of women within these institutions. In 2011, a government investigation culminated in a comprehensive report detailing the abuses suffered by women in these laundries. The report called for reparations for survivors, leading to an official state apology issued in 2013. By 2022, the Irish government had allocated approximately €32.8 million in compensation to survivors of the Magdalene Laundries.The revelations surrounding the Magdalene Laundries have sparked ongoing discussions about accountability and justice for victims of institutional abuse in Ireland, highlighting a dark chapter in the country’s history that reflects broader societal attitudes towards women and morality during that era.