Abode Review: Irish Short Film Quintet Burrows Deep into Stereotypes with Mixed Results
Writer-director Liam O Mochain dedicated over three years to filming Abode, a feature comprising five narratively self-contained short films set across various parts of Ireland. This lengthy production period could be seen as heroic persistence or indicative of ineptitude, as the film shows no discernible improvement from start to finish. Each of these thudding tales suffers from flat direction, with scripts that feel inspired by true stories from tabloid magazines like Take a Break.
Weak Humour and Absurd Plotlines Undermine the Film
The humour in Abode consistently falls flat, while the twists are weak and the plotlines often absurd. The film is heavily soaked in themes of booze and gambling, which dominate several segments. For instance, the fourth story attempts comedy but ends with a woman, played by Gail Brady, getting locked inside a smart oven that is about to turn itself on. The intended joke revolves around her husband, portrayed by Matthew O'Brien, being feckless with technology and unable to turn it off, playing on gender stereotypes that feel outdated and unfunny.
Actors' Performances Provide the Only Saving Grace
The sole redeeming aspect of Abode is the actors' performances, which manage to inject some life into otherwise lacklustre material. In the first short, the always watchable character actor Marion O'Dwyer delivers a compelling portrayal of Carol, a homeless woman grieving her dead husband. She breaks into a restaurant on Christmas Day to host a feast for her rough-sleeping friends, offering a poignant moment amidst the film's flaws.
Similarly, a vignette featuring Rosemary Henderson as Molly, who meets the son she put up for adoption years ago, is passable due to competent acting. However, the O Henry-esque twist in this segment is described as very weak tea, failing to add depth or surprise.
Other Installments Offer Minimal Improvement
The remaining chapters provide only tiny amounts of improvement, much like preferring one flavour of off-brand crisps over another. A middle-aged courtship story essentially celebrates day drinking and co-dependency, lacking charm and originality. The film concludes with another booze-fuelled tale that tries to validate Ireland's national obsession with gambling, further entrenching stereotypes without offering meaningful critique or insight.
Characterisation throughout Abode rarely rises above stereotype-peddling, though at least the cinematography remains mostly in focus. The film is set for release in UK cinemas from 20 March, but it struggles to leave a lasting impression beyond its capable cast.
