Kindred spirit
Ireland has always provided a rich tapestry for storytelling, especially deep within its folklore, where all manner of supernatural creatures reside. Executively produced by Jim Sheridan, John Farrelly’s An Taibhse (The Ghost) carries all the weight one would expect from an Irish tale displaying deep-rooted allegory. With echoes of The Shining; isolation, hauntings and trauma ensues as Éamon and her daughter Máire become caretakers in an isolated mansion during the unforgiving winter months during the infamous Great Famine. As madness takes hold, father and daughter slowly question their past and surroundings intensified all the more by the evil presence that begins to control them. John took some time to explain more about his influences and the roots of Irish horror…
Did you specifically set out to make “the first Irish language horror film”?
Our primary goal was to authentically depict a story set during Great Famine, which is obviously one of Ireland’s darkest periods. Using the Irish language was essential to immerse the audience in the era and setting. We aimed for authenticity and connection rather than making history, so discovering that it was the first Irish language horror film was an unexpected bonus. Ultimately, we are immensely proud to have created a film in our native language.
Where did the premise of An Taibhse come from? Is it based on something collective or more personal?
The premise of An Taibhse combines collective historical trauma with personal experiences. Someone close to me endured a similar trauma to our protagonist, which inspired the core of the story. Setting the narrative during the famine, in an isolated mansion, heightened the sense of entrapment and desperation. This setting, combined with the pervasive silence around such personal horrors during that era, underscores the film’s exploration of unspoken trauma.
What is it about working in the horror genre you love so much?
The horror genre offers unparalleled freedom to experiment with ideas and explore complex themes. It allows us to use metaphors, such as monsters and ghosts, to represent real-life horrors, making it a powerful medium to address serious issues such as trauma and abuse. The ability to evoke deep emotional and psychological responses in audiences is what I love most about working within the genre.
As referred to, the film deals with inherent trauma and abuse. How do you feel ghost stories, in particular, are the perfect place to explore such themes?
Ghost stories are inherently about the past haunting the present, which is a fitting metaphor for trauma and abuse. These narratives externalise internal struggles, making the invisible visible. The supernatural elements create a safe space for audiences to confront these heavy themes indirectly, allowing for a more accessible and impactful exploration of trauma.
“Ghost stories are inherently about the
past haunting the present, which is a fitting
metaphor for trauma and abuse. These
narratives externalise internal struggles,
making the invisible visible.”
— John Farrelly
What you are saying about the collective trauma of Irish history is a powerful approach via these characters. How did you layer this into the film?
The oppressive actions of the English during the famine had devastating effects on the Irish people so we carefully reflected this collective suffering and, therefore, mirrored this in Mary’s personal story. The recurring red book symbolises her conscience urging her to confront and overcome the abuse. Her journey towards standing up to the abuse parallels the Irish struggle for freedom and resilience… there is always a path to liberation and empowerment.
Alone in the dark. Máire Finegan (Livvy Hill) and her father Éamon (Tom Kerrisk) are slowly consumed
Other than a particular atmosphere and heritage, what do you feel, personally, that Irish
storytelling and the environment lend so well to horror?
Ireland’s rich folklore and history are deeply intertwined with the supernatural and the macabre. Again, it comes back to our generational trauma and historical experiences; horrific events that have shaped our storytelling traditions. From the origins of Halloween to the legend of Dracula, Irish culture has always used stories to make sense of and cope with the darkness. Also, the haunting landscapes and ancient ruins of Ireland provide a perfect backdrop for horror, enhancing the atmosphere and depth of these tales.
What are your influences as a filmmaker, within and beyond the realms of cinema and genre filmmaking?
It’s hard to single out just one influence because my inspirations are so diverse, spanning numerous genres and directors from around the world. Stanley Kubrick’s The Shining has profoundly impacted me, as have contemporary horror filmmakers like Robert Eggers and Ari Aster. Elem Klimov’s Come and See and John Carpenter’s The Thing have also left a lasting impression. Beyond horror, I admire the works of Denis Villeneuve, Christopher Nolan, Steven Spielberg, David Fincher, Quentin Tarantino, Martin Scorsese, and, of course, Jim Sheridan.
What do you want an audience to take away from the film?
I want audiences to understand that, like Mary, there is a way out of situations involving trauma and abuse. An Taibhse is a story of resilience and hope. If you find yourself in similar circumstances, know that you don’t have to hide or accept the wrongdoings. Stand up and fight against the evils in the world. Na biodh eagla ort (don’t be afraid).
AN TAIBHSE (THE GHOST) premieres premieres at FrightFest London on Friday 23rd, 6pm and should see distribution by the end of the year. Buy your tickets here. Follow John on Instagram , X and keep up to date on projects via his official site: jackpot-films.com.
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