Have you ever heard about Irish sheep herding politics? Well, that is what Christopher Andrews brings in his directorial debut with Bring Them Down at TIFF 2024. I went into this film blind, other than knowing it was an Irish film and Barry Keoghan (Saltburn, Eternals) was in it. But it was a thrilling revenge plot that examined the politics and sad entertainment for farmers in rural Ireland.
The story follows two feuding sheep-herding families and their businesses. Michael (Christopher Abbott) tends his family’s sheep business entirely on his own. Michael’s father (Colm Meaney) is disabled, and his mother died in a car accident years ago, for which Michael was the driver. Michael has lived with guilt ever since—as well as a secret he hopes will never come to light.
“Bring Them Down was a nerve-racking revenge-thriller with expert-level comedy.”
Michael’s ex, Caroline (Nora-Jane Noone), was also in that car accident and has the scars to prove it. She wound up marrying Gary (Paul Ready), another sheep farmer. Near the start of Bring Them Down, Caroline and Gary’s son, Jack (Keoghan), claims that two of Michael’s prize rams were found dead on his family’s property. Michael becomes suspicious, old wounds resurface, and the two families, unwilling to back down, head toward a dangerous confrontation.
At the TIFF 2024 Q&A after the screening, it was an interesting addition to the film when Andrews discussed how he came up with the story for Bring Them Down. He said the story was based on a real, local tale about sheep farming and that he spoke with local farmers to understand the business better. Lots of research seemed to be involved in the film. Abbott (Poor Things) is an American actor who had to portray an Irishman and learn to speak Gaelic too! I was shocked to learn he was not Irish because I thought he had a different accent in Poor Things.
The cinematography stood out to me the most in Bring Them Down. Keoghan’s other Irish-based film The Banshees of Inisherin offered a great scenic glimpse into the Irish coastal sides and small towns of Achill Island in County Mayo and Inis Mór, the biggest of the Aran Islands in County Galway. This film explores the mountainous regions of rural Ireland, highlighting the lives of cutthroat sheep herders.
Each scene captured the beauty and danger of the lush green rolling hills. While the sky was mostly grey during the day—classic UK and Ireland weather—the contrast with the green fields was eye-catching, keeping you glued to the screen. The overall environmental aesthetic reminded me of A24’s Lamb, which was set in Iceland.
Another notable aspect was the prevalence of sheep in the film. If you’re sensitive to animal death in films, there may be moments where you’ll need to look away, as the sheep often paid the price during the feuds between the two human families. I have to commend the props and special effects department for their work on the fake animals. The strides in making these scenes feel real are impressive, and having something tangible to act with helped sell the performances.
“I was on a ride of emotions throughout the film, and it was strange to me that I did not know who I was really rooting for in the end.”
The sound design and audio mixing in Bring Them Down were also standout elements. The voices were crystal clear, despite the surrounding noise from cars and loud UK drill or rap music. One character gets shot near the left ear, and the resulting disorientation feels incredibly realistic. The length of time the character remained deafened looked and felt accurate, which was impressive.
Bring Them Down was a nerve-racking revenger-thriller with expert-level comedy. The story was cleverly told from multiple perspectives, resulting in a well-paced film that lasts an hour and 40 minutes. The double meaning of bringing down the sheep and bringing down the other family was a cool concept. I was on a ride of emotions throughout the film, and it was strange to me that I did not know who I was really rooting for in the end. This was almost like a lot of the Christmas, neighbourly feuding films like Deck the Halls or National Lampoon’s Christmas Vacation but with more adult content.
Check out more of CGMagazine’s TIFF 2024 coverage here throughout the festival.
