Written and directed by leading actress Rebecca Hickey, the Moore siblings reunite the night before a family funeral. But when they try to discuss the future, they get stuck in the ways of the past. Also starring: Peter Coonan, Barry John Kinsella and Caoilfhionn McDonnell.
The issue of how childless adults in today’s world have responsibilities and expectations foisted upon them as their lives are unilaterally deemed as ‘less busy’ or ‘of less value’, is an extremely relevant one that’s undoubtedly impacting countless people right this very moment, and the way that Rebecca Hickey chose to explore that with Regressions, was a very clever choice. It’s such a fantastically natural way to introduce the topic, to let the conversation open up organically and honestly.
Hickey’s writing is terrific, it flows excellently and it captures that classic sibling relationship very well. There’s a solid sense of humour at work, it feels typically Irish in the best of ways, with its banter, sarcasm, insults and a touch of aggression here and there. It speaks to the quality of the script that Regressions is able to add a real depth to its tone. To be able to move from being playful and joking to then adding a sincere intensity and vulnerability, as each character speaks their truth and also reflects if they need to put anything in check.
Part of that is also the pacing and the editing work from Stephen Staunton, it moves with a confidence and precision. A lot of films like Regressions which have a fairly emotional basis might try to bring through a quiet or stillness by staying in the shot longer than they need to, whereas Staunton’s work feels like it has a slight influence of comedy, which was the perfect choice for the tone of the film. It doesn’t need to try and force the sincerity because Hickey’s direction and Jass Foley’s cinematography set that tone immediately. So, instead using the movement to lean into the personalities and sense of humour of the characters was much more effective to connect with viewers.
The aesthetic is strong right off the bat, it’s got a great colour and texture, and quickly adds a lot of depth. The lighting work is also excellent, touches like that are what makes the difference, to make the scenes feel real, and the filmmakers do that really well here. Having that authentic foundation definitely helps to make Regressions feel even more relatable, sympathetic and effortlessly opens up that vital conversation.
Of course, you also can’t forget the performances, a lot of the charm and touching nature of Regressions is coming from the portrayals of its leading trio of Rebecca Hickey, Peter Coonan and Barry John Kinsella. The way that they build that sibling relationship is seamless, they’re utterly convincing as soon as you enter the film. The dynamic of older brothers, younger sister is very familiar in a lovely way but also does help to touch upon the key points of the bigger story at work, including how gender plays into the conversation.
Hickey’s Claire is forthright and steadfast in her beliefs, as you would hope anyone finding themselves in that situation would be, while still being respectful and caring for her family. It’s a reminder of how with family, you do have to pick your battles but also stand up for yourself when it truly matters. Coonan and Kinsella bring a lot of playfulness to the table, they capture that persona of those who were right lads back in the day but now are fathers and husbands, not quite serious but not quite silly. Together the three of them are a superb trio, they deliver this story in a pitch perfect manner.
Regressions is relevant, funny, relatable and meaningful. Having that conversation about shared responsibilities and the differing expectations put upon childless adults is entirely necessary and to see it unfold in such a natural, sympathetic, healthy way is unexpectedly satisfying. For Rebecca Hickey to be able to capture the bigger picture of that reality, while keeping the tone, and the film as a whole, extremely grounded and genuine is definitely an achievement. The performances are excellent, the writing is strong and endearing, the direction is graceful, the editing has a great awareness, and the cinematography is terrific.
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