Seductively tragic, Kisses treads a very fine line between artistic brutality and clinical realism that captures the harshness of life for some of Dublin’s poorest families. Unashamedly touching on areas such as child abuse, prostitution and homelessness, the tale unfolds through the lenses of broken innocence and the unforgiving nature of poverty.
Set in the dark and seedy backstreets of Dublin, two children, Kylie (Kelly O’Neill) and Dylan (Shane Curry), scour the streets for a fading hope in the shape of Dylan’s brother, who, unable to cope with a violent alcoholic father, ran away in search of a better life—something that Kylie and Dylan are desperate for.
As night closes in behind them, an array of colourful characters creep out from the shadows to offer the two young runaways both advice and a lesson in survival. Sadly, though, some of these characters seem almost incongruous considering the circumstances and fall short of actually offering anything of any real worth.
O’Neill’s portrayal of the young Kylie, neglected and craving attention is faultless, however. Her childishness mixes effortlessly into something of a hardened worldliness as she pushes forward with a mechanical determination right to the bitter end.
She’s equally matched by her partner in crime (Curry), whose broodiness and withdrawal from the outside world deepens the sense of futility and despair. Yet there is also a sense of sporadic emptiness here that although doesn’t affect the dramatics, does reduce the emotional impact.
Kisses nevertheless is a visual feast of the grim underworld that lives beneath the city of Dublin. Dark and dingy backdrops revel in all that is vile and repulsive, contrasting with the bright lights and festivity of the main squares and shopping centres.
The only distraction perhaps is that too much is going on to appreciate the visual artistry. Director Lance Daly seems to want to fit in every possible human tragedy and suffering experienced by the underdogs of society. Ultimately, it is this that gives the characters and the storyline a shallowness that fails to entice.
[etRating value=“ 3”]
Set in the dark and seedy backstreets of Dublin, two children, Kylie (Kelly O’Neill) and Dylan (Shane Curry), scour the streets for a fading hope in the shape of Dylan’s brother, who, unable to cope with a violent alcoholic father, ran away in search of a better life—something that Kylie and Dylan are desperate for.
As night closes in behind them, an array of colourful characters creep out from the shadows to offer the two young runaways both advice and a lesson in survival. Sadly, though, some of these characters seem almost incongruous considering the circumstances and fall short of actually offering anything of any real worth.
O’Neill’s portrayal of the young Kylie, neglected and craving attention is faultless, however. Her childishness mixes effortlessly into something of a hardened worldliness as she pushes forward with a mechanical determination right to the bitter end.
She’s equally matched by her partner in crime (Curry), whose broodiness and withdrawal from the outside world deepens the sense of futility and despair. Yet there is also a sense of sporadic emptiness here that although doesn’t affect the dramatics, does reduce the emotional impact.
Kisses nevertheless is a visual feast of the grim underworld that lives beneath the city of Dublin. Dark and dingy backdrops revel in all that is vile and repulsive, contrasting with the bright lights and festivity of the main squares and shopping centres.
The only distraction perhaps is that too much is going on to appreciate the visual artistry. Director Lance Daly seems to want to fit in every possible human tragedy and suffering experienced by the underdogs of society. Ultimately, it is this that gives the characters and the storyline a shallowness that fails to entice.
[etRating value=“ 3”]
