Irish Folk Horror: 94% RT Score, Gaelic Dialogue, and Na Sídhe Scare Director

Filmmaker Aislinn Clarke is once again seated behind the director’s chair, leading audiences on a chilling and deeply personal exploration of her native Ireland in the film titled Fréwaka. It’s been approximately six years since Clarke last donned the director’s hat, which was also her debut as a feature director with the critically acclaimed 2018 found footage horror movie, The Devil’s Doorway. With Fréwaka , Clarke is breaking new ground in the genre, as this film features almost entirely Irish Gaelic dialogue, making it the first horror movie to do so.

In the role of a movie critic, I’d say: “Small Things Like These, starring Clare Monnelly, takes center stage in the haunting drama Fréwaka. The narrative follows Shoo, a young woman grappling with the recent suicide of her mother, who is unexpectedly tasked with caring for the agoraphobic elderly woman, Peig, in a secluded Northern Ireland village. As their bond deepens and Shoo uncovers Peig’s fears of a mysterious group called the Na Sídhe, she discovers that the demons from her past are eerily mirrored in her present torment.

Before the premiere, I had the privilege to chat with Aislinn Clarke about her film, Fréwaka. As a huge fan, let me tell you, this writer/director poured her heart out about reconnecting with her roots through this project. With it being almost entirely in Irish Gaelic, she aimed to delve into the fears that haunted her as a child regarding the Na Sídhe, focusing more on personal experiences rather than academic studies. Clarke even shared her thoughts on the movie’s conclusion and how it ties into its broader examination of social and generational trauma.

Warning: SPOILERS lie ahead for Fréwaka!

Clarke Only Wanted To Write An Irish-Language Horror Movie If There Was A Reason

“…I Developed The Idea From The Ground Up…”

Clarke has previously produced films in her native land, but Fréwaka stands out as the first-ever horror movie made entirely in Irish Gaelic. When asked about her choice to write the script in Irish, Clarke attributes this decision to her father’s significant impact on her during her youth, as she was educated “primarily through the Irish language” and grew up “speaking the Irish tongue“, as it was “a source of pride” for her dad.

Initially, Clarke hadn’t seriously thought about creating a film in Irish during her career. That changed when the directors of a movie she wrote but didn’t direct proposed the idea to her. Though she quickly decided she “wasn’t keen on doing it for no particular reason,” neither did she want to simply translate an English script into Irish. Instead, she developed the concept from scratch, creating a unique perspective on Ireland that showcased our eerie folklore and disturbing history, which she termed her personal lens.

Clarke Pulled More From Her Own Memory Than Research For The Na Sídhe

“I Was Raised Steeped In This Folklore…”

Drawing inspiration from Ireland’s rich tapestry of folklore and mythology, Clarke found herself magnetically attracted to the Na Sídhe, choosing them as Fréwaka‘s principal adversary for several compelling reasons. One of the initial factors was her own childhood apprehension towards them, which she had been deeply immersed in, noting that contrary to how other cultures might portray these entities as benign characters like Tinker Bell, they are described as “malevolent” and almost “demonic” in Irish folklore. This made them a persistent source of concern and unease in her life.

Clarke was intrigued by the Na Sídhe because she wanted to understand their conflict, specifically with the Irish population. “They truly seem to harbor resentment towards us, they appear to delight in our suffering,” Clarke stated. “It seems as if the Irish created this race of people that we colonized and forced into hiding as a self-inflicted wound, because we were colonized. It’s almost as if we conjured up these mythical creatures that we mistreated, who feel just as miserable about it as we do. The Irish have a tendency towards masochism, self-flagellation, so that’s where they originate from.

Clarke deliberately chose not to use the extensive Irish folklore book while creating the Na Sídhe for her film, as she felt that folklore is more effectively understood as a dynamic and evolving entity. She drew upon her personal recollections, emphasizing how folklore is typically passed down orally from one generation to another, allowing each storyteller to add their unique interpretation.

In my opinion, that approach seems particularly characteristic of the Irish way of thinking about things. It can grow rigid if you simply state, “These are the guidelines, this is what transpires.” Instead, it feels more intuitive and natural to draw from your personal memories of what terrified you. That’s how I constructed it – based on my instinctive feelings of what gave me nightmares as a child, that served as my foundation for research.

Clare Monnelly Was A Rare Discovery For Clarke

The Fréwaka Director Also Praised Her Star For Having “Totally Inhabited” Her Character

In the movie, Shoo, the main character played by Fréwaka, serves as a window into the nation’s folklore, making her casting crucial for the writer/director. Initially, Clarke worried that finding an actor who could speak Irish might be challenging due to concerns about their skill level. However, after praising Clare Monnelly as “a breeze to cast” in the production, these fears were alleviated, especially since she had previously worked on a project written by Clarke.

Clarke couldn’t help but praise Clare Monnelly, the actress portraying Shoo, saying, “She was simply incredible, completely embodying her character. Frewaka marks her first lead role, but I had already become familiar with her from another film. We spoke early on, and she seemed perfect for the part. I consulted other actors too, but it felt like Clare was always meant to play this role. She has an incredible ability to embody a character, and her screen presence is remarkable. I believe we’ll be seeing much more of her in the future.

Clarke acknowledged that while working on the role, she nearly overlooked certain aspects of her character that weren’t initially envisioned due to the movie-making process’s tendency to “develop and transform into something unique“. However, she commended Monnelly for infusing a “playful spirit” into Shoo, which was different from Clarke’s original perception of Shoo as a “prickly character“.

She has a feisty, youthful spirit reminiscent of a 12-year-old, in a way. She exudes an assertive attitude and seems slightly puffed up often, which I find quite appealing. I believe that’s a unique charm she brings to the table. However, there might be numerous other qualities that I’m momentarily forgetting.

Clarke Felt Blessed With The House Used For The Shoot & Her Production Team

“…Even With A 20-Day Shoot And A Low Budget, It’s So Much Easier…”

Beyond its captivating storyline and emotional acting, the film Fréwaka stands out with a distinct visual aesthetic. It employs unusual camera angles to showcase its magical aspects and close-ups to highlight its tense, paranoid moments. Regarding the development of the movie’s visual tone, director Clarke commended her partnership with cinematographer Narayan Van Maele, who has also collaborated with Kate Dolan on You Are Not My Mother and the upcoming SOULM8TE, describing him as “a genius” and having “an exceptional eye“.

Apart from Maele, Clarke also acknowledged Nicola Moroney, the Art Director, as a significant contributor to the film’s visual style, praising her for her exceptional work in crafting the movie’s world. Interestingly, she noted that the house where they filmed the movie was quite peculiar, keeping most of its original furnishings intact. The team added a few taxidermy pieces and some pictures here and there, but only fully redecorated a handful of rooms.

Clarke described the film as being quite chaotic and rushed, with only twenty days for shooting. He likened the experience to being in a battlefield. The location they found was extraordinary, as if some supernatural force was helping them. Perhaps the fairy folk, known as Na Sídhe, were on their side this time and didn’t want them to struggle. [Laughs] But yes, with a talented art director like Nicola and a cinematographer like Narayan, even with such a tight schedule and limited budget, getting what you need becomes much more manageable.

Shoo’s Final Decision Has Multiple Layers In Fréwaka’s Ending

Clarke Also Layered A Lot Of Heartbreak Into The Movie’s Finale For An Important Reason

Following her efforts to safeguard Peig from the Na Sídhe and the townsfolk who intended to offer her as a sacrifice, Fréwaka encounters the entities subjecting Shoo to psychological manipulations, such as appearing to transform into her fiancée, Mila, pressuring her to exit the attic where she and Peig had been hiding before Peig willingly offered herself up to halt them. Upon vacating the attic, however, Shoo discovers Mila’s car parked outside the house and her engagement ring on the stair railing, while the basement door and entrance to the Na Sídhe’s realm remain ajar, suggesting that Mila has been taken captive.

The film concludes with Shoo wearing her grandmother’s vintage wedding gown and submitting herself to the Na Sídhe. However, the film doesn’t clarify her specific reasons for this act, since it delves deeply into the intergenerational pain as much as it explores the frightening beings responsible for it. When inquired about Shoo’s decision, Clarke elaborates that her motivation was complex, especially considering the post-credits scene where Mila is found to still be there and intends to bring Shoo back.

It seems she aims to break the generational pattern and sacrifice herself for Mila’s salvation. However, at the final moment in the credits, there’s a hint that Mila might repeat the cycle, given her readiness to give everything and her pregnant state, which could potentially bring us full circle back to the beginning.

Instead of Peig bearing clear scars from her abduction by the Na Sídhe, Shoo appears to receive a more ceremonious entrance into their realm, being crowned in a foreboding ritual on a picturesque mountainous landscape. Clark explains that the ending can be interpreted in multiple ways, with one possibility being that it’s all occurring within her mind. As the Otherworld, as it’s known in Irish mythology, has the ability to assume various forms, she might be experiencing what Mila experiences when going into the basement.

With respect to the crown, Clarke swiftly highlights that Shoo’s “eyes appear injured” and that “the Goat King is seen wielding a whip from afar,” suggesting it as an area the protagonist would likely find less than ideal. The writer/director explicitly stated that given the movie’s focus on generational trauma, which the Irish have yet to fully address, presenting a joyful conclusion would essentially be misleading.

Clarke stated, “We face significant problems such as high suicide rates, alcoholism, drug abuse, and self-harm. To truly confront these issues, it’s important to understand that this is not the final chapter. We can’t simply say ‘That was wonderful’ and move on without addressing the remaining challenges. In my opinion, ending with a happy resolution would be irresponsible, as it could create a false sense of closure. Instead, acknowledging the ongoing struggles seems more realistic.

As a movie critic, I’d rephrase that as follows: In his analysis, Clarke underscores the symbolic significance of Fréwaka‘s conclusion, notably the recurring theme of the Na Sídhe’s oppression of women, which mirrors the historical mistreatment of Irish women during the early days of the Irish Free State. They were effectively “confined to the kitchen” and marginalized from societal power, as suggested by the Constitution at the time.

The act of placing a crown on a woman yet mistreating her cruelly is a paradox I’m exploring in my metaphor. This situation somewhat reflects the historical treatment of Irish women, where they were honored with titles but not granted equal respect and dignity.

In this version, we maintain the original idea while using simpler language and clarifying the concept of the metaphor for easier understanding.

More About Fréwaka

In this Irish horror production directed by Aislinn Clarke (The Devil’s Doorway), we encounter Shoo, a home care worker dispatched to a secluded town. Her assignment is to look after an agoraphobic woman who harbors suspicion towards her neighbors and the Na Sídhe – ominous beings she suspects abducted her years ago. As Shoo and the old woman forge a peculiar bond, Shoo becomes entangled in the woman’s paranoia, traditions, and superstitions. Eventually, she must face the haunting realities from her own past that resurface.

2025-04-27 22:41