‘All You Need is Death’ Review: Love Yields the Ultimate Carnage in This Undercooked Irish Horror Flick
Courtesy of XYZ Films
The past decade has seen a significant resurgence of folk horror in cinema through movies like Enys Men, The VVitch, You Won't Be Alone, and many others from across the globe. These films compellingly examine the heritage of their settings and characters, onto which they can project unique visions of horror and create work inextricably connected to the cultures they concentrate upon. For his first foray into narrative feature filmmaking, Paul Duane explores his Irish roots and fascinations with music in All You Need is Death, which hits select theaters and VOD on April 12. Atmospheric, enigmatic, and at times bewildering, All You Need is Death works as a classic cautionary tale uniquely interwoven with the traditions of Irish lore.
In its opening sequence, All You Need is Death introduces Anna and Aleks (Simone Collins and Charlie Maher), an attractive young couple who work their way across the pubs and meeting halls of the Irish countryside, where they covertly record rare folk songs and sell them off to wealthy music enthusiasts. After receiving a promising lead, the two visit a reclusive old singer called Rita Concannon (Olwen Fouéré), who is speculated to possess antique songs passed down by the women in her family for hundreds of years. Anna and Aleks are surprised when they arrive at Rita's to find Agnes (Catherine Siggins), another collector of forgotten ballads whose motivations are much more nefarious than straightforward financial gain. After Anna promises not to document her chanting, Rita sings an ancient song in a language far older than Irish, with a title that translates to something like "Love Is a Knife With a Blade for a Handle." When it comes out that Agnes has betrayed Rita's trust and recorded the song, a sinister power as old as time itself is unleashed to punish all who witnessed Rita's performance.
Courtesy of XYZ Films
An early quote from the character Agnes states: "The future is picked clean. Treasures lie in the past." This idea ties into the film's more significant stance on Ireland's cultural preservation. The movie’s often dark, ramshackle shooting locations are starkly contrasted with the longing for emotion and passion communicated through the songs it employs. Whether a local band playing in a quaint basement bar or a primordial tune with the force to wreak tremendous violence, the film's most genuine characters are protective of their culture's music and its power to communicate the tales of their history. As a colonized land for over 700 years, the tenacity of Irish heritage has been well-tested by the forces that have taken extraordinary measures to eradicate it. All You Need is Death honors its setting and the director's roots through its forewarnings of what can happen to those who exploit the foundations of cultural identity.
All You Need is Death further connects with Ireland's folkloric traditions through its portrayals of female characters and their embodiments of authority. Although she makes no surprise cameos in the film, Clíodhna, queen of the banshees and goddess of love and beauty in Irish mythology, feels present within the thought processes of the movie's female characters. Both Anna and Rita possess an internal spirit that enables them to domineer the men in their lives, a force that is bolstered by Rita's unnamed song and the time-spanning wisdom of its teachings. Although her betrayal has unintended and grave consequences for all, Agnes can also tap into the ancient strength of Rita's womanhood and legacy. This force leaves the movie's male figures at the mercy of their female counterparts, a depiction of male futility typically not captured in cinema.
One of the only entities dominating female authority in All You Need is Death is love, a lawless energy that has challenged and devastated humankind for eternity. Once Rita releases the power of her tune, love turns out to be the sentiment that manifests each character's brutal downfall. Unable to control the circumstances of their emotions, Anna and the rest of her circle are dictated by the short-sightedness of the passion and devotion they experience. As the film moves towards its overwrought final act, the conditions of its character's desire hurtle out of control in a manner as torturous as love can sometimes feel.
Courtesy of XYZ Films
With so many statements to make concerning culture, history, and love, All You Need is Death is somewhat let down by its lofty ambitions—narratively speaking–particularly in its latter portion. The movie's fantastical finale sequence feels like too far a jump from the gritty mood building that it succeeded with throughout much of its 92-minute runtime. The film's embedment of mythological elements in its overall narrative feels much more impactful than the out-of-place physical spirits who appear at the conclusion, distracting from the overall impression it works to convey.
Financially backed by Duane himself, the movie's DIY look and craft align with its menacing tone and nods to the horror genre. Shot mainly during the twilight hours or at night, Duane's team chooses creepy, derelict locations and employs modest practical effects that work with the film's ominous sensibility. All You Need is Death is set in the not-so-distant past when smoking indoors was acceptable and tape recorders were still used, so its design, despite its limited budget, works smartly to align itself with this era and make the most with its funding.
Although All You Need is Death summates to a film not entirely equal to its parts, it still feels like an intriguing depiction of Irish folk horror in cinema that can prove entertaining for major fans of the genre. Duane's dedication to examining the legacy of his cultural heritage feels genuine and original, as does his interest in making a movie that explores influences of Irish lore typically uncharted in mainstream horror cinema. All You Need is Death made its world premiere last fall at Beyond Fest in Los Angeles before playing at other festivals worldwide. The film will be released by XYZ Films in select theaters and on VOD in the United States on Friday, April 12.