Faith and potential are two of the most important values of everyday life. In director Portia A. Buckley’s short film, CLODAGH, the filmmaker crafts a brief and essential picture to show how an experienced professional takes her virtues seriously and recognizes when she sees talented individuals to help and support.
The plot involves Mrs. Kelly (Bríd Ní Neachtain), an Irish housekeeper who does basic tasks for a priest, including vacuuming the church, washing dishes and shining shoes. Kelly also runs an all-girls class involving Irish stepdance with Mr. Hickey (Jim Kitson) who provides music by playing the violin. Right before instructing her girls in her next class, Kelly is approached by a father (Aidan O’Hare) who asks her if his daughter Clodagh (Katelyn Rose Downey) can join her class. Kelly is initially reluctant to include her, but agrees to bring Clodagh into her class to see what she can do.
When Kelly and her students witness Clodagh dance for the first time, they are taken by her talent. Kelly asks Clodagh if she wants to officially join her dance class and compete for championships. The young girl agrees, but Kelly then changes her mind when she learns that Clodagh lives in another county, preventing Kelly from accepting Clodagh into her program. This decision upsets both of them, leaving Kelly to constantly think about whether she should keep her in her class or let her go to another dance school near her home.
As Kelly, Neachtain perfectly conveys her character’s sheer focus and tenacity. Right from the start when Kelly is doing tedious housekeeping chores for the priest she works for, she sticks to her routine and is strictly committed to her schedule as a housekeeper and a dance instructor. Neachtain embodies her character in a beautifully nuanced performance.
Downey brings sweetness and compassion to her role as Clodagh, and as the joyful violinist Mr. Hickey, Kitson is friendly and energetic as his character skillfully plays the violin to accompany Clodagh’s rapid dancing. Clodagh’s father is briefly shown, but O’Hare makes a strong impression in his role as a desperate father who’s under economic and personal stress with three children.
The short is reminiscent of a Paul Thomas Anderson movie due to the clean, rich and vibrant shots from cinematographer Jomo Fray. These include intimate close-up shots of the characters, particularly Kelly and her private moments of focus while working, teaching, praying, contemplating over how to handle Clodagh’s situation, and joyous expressions while witnessing Clodagh’s talent. Views of the church and school also offer a sense of tradition in its depiction of Irish citizens and their customs.
CLODAGH is a patient sixteen-minute film with a quiet poignancy about it that’s riveting to watch thanks to a laser-focused cast, close-up camera work, and beautiful cinematography.