In Headspace, written and directed by Aisling Byrne, Tony teeters on the brink of insanity when his headphones suddenly stop working. As a member of a group home for adults with disabilities, and with one particular roommate who has no regard for the peace and quiet of the house, this will not stand.
It’s easy to relish in the tranquility of Tony’s headphones, as the sound design through the rest of the film is full of crinkles, creaks, screeches and thumps so crisp they’re nearly tangible. Tony, played by Mark Smith, is immediately an enjoyable character. He is clearly conflict avoidant – opting to swipe a candy bar while restocking the shelves at his convenience store job, rather than argue with his boss over his low hourly wage. He is benign and personally aware, removing himself from any situation that threatens to unravel his well crafted chill. Smith’s best moments are when he delivers a sharp and fleeting glare, or subtle eye roll at Michael’s antics. Michael, his obnoxious housemate played by Daniel Ryan, is full of spunk, and his equally enthralling performance generates a fantastic banter between the two house residents.
One of the film’s main strengths is how effectively it utilizes every moment and shot, quickly coloring each character and interaction so that a seamless acquaintance is made with everyone. Additionally, the music (composed by Stephen Rennicks) feels tense but unthreatening. Byrne delivers the emotional cadence well— whether because much of Tony’s alone time is compromised by external inconvenience, or because he is inadvertently distracted from his devious attempts.
Headspace will certainly leave its audience missing its characters as soon as it ends. It certainly feels like Byrne is just skimming the surface of what the dynamics between each character are. When Ruth (Jackie O’Hagan) and Tony bump into each other in the kitchen late one night, their brief conversation ends in a hysterical laughter so contagious one may find themselves also trying to stifle a giggle. The opening scene in which Tony is vying for a raise is never revisited. Though it is implied that he did not receive it, which propels the ensuing conflict Tony faces.
Overall, Byrne’s film is invigorated by the quirks and the sincerity delivered by his leading characters. It is a testament to their synergy that it felt as if there was too little time spent with them. Nevertheless, his message was wholly received. Tony serves as a reminder that a person’s decisions shape who they become.
