I didn’t catch this one at MSPIFF last year, so I’m really happy to find it streaming on Netflix. Set against the backdrop of Ireland’s wilderness, 18-year-old Maud Ruthyn is grieving the unexpected loss of her affluent father, who left her the inheritance of the sprawling Knowls estate. It’s not exactly a suitable environment for a young woman, particularly an orphaned heiress who’s unschooled in the ways of society.

Directed by Lisa Mulcahy, the story is based on the 1864 novel by Sheridan Le Fanu called Uncle Silas, adapted to the screen by Elisabeth Gooch. The film opens with breathtaking visuals – sweeping shots of untamed landscapes where the sprawling estate stands. Knowl is a daunting, bleak structure where secrets and a dark history hang heavily over the nearby forest, making it an ideal setting for a gothic mystery thriller. Agnes O’Casey is excellent as Maud, who’s naive and innocent in the ways of the world but has a formidable survival instinct that is put to good use when her uncle and his family come to stay at Knowl.

Right from the start, you can tell that Uncle Silas (David Wilmot) spells trouble for Maud. He puts her through some serious, manipulative gaslighting and other sinister moves to seize her inheritance. With his son Edward (Chris Walley), daughter Emily (Holly Sturton), and French governess (Grainne Keenan) all on his side, it looks like Maud’s fate is doomed. DP Eleanor Bowman uses lighting and camera techniques to create a feeling of isolation and claustrophobia in the indoor scenes, making it clear how trapped Maud really is, sometimes even literally. The score by Aza Hand adds a haunting touch that really boosts the atmospheric vibe.

Maud’s situation gets scarier every day, both mentally and physically. Silas is determined to destroy Maud, even going so far as to instruct his good-for-nothing son to commit unspeakable acts against his own cousin. The narrative has a feminist perspective that highlights the limited rights women had in 19th-century Europe, emphasizing how much they depended on the men who had control over them. O’Casey is captivating all the way through; her screen presence as a lead is really powerful. I just found out she was in Small Things Like These and the Netflix limited series Black Doves, but I didn’t recognize her since the roles are so distinct. Wilmot, a character actor from Dublin, does an excellent job as the main antagonist, and the two of them share the most scenes together.

The production quality is top-notch, particularly for an indie film with a small budget. Shot on location at Ardgillan Castle in Balbriggan, which is roughly thirty minutes north of Dublin, the world-building competes with that of larger period drama productions. The cinematography and set design are exceptional, and I love the authentic Victorian-era costumes, especially Maud’s black mourning dress. Her dresses are rich in decorum and modesty, primarily featuring black or darker shades. At times, the film reminds me of Jane Eyre, another Gothic tale with a female protagonist set in the early 19th century.

I really admire Mulcahy for her understated, slow-building way of storytelling and for keeping the film to a neat 90 minutes without any unnecessary extras. The plot has its surprises, but it’s the type of story that doesn’t depend on twists to make an impact. Lies We Tell is currently streaming on Netflix. I can’t recommend this enough!

Have you seen LIES WE TELL? What did you think?
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