The Outcasts

The Outcasts was a myth spun together from Irish folklore, in particular tales of the "time before the famine" when Ireland was a 'congested district'. It was influenced by the poets William Blake [The Book of Thel] and William B. Yeats, and the practices of shamanism. It was shot in four weeks, one before Christmas 1981, until the location was buried under 14 feet of snow, and three in February 1982, with money from the Irish Arts Council and the Irish Film Board, and was acquired by Channel Four for the Film on Four series, and by Almi for U.S. distribution, which never occurred. There are people who claim this film has changed their lives.

Awards & Prizes

"Best Film" and "Critics Prize" - Brussels Fantasy Festival

"Best First Feature" and "Best Actress" - San Remo Film Festival

"Special Prize for Originality" and "Jury Prize" - Oporto Film Festival

"Prix du Publique" - Geneva Film Festival

Quotes and Reviews

"The Outcasts has provided one of the deepest and most enthralling experiences of my life." David Blum (Music Columnist, New Yorker)

"Like some powerful and fantastical magnet, The Outcasts draws our attention to the Republic of Ireland's nascent film industry." (Peter Davalle, The Times, London)

"In imagination and skill, the makers of The Outcasts are wealthier than many new film makers in this or other countries" (Mary Leland, Irish Times)

"Mary Ryan delivers a marvellous performance as Maura, a magnetic, deeply felt creation, from an actress with an extraordinary screen presence." (Michael Dwyer, In Dublin)

"Magic, as distinct from cunning special effects, is hard to find in the cinema, but [The Outcasts] is steeped in it." (Shaun Usher, Daily Mail)

"'Magic' is the word some critics applied to it at the time, in 'over the moon' fashion, but the word has some meaning here." (Derek Malcolm, The Guardian)

"The Outcasts has nothing fey or twee about it. Its strength is that it treats its material with respect, skillfully avoiding any hint of ironic distance or any over-committment to the supernatural. As a result it also acquires a strong political dimension as a powerful critique of materialism." (Jill Forbes, Monthly Film Bulletin)