Belfast Film Festival 2025: On the Sea
Charmingly introspective, On the Sea is a quiet yet effective exploration of love and masculinity. This feature by Helen Walsh follows Jack, a mussel farmer, who has his fair share of troubles. Although married to his high school sweetheart, Maggie, he finds no romantic or sexual gratification in their marriage. His son, Tom, is ever disobedient. Meanwhile, Jack’s brother, Dyfan, is constantly trying to usurp his position within the family business. With the overbearing strain of his personal life, Jack finds comfort and friendship in the newly arrived Daniel. As the two spend more time together out on the sea, their feelings blossom into more than friendship.
The film initially follows Jack’s perspective closely, showing his day-to-day tasks and his struggles with the people around him. Barry Ward’s performance is simply alluring; it’s controlled, constrained and hesitant, with a touch of desperation and longing. On the Sea uses the silence to create an air of quiet contemplation in Jack. Keeping the focus on Jack in these earlier parts of the picture amplifies the impact of his absence in the final act. Furthermore, because the audience is seeing everything through Jack’s point of view, they get an insight into his understanding of masculinity and his relationship with his sexuality. This results in other people’s flaws becoming more pronounced, allowing for a more effective character development in the likes of Tom.
Ward also has an endearing chemistry with Lorne MacFadyen. Their interactions are soft and loving, but they can also get aggressive and volatile, especially during moments of passion and heated arguments. The contrast between them adds another layer to their dynamic: Jack with his reserved and conservative nature, and Daniel as a free spirit with no compunctions about other people’s opinions. Henry Lawfull’s Tom is also a standout. His selfishness and constant disregard for his father are infuriating. Still, there are moments of regret within the character, and the viewer can see through his eyes the way he shuts those feelings down. He has a satisfying character arc that, although only shown in glimpses, carries the emotional and thematic weight of the piece.
On the Sea makes use of minimal dialogue, allowing scenes the space to breathe. While this effort to show and not tell is much appreciated in specific instances throughout the feature, this technique does negatively impact certain interactions. Some conversations linger unnecessarily while others are unnaturally cut short, leaving scenes feeling awkward and disorienting. Another frustrating aspect is the pacing of the third act. While the slow burn is effective in building towards this section, it’s almost all for nought because of how quickly things occur and are resolved. It cheapens Jack’s journey and leaves an unsatisfying tang to the ending.
There’s plenty to love about On the Sea, from its charismatic performances to its intimate dissection of its themes. While it does have its shortcomings, mainly in its final act, the beauty of the love story between Jack and Daniel remains strong and captivating.
Mae Trumata
On the Sea does not have a release date yet.
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