Cillian Murphy is back with Small Things Like These, a film that quietly tackles some of the darkest aspects of Irish history while focusing on a seemingly simple yet powerful personal story. Known for his remarkable collaborations, Murphy has joined forces with screenwriter Enda Walsh and director Tim Mielants for this adaptation of Claire Keegan's 2021 novel. The film showcases Murphy's talent for exploring complexity without words, demonstrating the actor's distinct approach to storytelling.

Murphy describes himself as a "serial collaborator," a mindset that led him not only to join this project but also to establish his production company, Big Things Films, alongside producer Alan Moloney. After completing Christopher Nolan's Oppenheimer, which earned Murphy his first Oscar for Best Actor, the Irish performer was inspired to take on a new creative challenge. His wife, Yvonne McGuinness, recommended Keegan's book, which struck such a chord that Murphy ended up pitching the project to Matt Damon while on set. Damon quickly came on board through his production company, Artists Equity.

Set in the small Irish town of New Ross in 1985, Small Things Like These tells the story of Bill Furlong, a coal merchant caught between his own tumultuous past and the moral quandary of exposing the abuses happening at a local convent, run by the sinister Sister Mary (Emily Watson). Murphy's portrayal of Bill is largely nonverbal; his performance speaks volumes through a brooding intensity and a simmering sense of unease.

The historical drama leans heavily into subtlety, with director Tim Mielants highlighting how the unspoken carries more weight than what is explicitly said. This nuanced approach appealed to Murphy, who has always preferred acting that lets audiences do the interpretive work. "A lot of acting is about withholding," Murphy notes. "I love seeing human beings exist and deal with their emotions in a quiet way. In Ireland, men often had to retreat into themselves rather than express their feelings. Bill represents that archetype—a deep-thinking man struggling internally with the weight of unspoken pain."

The film was shot on location in New Ross over five weeks, with real locations bringing authenticity to the narrative. The house that Bill shares with his wife (played by Eileen Walsh, another frequent Murphy collaborator) and their daughters was an empty home repurposed for filming. Even the Magdalene laundry—where the story's darkest elements take place—was filmed outside an existing convent. Despite the story's sparse dialogue, its themes are, as Murphy describes, "tectonic." The film addresses Ireland's notorious Magdalene laundries, which operated until 1996 and housed so-called "fallen women" under abusive conditions.

For Murphy, Small Things Like These is personal. Growing up in Ireland, he experienced the transition from a deeply religious, conservative nation to the progressive society it is today. "There was a huge knowing, but not knowing," Murphy says of the laundries. "I was around nine years old when this story takes place, so I had a foot in both worlds—the old Ireland and the new one. Everybody of a certain generation has a story related to these places."

One pivotal scene features Bill and Sister Mary sharing what seems like a mundane conversation, though it is laden with underlying tension. Murphy's restrained portrayal of Bill, combined with Watson's chilling portrayal of Sister Mary, creates an electrifying moment that lingers with viewers. As Watson puts it, "Cillian doesn't do much, but you can feel something building within him—an unstoppable force about to erupt. It's astonishing."

Small Things Like These invites audiences to confront the past, encouraging introspection. It’s a film that builds its power slowly, leaving viewers with much to ponder. The restrained storytelling and the deliberate pacing of the narrative mirror the emotional suppression faced by its characters, especially Bill. As Murphy puts it, the film’s strength lies in the quiet resilience of its characters and the almost imperceptible shifts that carry immense emotional weight. The scenes are filled with small, seemingly insignificant details that add layers of meaning, inviting audiences to read between the lines and reflect on the underlying message of moral courage.

The atmosphere on set was one of camaraderie and mutual respect, something Murphy attributes to his ongoing collaborations with his trusted partners. Director Tim Mielants and screenwriter Enda Walsh brought their shared vision to life in a way that gave Murphy space to explore his character deeply, and the entire team worked with a sense of dedication to capturing the essence of Claire Keegan’s novel. Murphy explains that the close-knit dynamic on set was instrumental in bringing authenticity to the story, allowing the actors to delve into the emotional depths needed for their roles.

One of the film's most significant achievements is its ability to convey a strong message about moral responsibility without ever being heavy-handed. The characters' actions speak louder than their words, and the narrative builds toward a climax that feels both inevitable and surprising. The conversation between Bill and Sister Mary is emblematic of the film's subtle yet powerful storytelling—what seems like an ordinary exchange is loaded with unspoken threats and realizations, underscoring the broader theme of societal complicity in systemic abuses.

Emily Watson’s portrayal of Sister Mary is chilling in its understated menace. The character represents the face of an institution that has long controlled and oppressed vulnerable individuals under the guise of morality. Watson's performance captures the duality of her character—seemingly polite on the surface, yet harboring an inherent ruthlessness. Her interactions with Bill become a turning point in the film, with Murphy’s Bill gradually realizing that the time has come to take a stand, no matter the personal risk. This realization is depicted with a subtlety that only an actor of Murphy’s caliber could deliver, relying heavily on facial expressions and body language to communicate the shift in Bill’s resolve.

The emotional impact of Small Things Like These extends beyond the film's runtime. It is a narrative that encourages viewers to reflect on their own choices, on what it means to do the right thing even when it is difficult. Murphy describes the film as a "gentle provocation"—it does not demand an immediate reaction, but rather leaves an imprint that grows over time. As audiences sit through the credits, they are left with a feeling of unease, a recognition of the injustices faced by those who were left voiceless for so long, and a question about their own role in addressing such wrongs.

For Murphy, Small Things Like These represents the kind of storytelling he wants to champion through his production company, Big Things Films. He aims to create films that are driven by character, story, and meaningful themes, rather than spectacle or scale. “The beauty of the story is that it really begins at the end of the movie,” Murphy reflects. “That’s why people have responded so strongly. The film leaves you with questions and starts conversations, and that’s all you can hope for as an artist.” This sentiment perfectly encapsulates the essence of Small Things Like These—a quiet yet thematically earth-shaking film that lingers in the hearts and minds of its audience, provoking thought long after the screen goes dark.