The Thistle in the Kiss

About as un-Christmassy as Christmas films get, and yet one that still manages to capture all the intricacies of family bonds that sustain even in the face of world-changing revelations, The Thistle in the Kiss is a gripping, bottled drama that unfurls between 2 siblings who have more in common than withholding secrets.

On New Year’s Day, a broken-down car in the middle of the countryside leads to Declan (Craig Andrew Robertson) calling his sister Rachel (Sarah Coyne) for help. As she arrives, Declan can’t help but reveal that he broke up with his long-term partner Stephanie (Leonora Cooke) on Christmas day, following a row that came about due to her awkwardness around the family. Rachel tries to get Declan to see his relationship for what it really was, but her own secret connection to Stephanie threatens to turn their family upside down.

The Thistle in the Kiss’s fateful, drama-filled showdown between siblings is a triumphant example of what realised characters, authentic dialogue and a believable yet scandalous storyline can accomplish when delivered with patience and vision. The film plays out entirely on a misty Scottish roadside and in the front seats of a car, with only its stars and sheep to keep viewer’s attention. But the strength of the script and the expertise in its deliverance from director, writer and star Craig Andrew Robertson means all focus will be fixed on the family dynamic playing out in front of one’s eyes. Such a momentous and revelatory conversation could easily have felt contrived, but Robertson has enough grasp of his characters that their secrets feel as though they are bursting to come out into the open, and that the tension within Declan’s family has hit breaking point long before the film starts to roll.

The chemistry between Robertson and his on-screen sister Sarah Coyne effortlessly establishes the family dynamic that drives much of the drama. Declan is something of a sad-sack, whereas the independent, fiercer Rachel dominates their early interactions. Rachel’s sardonic confidence suggests the rest of the family share her tendencies over her brothers, which also explains why Declan would be appealing to the standoffish Stephanie who struggles to fit in. As secrets shared between Rachel and Stephanie become clear, it re-contextualises Rachel as a character – and her cynical nature takes on a deeper meaning to the story. It is in the depth of the character’s background where the strength of their characterisation lies, and why viewers will want to revisit earlier scenes to identify clues in Coyne and Leonora Cooke’s performances.

Add in impressive direction that never allows the focus of the film to drift too far from the main storyline, a great choice of location (with a shroud of fog that alludes to the unknowns about to come to light), and disciplined cinematography (where even the occasional cuts to a nearby sheep are timed to perfection), and it is hard to see how the filmmakers could have told their story any better. Thistle in the Kiss is an undoubted success and well worth a watch – and you don’t even have to wait until December.