At The Movie Buff, we recently had the chance to watch and review “The Letters,” a powerful film written and directed by Irish filmmaker Robbie Walsh. The film detailed Ireland’s CervicalCheck scandal, a scandal that left dozens of women with cervical cancer in the dark about their condition, continuing to lead lives that they didn’t know were terminal.
What was so stark about “The Letters” is the care and passion that Director Walsh put into the proceedings. This is not a film that uses terminal conditions as fodder to sell a movie to audiences; it is one that shows, deeply, its characters lives and the effect their unknown diagnosis has on them as they navigate truly trying lives. Its scenes are doleful, but its characters are not; Walsh and company inspire us every step of the way with these women’s stories, hope, and perseverance.
Robbie Walsh is no stranger to The Movie Buff. Just last year we awarded him ‘Best Full Length Film’ at our Independent Film Awards for his film “Eden.” And now Walsh has followed that up with a film based on a scandal that is still only coming to light; and a scandal that has affected countless lives with its negligence and lack of care.
We were lucky enough to catch up with Robbie Walsh this week and have a conversation about “The Letters,” the making of the film, Irish cinema, and his hopes for the future. Also, stay tuned at the end of the interview to learn more about where you can watch this powerful film.
Mark Ziobro for The Movie Buff: Thank you for joining us for this interview. Can you please introduce yourself for our readers?
Hello my name is Robbie Walsh and I am a filmmaker from Dublin, Ireland.
We watched your newly-released film “The Letters,” which I understand was a passion project for you. Can you tell us a bit about it?
It is a feature film INSPIRED by true events happening in Ireland as we speak.
Where did you get the concept for it?
The film is set against the backdrop of the CERVICAL CHECK CANCER scandal that is currently rocking Ireland.
Was it hard to write this film?
Yes it was very difficult. As a man I would speak and listen to stories of the women affected and it would break me at times; I wanted to lash out and find the people responsible. As a writer and director, knowing I had to take artistic and creative license was very difficult as I had no way of knowing how the film would be perceived.
Were there a lot of roadblocks along the way?
Yes we had various differences and roadblocks to overcome from, time, funding, budget, releasing cast and the pandemic. We shot the three stories as short films—three days each and three weeks apart—to give us time to raise money and help to get it complete. We never had much money so it was always on my mind. When people turned up hours late a good few days it set us back and we constantly had to cut or explore new ideas. Then I had one very well known actor who started having demands so I released him 24 hours before filming and played the part myself. Then the pandemic and lockdowns hit and we had to finish it during a time when we could barely see each other. That was a very testing time, especially when some people don’t share your work ethic.
I wanted the film to feel bleak but beautiful, I wanted the audience to feel they were in a slow nightmare they could wake up from.”robbie walsh
Can you tell us about the casting for the film? How did you connect with Sarah Carroll, Kathleen Warner Yeats, and Mary Murray?
I had worked with Sarah before on my film “Eden” and I always ask her to be in anything I make; but she’s a very busy person and not always available. Kathleen was my 1st acting coach so I’d know her for years and always wanted to work with her. I had Sarah Carroll in mind for the role of Sam and another woman for Cliona, but the role of Cliona became free and Sarah (after me begging) thought it was better suited to her. It was Robbie Kane who recommended Mary Murray; I didn’t think I could get her but we met and she was on board.
Did you always want them to play these roles?
When we started to talk about the characters I knew they were all meant to be who they were playing. The whole film started backwards from that shot in the bath and I knew nobody but Sarah could do that. After the meetings and loose rehearsals I knew that I’d assembled the most talented cast of women I could have wished for, their performances match anyone in the world anywhere, anyday.
The film itself—dealing with three women suffering from cervical cancer—is very dark at times. Can you tell us about your decision to film “The Letters” in black and white?
I wanted the film to feel bleak but beautiful, I wanted the audience to feel they were in a slow nightmare they could wake up from. An existential horror if you might. It is also a love letter to some of my favorite films, “Raging Bull,” “La Dolce Vita,” “On The Waterfront”, “8 1/2,” “Wizard of Oz”,” A streetcar named Desire,” “Breathless,” “Blow-up.”
Was this done to highlight these women’s pain?
[Yes]. And to subliminally show how people see horrible things in black and white, until the next distraction comes along, the next reality show. Then it’s ignored or forgot about.
All three women in the film are suffering in their own way; I think you do the film a great justice by having their personal struggles be the chief concern of the film, and not cancer. How did you come up with these women’s backstories? Was there the personal in them, or is it all creative license?
Working on the backstories was a real collaboration with my actors. We’d meet or have calls and I’d say, “Here’s where she is coming from and why, what do you think?” There is something personal from everyone in those characters, the film is a Rorschach test with our audience; they will talk about/ask questions about the character they see themselves in most.
How has the critical reception been for the film?
It’s been really well received, and the critics and audiences who have watched leave the film, upset, in disbelief, crying, and mostly angry. But all have loved the film.
Has it reached the audience you wanted?
Some of them but not all and not the international audiences yet.
Has it received any awards as of yet?
No not yet, alas we’ve been ignored by almost every film festival we’ve applied to. But the top cinema chains have released it on a first look.
What are your hopes about the film?
I hope we can get a bit of a rolling arthouse run in international theatres the onto streaming and get as many eyes on the film as possible.
Do you hope that it will further conversations about the CervicalCheck scandal?
It seems to have already but unfortunately that scandal won’t be going anywhere for the foreseeable future.
Is it in its own way a piece of justice for the women lost during this time?
I don’t know, I hope people see it was made with the best intentions and I hope when anyone watches who may be affected by any of the subjects or topics we cover that they know they are not forgotten.
Can you tell us where people can find more information about you or the film?
Any search engine using ‘THE LETTERS FILM ROBBIE WALSH’ and it should pop up.
Do you have any social media links to share? Also, where can people watch the film?
We have a Facebook and IMDB page, or just look for me on Twitter or Facebook @rbwlsh.
We thank Robbie Walsh for his time. Do catch “The Letters” if you are able to. Additionally, you can watch the teaser trailer for the film below.
