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“Things you need to know about Charlene…” Kerslake intones before describing her friend’s loyalty and resilience.
Sure enough, despite Mary’s history, Charlene still wants her at the top table. She and her friends have embraced the trappings of bourgeois conformity – dinner in the sort of place that serves steaks on slates – while Mary still favours al fresco cans of warm Bulmers.
Bailey is equally good in a tricky role: a decent woman who becomes (to use the local parlance) a wagon when her friend threatens to undermine newly embraced values.
That talent has combined to create an entertainment that, while remaining deliciously accessible throughout, defies all familiar categorisation.
In what might be described as the first truly "grown up" volume in the series, Kat, now in her twenties, is left with no choice but to face the world completely alone.
Homeless, penniless, and holding the (not just proverbial) baby, she resorts to begging by the roadside in order to get by.
Each time her situation looks to be improving, some irresistible urge causes her to hammer the self-immolation button and send herself back to the emotional wasteland.
Ready to listen and talk are Sharon Greene of Queens of Neon, Sinéad Bailey Kelly and Deirdre Young of Hunt & Gather, Kim Willoughby of Damn Fine Print and Róisín Agnew of magazine and of this newspaper.
Mary is a complex, clever, internally convoluted personality whose motivations are beyond economic summary.
The splendid Seána Kerslake – sharp edged voice emerging from soft features – arrives like a spinning top set loose upon a house of cards and continues to create glorious havoc throughout the film’s nippy 82 minutes.
Mary has just been set free from Mountjoy after serving time for assault.
The film is careful to withhold information and ration its release at timely junctures.