In Bruges, the film follows two Irish hitmen, Ray (Colin Farrell) and Ken (Brendan Gleeson), who are sent to Bruges, Belgium, by their boss, Harry (Ralph Fiennes), after a hit goes wrong in London. In Bruges, they are instructed to lay low and await further instructions.
While in Bruges, Ray struggles with guilt over accidentally killing a young boy during the botched hit in London. Ken, on the other hand, tries to enjoy the picturesque city and its culture. As they spend time exploring Bruges, their differing perspectives on life and morality come into conflict.
Meanwhile, Harry pressures Ken to carry out orders to kill Ray. Ken grapples with his loyalty to Harry and his growing fondness for Ray.
The situation comes to a head when Ray encounters Chloe (Clémence Poésy), a local woman, and begins a romantic relationship with her. This complicates matters further as Ray’s attachment to Chloe makes him even more reluctant to leave Bruges.
In the climactic sequence, Ken confronts Ray about Harry’s orders, leading to a violent altercation when Harry arrives in Bruges to settle a matter of honour. Ultimately, Ken sacrifices himself to save Ray from Harry’s wrath.
I’ll say no more for the sake of those of you who may not have seen it. Although I’ve probably saved you the bother of doing so.
The central theme of the film revolves around guilt and redemption. Ray’s remorse over the accidental death of the boy drives much of the plot, as he grapples with his actions and seeks some form of redemption. Ken serves as a moral compass, torn between his loyalty to Harry and his desire to see Ray find peace.
The juxtaposition of the tranquil, medieval setting of Bruges with the violence and chaos of the hitman world creates a stark contrast that underscores the internal conflicts faced by the characters. Bruges, with its serene canals and Gothic architecture, serves as both a refuge and a prison for Ray and Ken.
The film explores questions of morality and ethics, particularly within the context of the criminal underworld. Ray’s struggle with the consequences of his actions forces him to confront his own moral code, while Ken grapples with the moral ambiguity of his profession.
The characters undergo significant development throughout the film, particularly Ray, whose journey from apathy to self-reflection drives much of the narrative. Ken, too, experiences growth as he confronts his own moral dilemmas and ultimately makes a sacrificial choice to protect Ray.
In Bruges skilfully balances moments of dark humour with profound tragedy, creating a tone that’s both comedic and poignant. The witty dialogue and quirky characters provide levity amidst the weighty themes of guilt and redemption.
Overall, In Bruges is a thought-provoking film that explores themes of guilt, redemption, and morality against the backdrop of a picturesque but ominous setting. Through its nuanced characters and clever storytelling, it offers both laughs and profound insights into the human condition.
The screenplay at times is incredibly powerful, especially Ray’s breakdown as he reaches the point of suicide. Ray breaks down emotionally and confesses his guilt to Ken, his mentor and fellow hitman. Ray’s breakdown is a moment of raw vulnerability, showcasing the emotional weight of his actions and the toll it has taken on him. This scene serves as a turning point in the film, deepening the audience’s understanding of Ray’s character and the moral complexities of his situation. I know that feeling, I’ve felt it for, at the time of writing, 33 years. The decisions I made in my particular circumstances led directly to the grief I ( and others) feel today – my actions, my responsibility. Time heals nothing, it just tucks it away somewhere deep in the psyche, but leaves remnants hanging out, so that at occasional periods in life, those remnants are pulled upon, revealing the pain and the guilt all over again, and all the more fresh. At some point I’ll write more on the circumstances. Don’t have the strength just at the moment.
Word of warning, the film is a little on the brutal side and from the outset, contains very strong language, which I think, in any film, is unnecessary; but then I don’t write the scripts.
Wording 