Baltimore, a film directed by Christine Molloy and Joe Lawlor, takes its name from a village in County Cork, Ireland. The story begins with a heist, but it is not a traditional heist film. Instead, it focuses on the largest art theft in history, executed by four members of the IRA, led by Rose Dugdale, a one-time debutante. Imogen Poots delivers a compelling performance as Rose, portraying her with a mix of ferocity, focus, and conscience.
Through incisive flashbacks, we learn about Rose’s upbringing in immense wealth and her rebellion against the entitlement and expectations that came with it. At a young age, her sympathies lie with the fox during her first fox hunt, and she shows a deep appreciation for a painting focusing on a Black woman during a museum visit. Her political anger bewilders her parents, especially when she robs them as part of a fundraising effort for the IRA, alongside her lover at the time.
While the heist at the center of the film is significant, involving the theft of 19 priceless paintings from the private estate of Russborough House, it is the emotional underpinnings and conflicts within Rose’s story that truly captivate. After “liberating the paintings from the capitalist pigs,” Rose and two of her comrades seek refuge in a rented house in the countryside, while her partner, Eddie, waits for them in a safe house in Baltimore. As they plan their next steps, Rose’s hand, injured during the heist, requires attention and care. The film explores Rose’s devotion to the cause of Irish reunification, her anger over UK policy, and her inner conflicts through dream sequences and conversations with other characters.
Poots brings a slow-burn sense of searching and honesty to her portrayal of Rose, particularly in her interactions with Dominic and Donal, two crucial characters who provide emotional support and challenge her beliefs. The film delves into Rose’s determination, uncertainty about motherhood, and the performative aspects of her personality, highlighting the intense logistical considerations of her mission through split-screen visuals and a percussive score by Stephen McKeon.
While Baltimore doesn’t ask the audience to root for Rose, it invites them to understand the motivations driving her actions. Molloy and Lawlor artfully interweave historical context, personal conflicts, and political ideologies, creating a nuanced and intimate portrait of a complex character.
The film’s cast includes Imogen Poots in the lead role of Rose Dugdale, alongside Tom Vaughan-Lawlor, Lewis Brophy, Dermot Crowley, Jack Meade, Patrick Martins, and more. It was produced by Samson Films and Desperate Optimists, with David Collins and Joe Lawlor serving as producers. The executive producers include Greg Martin, Stephen Kelliher, Sophie Green, John Gleeson, Oisín O’Neill, and Celine Haddad.
With a runtime of 1 hour and 38 minutes, Baltimore premiered at the Telluride Film Festival. The cinematography is by Tom Comerford, production design by John Hand, and costume design by Maeve Paterson. Christine Molloy and Joe Lawlor also served as the editors and screenwriters of the film, while Emma Gunnery handled the casting. Bankside Films is responsible for the film’s distribution.
In addition to its gripping storytelling and powerful performances, Baltimore offers a thought-provoking exploration of personal and political convictions, showcasing the complexities of individuals caught in the midst of historical events. Through Rose Dugdale’s journey, the film sheds light on the motivations and sacrifices of those fighting for justice and liberation, urging viewers to question the constructs of power and privilege.