In rural Ireland during the early 19th century, Maura (Mary Ryan), a mentally disabled young woman, lives under the stern care of her widowed father, Hugh (Don Foley). Hugh works tirelessly to keep the farm running and his daughters provided for, though his overbearing nature often stifles them and their desires. When a local landowner steps in to mediate the conflict between Hugh and the man one of his daughters loves, Hugh eventually agrees to let them be wed. After the wedding, Maura is spotted with Scarf Michael (Mick Lally) — a fiddler, shaman, and possible fairy according to village rumor — and the townspeople accuse her of witchcraft. Banished from the community, she follows Scarf Michael into a life apart, learning to harness her inner strength in exile.
Drawing influence from William Blake’s The Book of Thel and the poetry of W.B. Yeats, (and not to be confused with countless other titles of the same or similar names) The Outcasts (1982) defies easy categorization. I call it “fantasy”, but The Outcasts shifts between period drama, folk tale, and magical realism, all steeped in Irish culture and mythology. This film is incredibly Irish, and a few moments will leave you lost if you don’t speak the language or understand the history. But the ethereal visuals, lyrical pacing, and empathetic portrait of Maura create a haunting, dreamlike experience anyone who loves historical drama will eat up. The unique cinematography is worth the price of admission in-and-of itself. Long hidden in the BFI archives, this rediscovered rarity offers something distinctive for lovers of unconventional, culturally rooted fantasy. Consider The Outcasts most highly if your patrons can’t get enough Irish drama. This film really is Ireland’s most well-hidden cinematic gem. Highly Recommended.
Why should public and academic libraries add this Irish drama to their collections?
The Outcasts is a rare and long-overlooked Irish film that blends folklore, period drama, and magical realism into a uniquely lyrical narrative. For public libraries, it offers patrons an opportunity to engage with Ireland’s cultural history beyond mainstream depictions, providing a haunting story rooted in themes of exile, identity, and myth. Academic libraries will also find value in how the film situates itself at the intersection of literature, folk traditions, and cinema. As an archival rediscovery with ties to both William Blake and W.B. Yeats, it serves as both a historical document of 1980s Irish filmmaking and a timeless cultural text that speaks to broader conversations about mythology, marginalization, and Irish identity.
Can The Outcasts be used in courses on Irish literature, folklore, or film studies?
Absolutely. The film’s overt references to Blake and Yeats make it an ideal companion text for courses exploring poetry, symbolism, and myth in literature. Its folkloric elements—such as the figure of Scarf Michael as fiddler, shaman, or fairy—make it particularly suited for folklore and mythology studies, while its depiction of rural life in 19th-century Ireland ties into broader social history. In film studies, The Outcasts works as a case study in magical realism and Irish cinema, offering students an opportunity to analyze how visual language and narrative style can bridge cultural storytelling traditions with modern filmmaking. Its rediscovery from the BFI archives further makes it a strong example for courses that discuss preservation, national cinema, and the global circulation of “lost” films.