When eighteen-year-old Maud’s father dies, she inherits Knowl, a sprawling country estate that should secure her future, except there’s a catch: she won’t truly control it until she turns twenty-one. Until then, someone must serve as her guardian, and her father’s will names the most unlikely candidate imaginable—Uncle Silas, a man whose very name carries the weight of scandal. The rumors that trail him are dark and persistent: gambling debts that ruined him, a dissolute lifestyle that isolated him from respectable society, and whispers of something far worse, something that might involve murder. He’s lived as a pariah for years, and now he’s coming to Knowl, bringing his family with him.
They arrive like a storm cloud: Silas himself, his aimless son Edward, his distracted daughter Emily, and a severe governess who goes only by Madame. What should feel like a house coming alive with new energy instead becomes suffocating, the atmosphere growing heavier with each passing day. Silas presents himself as a kindly uncle at first, all gentle manners and concerned expressions, but the mask doesn’t hold for long. His true agenda crystallizes with chilling clarity—he believes Knowl should be his, that he’s entitled to what his brother left behind, and he has a plan to claim it. The preferred method is simple enough: marry Maud off to Edward, binding the inheritance to the family through matrimony. But there are contingencies, darker options lurking behind his eyes, methods that don’t require anyone’s consent.
As the threats escalate and violence enters the equation, something awakens in Maud. She’s not the passive heroine of a typical gothic tale, waiting to be rescued or resigned to being destroyed. The danger ignites something fierce in her, a determination to fight for what’s rightfully hers, to refuse the fate these men have mapped out for her. Family secrets begin to surface, ugly truths that have been buried for years, and with each revelation, Maud’s resolve hardens. By the time she understands the full scope of their intentions, her fury isn’t just justified—it’s righteous, and it’s unstoppable.
LIES WE TELL takes Sheridan Le Fanu’s classic novel UNCLE SILAS and transforms it into something urgent and vital for our moment. The original gothic framework is still there—the isolated estate, the vulnerable young woman, the menacing male relatives—but the film refuses to let its heroine remain a victim. Instead, it hands her the tools to fight back, to claim not just her inheritance but her agency, her voice, her very right to determine her own future. This is Gothic literature seen through a feminist lens that refuses compromise, a story where the woman in peril becomes the woman who refuses to perish, who takes her fortune and her fate into her own hands and dares anyone to try and stop her.
Caitríona Balfe graces @tatlermagazine `s October cover!
From modelling for @chanelofficial to OUTLANDER`s Claire Fraser, and now two major literary adaptations on the way: SENSE AND SENSIBILITY and REBECCA. A career built on reinvention, one deliberate step at a time.✨
Full interview via link in bio 🔗︎
Forget everything you know about Fassbender!
In HOPE, he goes full motion-capture as an extraterrestrial invading a remote Korean village, starring alongside real-life wife Alicia Vikander as part of the alien family unleashing chaos.
HOPE hits US theaters Sep 9 🎬
🥊Who`s watching Saturday?
Barry Keoghan just gave Katie Taylor the send-off she deserves ahead of her final fight this Saturday at a sold-out Croke Park.
Watch now via 🔗︎ in bio.
In ELSINORE, Andrew Scott steps into the shoes of Ian Charleson — a gay actor preparing for the role of a lifetime while quietly living with AIDS, at a time when simply being himself could have ended his career.
Scott, who came out publicly in 2013, doesn`t treat this as just another role. It`s personal. It`s full circle. And it`s a tribute to an artist who never got to tell his own story on his own terms.
"I wanted people to understand he was trying to live — it`s not about fetishizing his death."
First look trailer via 🔗︎ in bio.
Aisling Bea is going home. 🇮🇪✨
The beloved Irish comedian steps in front of WHO DO YOU THINK YOU ARE? cameras to trace her roots back through Laois, Limerick and Kerry.
No forced tears. No manufactured melodrama. Just Bea being Bea — sharp, funny, and quietly moved as she digs into her family`s ties to the Easter Rising and the revival of the Irish language.
Watch now via irishfilmtv.com.
Netflix is expanding the TOP BOY universe 🎬
Oscar nominee Barry Keoghan steps into the role of Irish gangster Jonny McGee in JONNY BOY, a five-episode prequel.
Both begin filming in 2027 - Irish talent leading the charge in one of TV`s most gripping crime sagas 🔥
Full details via link in bio 🔗︎
Galway`s own @nicolacoughlan is trading Derry classrooms for something darker 👀
She`s joining Naomi Scott, Dominic West and Imelda Staunton in Netflix`s new drama pulling from the short stories Roald Dahl wrote for ADULTS — think conmen, adulterers, murderous mothers and a couple trying to outrun their own fate in a faded seaside town 🌊🔪
Full details via link in bio 🔗︎
Two Northern Irish friends. One ceasefire summer.
SKINTOWN just won the £50,000 Sean Connery Prize at Edinburgh International Film Festival 🏆 — beating nine other world premieres to take the top feature prize, voted by festival audiences themselves.
Directed by @kieron3016, this is 1994 Northern Ireland like you haven`t seen it on screen: hopeful, restless, and searching for a way out.
Full details via link in bio 🔗︎
Saoirse Ronan, the Bond girl?
The Irish actress says her dream role is a Bond villain, now husband Jack Lowden is reportedly in the running to be the next 007 - could 2026 give us Bond`s first husband-and-wife pairing?
We`re here for it. 🎬🖤
