Veteran British director Ken Loach was nominated at Cannes for the eighth time this year, for his unflinching examination of the 1920 struggle for Irish independence, The Wind That Shakes The Barley. This year to the surprise of many Loach walked away with the festival’s top prize; the coveted Palme D’Or. Jury president, Hong Kong director Wong Kar Wai, said the decision was unanimous.

Ireland 1920: The country is suffering under British rule. Squads of “Black and Tan” paramilitary officers patrol the streets, administering their own brutal brand of justice. A call to arms goes out to the Irish working class, to pledge allegiance to the Irish Republican Army. Damien (Murphy), a young doctor who has won a place at a top London medical school, is faced with a difficult dilemma: should he pursue his career or join the fight. After witnessing a brutal Black and Tan attack, in which a young man is beaten to death in front of his family, Damien joins his brother Teddy (Delaney) and a group of volunteer guerrillas to form a Flying Column. In a fierce bid for independence, the freedom fighters hit the British military hard, stealing weapons from a police barracks and killing British Auxiliaries. Bloodshed ensues, with casualties on both sides.

Eventually, a truce is declared. Michael Collins and other Sinn Fein members have signed a treaty with the British government.  The relationship between Damien and his brother breaks down. Teddy is in favour of the treaty, and urges the locals to commit to it, for fear of further retribution from the British forces. But Damien and many of his fellow countrymen feel betrayed. A bloody civil war engulfs the country, creating irreparable rifts in the community. Neighbours become sworn enemies, and the two brothers are forced to choose their allegiances.

In spite of its length – weighing in at just over two hours – The Wind That Shakes The Barley is a thoroughly engaging film; a tale of personal tragedy played out against an epic backdrop. Murphy impresses as the troubled Damien, and the ensemble cast are well chosen. As is often the case with Loach, the film is infused with a deep sense of authenticity and attention to detail. Beautifully shot and designed, but never showy. The same can be said of the script, which manages to tackle a notoriously difficult subject without resorting to polemics. This is a compelling story populated with utterly convincing characters, and deserves an audience. After Loach’s dramatic Cannes win last week, it will almost certainly find one.