Sunday 19th October 2025

Cillian Murphy does it again

Since his generation-defining performance in Oppenheimer (2023) two years ago, Cillian Murphy has shown little interest in playing it safe. Having collaborated already on the understated, unflinchingly raw historical drama Small Things Like These (2024), he has joined forces once more with Belgian director Tim Mielants. The duo first met filming the third season of Peaky Blinders, beginning what has quickly blossomed into a rich and dynamic creative partnership.

With Steve, Murphy has once again proved himself a force to be reckoned with. Playing the headmaster of a residential home for troubled boys in conflict with the law, he brings star-power to a film which otherwise might have felt flat. His performance is subtle and multi-layered, alternating between quiet moments of anguish and outbreaks of frustration. The deep emotional pain which underpins Steve’s drive to help others is palpable throughout, as he tackles the numerous daily challenges he encounters in his job, in particular his attempts to help the brilliant but troubled Shy (Jay Lycurgo).

In adapting his book Shy for the screen, Max Porter has made the unusual decision to change the perspective of the drama from Shy to Steve. In doing so, he has created a film which, rather than undermining the achievements of the book, arguably strengthens them by examining how it might feel to be on the other side of things. Steve thus approaches the staff of the residential home with a much greater level of detail, turning them into more relatable figures. We are introduced, for instance, to Steve’s struggles with the injuries he sustained in a car crash, his guilt at the effects of the crash, and his resulting struggles with substances and alcohol, all of which are interwoven into his daily sense of mission.

Steve is also, of course, a topical and timely examination of how society treats those who differ from the norm. It is forthright in the way it advocates for the possibility of a solution for troubled boys which focuses on rehabilitation rather than punishment, but it is also realistic in acknowledging the limits of such proposals. As Steve puts it, “I mean it’s chaotic, right, but we think it’s working, and if you lock these kids up and throw away the key…we feel we’re doing something as an alternative.”

As with his previous film Small Things Like These, Mielants has chosen a theme which speaks to the needs of the marginalised. Exemplified by the behaviour of the news crew who come to film at the school, many in society view the kind of troublemakers Steve cares for with a mixture of horrified fascination, righteous indignation, and apathy. The deep dedication and love Steve and his team show towards the boys is moreover contrasted with the unthinking indifference of higher-ups when they decide to close the home half-way through term-time.

Mielants declines to give his audience easy answers to difficult questions. The positives of the boys’ personalities are highlighted, but their behaviour at times is difficult to make excuses for. At the same time, Porter’s screenplay emphasises, with for instance the character of Shy, the deep trauma underlying many of the boys’ antisocial actions. It seeks to make the audience care about them on a personal level, so that they become more than just statistics, but at the same time avoids dealing with moral absolutes. The benefits of such a Finnish-style system of rehabilitation are highlighted, but so too are some of the issues with it.

The audience thus walks away from the film without a complete sense of closure. It is designed to raise questions and provoke discussion, rather than to put forward a manifesto for change. Steve seeks to highlight the remarkable work done by those working in the field, and the ways that that work might sometimes not receive the credit it deserves, while also emphasising that no one should be seen as beyond hope of rehabilitation. At the same time, however, it does not shy away from questioning its own assumptions, and is stronger because of it, proving that a nuanced look at such issues is the most effective way to tackle them.

Overall, Steve is another huge achievement for Murphy, his production company Big Things Films, and his new partnership with Mielants. While he is supported by a top-tier cast who waste no time in demonstrating their talent, especially an exceptional Lycurgo, the film ultimately belongs to Murphy. His dedication to smaller, independent productions, and his frequent remarks about the value of acting as an art form, make clear the way in which he wants to contribute to cinema. Given the success of Small Things Like These and Steve, that contribution has never seemed more valuable.

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