The ominous task that faced Eve Hewson when she first read John Carney’s script for Flora and Son had been accepted before she even realized it.
Sure, she knew Carney’s work, almost exclusively delivering features that baked music into the very fabric of their construction.
She’d seen Glen Hansard belting at the top of his lungs in Carney’s debut, Once; Keira Knightley and Mark Ruffalo making sweet music together in Begin Again; Ferdia Walsh-Peelo embracing ’80s pop in Sing Street.
She knew what was coming, but still hoped it never would. She fell madly in love with Flora, a single mum living in a Dublin apartment block with her delinquent teenage son Max, turning each page as Flora salvaged a guitar from a skip, had it tidied up, and gifted it to Max.
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