---
title: "Hunger"
year: 2008
kind: "film"
canonical: "https://film.one/film/hunger"
fi1m_id: "hunger"
imdb_id: "tt0986233"
tmdb_id: 10360
wikidata_id: "Q1637811"
fi1m_score: 86
critics_score: 81
critics_reviews: 14
published: "2026-09-15"
updated: "2026-09-18T08:38:31.574664+00:00"
region: "SE"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Hunger (2008)

Directed by Steve McQueen · 1h 36m · Statens medieråd 15 · Drama, History

## Identity

Hunger

- **Canonical:** https://film.one/film/hunger
- **Type:** Film
- **Fi1m ID:** hunger
- **IMDb ID:** tt0986233
- **TMDB ID:** 10360
- **Wikidata ID:** Q1637811
- **Same entity:** https://www.imdb.com/title/tt0986233/, https://www.themoviedb.org/movie/10360, https://www.wikidata.org/wiki/Q1637811

**Fi1m score: 86** · Critics 81 from 14 reviews

*In a sentence:* A prison film where even a conversation with a priest offers no chance to relax

> Steve McQueen’s *Hunger* is a harrowing, superbly acted prison drama, with Michael Fassbender holding our attention as Bobby Sands. We recommend it strongly, with a warning about its violence and the scant political context surrounding the suffering.

## Synopsis

Inside the Maze Prison in 1981, IRA prisoners refuse to wear prison uniforms as part of a protest that extends into the filthy conditions of their cells. The film follows prisoners and a guard through the routines of confinement, resistance and violence, before focusing on Bobby Sands (Michael Fassbender) and his decision to begin a hunger strike. A conversation with a priest (Liam Cunningham) puts that decision under scrutiny. Steve McQueen directs, with Stuart Graham as Ray Lohan, Brian Milligan as Davey Gillen and Liam McMahon as Gerry Campbell.

## Review

Steve McQueen’s *Hunger* is a prison film that gives the routines of confinement as much attention as the protest. Set in the Maze Prison around the 1981 hunger strike, it takes time to reach Bobby Sands, played by Michael Fassbender. There is a guard’s working life to consider, and prisoners refusing uniforms in cells made filthy by protest. We think it is an exceptionally assured film, with a serious limit to how much political history it supplies.

The early passages contain little dialogue, and McQueen lets bodily discomfort accumulate without somebody explaining what it means. We were horrified by the filthy cells and the violence inflicted on the prisoners; the stretches of routine around them made that brutality feel established and ordinary. Sean Bobbitt’s cinematography gives us time to inspect what we might prefer to glance at. His carefully composed frames can make us conscious of the skill involved, but their steadiness mostly prevents the violence becoming a blur.

Production designer Tom McCullagh gives the cells a cramped, filthy solidity that makes the blanket protest comprehensible as a daily ordeal. There is little sense of a set cleared for the actors to perform in, and the confinement is oppressive even without violence. Stuart Graham, as Ray Lohan, helps the film attend to life beyond its central prisoner. McQueen’s willingness to look at guards as well as inmates matters: the violence does not require everyone involved to be presented as a monster.

Editor Joe Walker makes the extended conversation between Sands and a priest feel like a necessary interruption. After so much near-wordless physical punishment, the arrival of sustained speech is a relief, although the relief soon passes. Walker allows the exchange to continue without the usual reassuring changes of shot, leaving us to listen to two people rather than wait for the next piece of action. The duration earns its place because we have time to consider what each man says.

The writing, by McQueen and Enda Walsh, gives Liam Cunningham’s priest enough weight to make the discussion more than an invitation to admire Sands. Cunningham is a substantial presence, and Fassbender does not soften Sands’s determination to make him easier company. We found the exchange more disturbing than we expected because neither performance lets us treat the decision as settled merely because it has been made. Fassbender makes certainty uncomfortable to sit beside, without resorting to a display of menace.

David Holmes and Leo Abrahams’s music adds to the unease without supplying a ready-made response, while the wider sound work makes the prison oppressive even in quieter passages. McQueen is less persuasive when the compositions ask to be admired for their own sake. Those moments are occasional; the shortage of political explanation matters more. Viewers unfamiliar with the conflict receive little help in understanding the wider struggle, and the intense scrutiny of prison life cannot supply all of that missing history.

The long takes will frustrate anyone who expects a prison drama to keep finding a new incident. We think their patience is justified: resistance here has to be sustained through days whose routines barely change. At 96 minutes, the film still asks for considerable stamina, particularly from anyone sensitive to violence. Choose an evening when there is time afterwards to talk.

*Fi1m score 86, published 15 September 2026.*

## What the critics say

Most critics respond strongly to Hunger, praising Steve McQueen’s controlled direction and the force of its depiction of prison protest and physical suffering. The praise centres on the precise compositions, the use of sound and silence, and Michael Fassbender’s physically demanding performance as Bobby Sands. The extended conversation between Sands and a priest is repeatedly singled out for giving sustained attention to the moral questions surrounding the protest, while several reviews value the film’s resistance to simple heroes and villains.

Reservations concern the deliberate pace, an occasionally overdetermined structure and symbolism that some find too self-conscious. The spread is wide despite the strongly positive consensus: The Hollywood Reporter stands apart in finding the film trite, politically unilluminating and uneven, though it acknowledges Fassbender’s commitment. Elsewhere, such objections mostly qualify admiration for a gruelling film whose concentration on bodies and prison conditions carries more weight than conventional historical explanation.

## Straight answers

**Is Hunger worth watching?**

*Hunger* is worth watching for anyone prepared for a harrowing, patient prison drama, and we scored it 86. Michael Fassbender holds the screen as Bobby Sands, and the long conversation with a priest is the most unsettling passage. Anyone wanting the political history of the 1981 hunger strike explained will get little help.

**How long is Hunger, and what is it rated?**

*Hunger* runs 1h 36m and is rated 15 by the Statens medieråd in Sweden. It is a drama and history film.

**Where can I watch Hunger in Sweden?**

*Hunger* is not on any streaming or rental service in Sweden at the moment. It is available in 9 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is Hunger, and is it suitable for children?**

*Hunger* carries a UK 15 certificate and is not suitable for children. It shows sustained violence inflicted on prisoners, filthy cells and prolonged physical suffering, all held in steady frames that give us time to look rather than glance. We were horrified, and anyone sensitive to violence should think twice before an evening with it.

**How does Hunger compare to The Look of Silence?**

*Hunger* is a scripted drama about IRA prisoners in the Maze, while [*The Look of Silence*](https://film.one/film/the-look-of-silence) is a documentary in which a man sits with those who murdered his brother. Both are patient with faces and silences, and both are hard to watch. The documentary cuts deeper; McQueen's film is the more assured piece of craft and the more physically brutal.

**What should I watch after Hunger?**

After *Hunger*, try [*A Man Escaped*](https://film.one/film/a-man-escaped) (1956, Fi1m 90): Prison resistance observed through small tasks, patient attention and the sounds beyond a cell. Then [*The Ascent*](https://film.one/film/the-ascent) (1977, Fi1m 88): Conviction under unbearable pressure, with faces given as much weight as physical suffering; and [*The Look of Silence*](https://film.one/film/the-look-of-silence) (2014, Fi1m 87): A patient confrontation with political violence, attentive to faces and difficult silences.

### Reviews we read (16)

- **Slant Magazine** (4/4): The critic hails the film as a nuanced masterpiece for its assured integration of visuals, sound design and script in depicting the daily intricacies of prison protest and revolution, singling out the powerful 22-minute dialogue scene and poetic imagery for particular praise. [Read](https://www.slantmagazine.com/film/hunger-3818/)
- **Time Out**, Dave Calhoun (5/5): An extraordinary, convention-defying study of Maze Prison life and the 1981 hunger strikes that moves from communal brutality to personal focus on Bobby Sands. McQueen balances perspectives with a masterful structure of life, debate and death, creating an invigorating if difficult watch anchored by Fassbender's committed performance. [Read](https://www.timeout.com/movies/hunger-1)
- **The Guardian**, Peter Bradshaw (90/100, inferred): The critic describes the film as an icily brilliant and superbly acted portrait of the 1981 hunger strike that unflinchingly conveys the nauseous reality of the dirty protest and the tragic futility of the events. He singles out the austere long-take scene between Sands and the priest, Fassbender’s emaciated performance, and McQueen’s fierce concentration on stark imagery for particular praise. [Read](https://www.theguardian.com/film/2008/oct/31/hunger)
- **The New York Times**, A.O. Scott (85/100, inferred): With calm, deliberate attention the film explores physical extremity and political extremism in the Maze prison protests of 1981. Dignity is the real subject as it recreates the atmosphere of resistance with an uncanny balance of violence and quiet, emphasizing the prisoners' refusal of prison uniforms and the resulting conditions. [Read](https://www.nytimes.com/2009/03/20/movies/20hung.html)
- **The AV Club**, Noel Murray (B+): The critic highlights the visceral, dialogue-free immersion in the Maze Prison's brutal conditions and praises McQueen's visually stunning direction and Fassbender's remarkable performance, while noting the structure can feel overdetermined at times. [Read](https://www.avclub.com/hunger-1798205865)
- **Empire**, Ian Freer (80/100, inferred): Hunger is a powerful, difficult piece that announces Steve McQueen as a singular talent and Michael Fassbender as an actor of note. It is a gruelling, compelling experience that offers no easy pleasures or simple analysis. [Read](https://www.empireonline.com/movies/reviews/hunger-2-review/)
- **Little White Lies**, Matt Bochenski (3/4/4): McQueen delivers a violent, ambitious biopic of IRA hunger striker Bobby Sands that uses the camera's lingering gaze and striking compositions to depict prison brutality and protest. The standout is a 20-minute single-take debate between Sands and a priest that elevates the film beyond historical drama while maintaining narrative drive. [Read](https://lwlies.com/reviews/hunger)
- **Screen Daily** (80/100, inferred): Turner Prize-winning artist McQueen makes an impressive feature debut with assured command of the medium in his portrait of IRA hunger striker Bobby Sands. The film offers a history lesson with contemporary resonances, conveyed through forensic composure, striking compositions and strong performances including Fassbender's physical transformation. [Read](https://www.screendaily.com/hunger/4038878.article)
- **RogerEbert.com**, Roger Ebert (75/100, inferred): The film is a desperate depiction of the 1981 IRA hunger strike led by Bobby Sands in Maze Prison, focusing on inhumane conditions, prisoner determination, and moral dilemmas without taking sides on the politics. It highlights three narrative strands including a guard's routine, blanket protests by inmates, and Sands' decline, with praise for the realistic style and extended dialogue scene between Sands and a priest. [Read](https://www.rogerebert.com/reviews/hunger-2009)
- **The Hollywood Reporter** (25/100, inferred): The critic calls the film trite, grim and feebly provocative, faulting its clichéd art-installation style, lack of new insights into the political conflict, and uneven structure while acknowledging Fassbender's committed performance in the hunger-strike scenes. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/hunger-125570/)
- **Variety**, Leslie Felperin: It is a powerful, pertinent but not entirely perfect debut that demonstrates painterly composition and cinematic flair but stumbles with trite symbolism in the final reel. The film harrowingly recounts Sands' final months with strong performances, visual poetry, and atmospheric sound design, though its slow pace and long takes may test audiences. [Read](https://variety.com/2008/film/awards/hunger-3-1200522189/)
- **Digital Spy**, Ben Rawson-Jones (90/100, inferred): The critic calls it a powerful and profound masterpiece that blends realism with abstract visuals in a brutal but worthwhile depiction of the 1981 IRA hunger strike. Fassbender's performance is singled out as Oscar-worthy for its psychological depth and physical transformation. [Read](https://www.digitalspy.com/movies/a133822/hunger/)
- **Eye for Film**, Emma Slawinski (85/100, inferred): The critic praises McQueen for a multi-faceted and compelling retelling of the hunger strikes that avoids simplistic hero-villain narratives. They single out the raw depiction of prison degradation alongside moments of composed, terrifying beauty and the powerful central dialogue scene. [Read](https://www.eyeforfilm.co.uk/review/hunger-film-review-by-emma-slawinski)
- **The Playlist**, Rodrigo Perez (80/100, inferred): The critic calls the film intense, disquieting and lyrically shot, highlighting its focus on personal human suffering and limits of conviction over overt politics. They single out the astonishing uncut 22-minute dialogue scene between Sands and the priest as a standout. [Read](https://theplaylist.net/steve-mcqueens-hunger-is-disturbing-20090319/)
- **The Skinny**, Gail Tolley (★★★★): The review highlights the novel focus on the physical body as victim and weapon, along with bodily fluids and religious martyrdom imagery. It praises the beautiful cinematography rooted in McQueen's artistic background while noting a sometimes self-conscious style in this remarkable debut. [Read](https://www.theskinny.co.uk/film/new-releases/hunger)
- **Paste**, Robert Davis: The critic praises the film's meticulous and unflinching depiction of the 1981 Irish prison protests and its command of visual details in cramped, filthy cells. Michael Fassbender's physically demanding performance as Bobby Sands is highlighted for its intensity and the film's striking compositions. [Read](https://www.pastemagazine.com/movies/steve-mcqueen/hunger)

## Details

- **Director:** Steve McQueen
- **Director:** Steve McQueen
- **Writer:** Enda Walsh, Steve McQueen
- **Cinematography:** Sean Bobbitt
- **Editor:** Joe Walker
- **Music:** David Holmes, Leo Abrahams
- **Production design:** Tom McCullagh
- **Costume design:** Anushia Nieradzik
- **Producer:** Robin Gutch, Laura Hastings-Smith
- **Cast:** Michael Fassbender as Bobby Sands; Stuart Graham as Ray Lohan; Liam Cunningham as Priest; Helena Bereen as Raymond's Mother; Laine Megaw as Raymond's Wife; Brian Milligan as Davey Gillen; Liam McMahon as Gerry Campbell; Karen Hassan as Gerry's Girlfriend
- **Runtime:** 1h 36m
- **Certificate (Statens medieråd):** 15
- **Release (Sweden):** 3 April 2009
- **Genres:** Drama, History
- **Box office:** $3 million
- **Trailer:** https://www.youtube.com/watch?v=K9IiUbBV4zc

## Where to watch in Sweden

Not streaming, renting or buying in Sweden at the last check.

Also available in: AT, BE, CA, DE, ES, FR, GB, NL, US. Add `?region=XX` to this URL for another country.

## Awards

- BAFTA Film Awards 2009: Best British Film (nominated)
- Evening Standard British Film Awards 2009: Evening Standard British Film Awards (won)
- Caméra d'Or 2008: Caméra d'Or (won)
- European Film Award for Best Actor 2008: European Film Award for Best Actor (nominated)
- European Film Award for Best Director 2008: European Film Award for Best Director (nominated)
- European Film Award for European Discovery of the Year 2008: European Film Award for European Discovery of the Year (won)

## If you liked this

- *A Man Escaped* (1956), Fi1m 90: Prison resistance observed through small tasks, patient attention and the sounds beyond a cell. — [Fi1m page](https://film.one/film/a-man-escaped.md)
- *The Hill* (1965): Military imprisonment and institutional cruelty, made painfully immediate through the prisoners’ physical exhaustion.
- *The Ascent* (1977), Fi1m 88: Conviction under unbearable pressure, with faces given as much weight as physical suffering. — [Fi1m page](https://film.one/film/the-ascent.md)
- *The Wind That Shakes the Barley* (2006): Irish political struggle receives the wider historical treatment that McQueen largely leaves aside.
- *The Look of Silence* (2014), Fi1m 87: A patient confrontation with political violence, attentive to faces and difficult silences. — [Fi1m page](https://film.one/film/the-look-of-silence.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/hunger