Its far from the flashiest performance on this list, and Emory Cohens performance in Brooklyn is unlikely to be considered for any awards, let alone be in with a chance of winning any. But it remains that in his own muted way, Cohens quietly stunning in John Crowleys and Nick Hornbys adaptation of Colm Tóibín's novel. Handsome but not obviously so, the actor relies on technique and mannerism to get across his charm, mimicking (though obviously not matching) a young Marlon Brando in his sometimes inaudible delivery and his predilection towards slight self-deprecation. His chemistry with Saoirse Ronan is a slow-burn at first. They obviously like each other, but its not some sheer primal urge. Instead it builds out of genuine affection until naturally that urge develops once it has, its inevitable that the relationship will become sexual. Bar entry #6 on this list, Cohen acts with his face better than any other performance on show here, often looking up from under his eyebrows in a way which calls to mind both impudence and lure. His entrance in Brooklyn is one of the best on this list, catching Eilis (Ronan) eye from across the room as he leans on a pillar (this shot is analogous with the one at the film's close, when its Eilis who waits for Cohens Tony across the road in a pose which mirrors his in the party scene) before slowly making his way towards her, sure of himself but not, ready to change both her life, and his.
