The separation and opposition of the personal and the political sphere was a crucial element of cinematic representations of the Northern Irish conflict from the 1940s to the early 1990s. Films of the era portrayed the personal sphere as the only redemption for men involved in violence. Peace and calm were represented by women who are able to tame violent men with domestic ties. Neil Jordan’s The Crying Game challenged and subverted these conventions by parodizing them with many border-crossings. Jordan’s film blurred the apparently stable borders, making way for new modes of representation from the second half of the 1990s.