There are an increasing number of women directing films in all genres within British cinema, which are getting ever wider releases across the country, and indeed at the end of this week (30 August) there appear to be three British films directed by women getting a cinematic release. Been So Long was made for Netflix (albeit premiered at the London Film Festival last year), who have a quite different model of film distribution, gaining in popularity — though the nature of Netflix’s business means they don’t release the viewer numbers on its films. The musical is a somewhat less travelled genre in British filmmaking, and it’s unlikely that this film will change that, but it’s an interesting exercise all the same.
In many ways this does seem like a good fit for Netflix: it is filled with big, brashly enjoyable performances by actors who manage to command the screen and make everything seem sweet, even as their characters are doing utterly idiotic things that beggar belief. Even George MacKay manages to make likeable a tangential character (a street drinker with some borderline mental health issues that manifest in misplaced aggression) who could easily be excised from the film altogether. I mean, if you like musicals then you know that a bit of heightened emotion expressed via song, choreographed dance and carefully-chosen colour palettes can paper over a myriad of contrivances at a plot level — whether it’s overly knowing and precocious child actors, love stories that take strange turns in kebab shops, interracial hook-ups on buses and park benches, and inexplicably popular estate pubs. But whatever else happens, there are those actors, all of whom are so very likeable — and seem so grounded in identifiably London types — that I’m inclined to forgive everything.
Director Tinge Krishnan; Writer Ché Walker (based on his musical and play); Cinematographer Catherine Derry; Starring Michaela Coel, Arinze Kene, George MacKay; Length 100 minutes.
Seen at Rich Mix, London, Monday 15 October 2018.