I mention Make Up in this review, which was released the same week in the UK, both debut directing efforts, both dramas set in small communities about young women, but they have very different tones. For the second in my week of films I’ve seen at the cinema for the first time since lockdown started in March, I’m sticking with British dramas.
I think there’s a lot that’s really commendable about this debut film, and it feels of a piece with other recent debuts like Make Up and Dirty God, or, say, the work of Clio Barnard, in being drawn from a less rosy side of English suburban life — even if the feeling of all these films can be quite divergent. This one plays around the edge of some quite harsh subject matter — a life lived without a stable family situation (our protagonist’s half-brother that she never knew she had just shows up one day; her dad works in a local shop and is rarely home; her mother is absent, presumed dead) — and flirtations with petty crime, without (thankfully) ever really delving into anything that can’t be turned around. The title references the protagonist’s budding gymnastics practice, and this seems to be the only place she gets any human contact (she appears to have no friends at all), so the fact that her peers are so brutally condescending towards her (perhaps because they feel themselves to be a class above) makes her emotional pitch unstable. The filmmaker isn’t interested in making a precociously literate or chatty protagonist, so Frankie Box does a fantastic job as a first-time actor in conveying her moods with very little in the way of dialogue. There’s a lot that’s really very interesting going on here, and it feels like a strong basis for further work from this first-time director and actor.
Director/Writer Eva Riley; Cinematographer Steven Cameron Ferguson; Starring Frankie Box, Alfie Deegan, Sharlene Whyte, William Ash; Length 83 minutes.
Seen at Curzon Bloomsbury, London, Friday 14 August 2020.