Here is a vision of domestic hell. Paul (Jamie Michie) and Michelle’s (Miranda Nolan) marriage is all but broken, as is their relationship with daughters Kelly (Lily-Rose Aslandogdu), a recalcitrant 12-year-old, and Yakira (Ruby Barker), a young adult whose biological mother, Paul’s first wife, died of cancer. We’re given only hints as to how they fell into this nadir, but the damage seems beyond repair.
Their every exchange is crippled by snide remarks and petty disagreements. We see this when Paul sits the family down and announces that he will be moving out. Despite his calm, measured tone, Paul’s attempt at consensus is derailed by passive aggression from Michelle, churlish outbursts from Kelly, and hysterical bemusement from Yakira. It’s a skillful moment in which director Ed Morris builds a crescendo of anxiety, giving you an authentic snapshot of total, miserable dysfunction.
Suffocated by this malaise,...
Their every exchange is crippled by snide remarks and petty disagreements. We see this when Paul sits the family down and announces that he will be moving out. Despite his calm, measured tone, Paul’s attempt at consensus is derailed by passive aggression from Michelle, churlish outbursts from Kelly, and hysterical bemusement from Yakira. It’s a skillful moment in which director Ed Morris builds a crescendo of anxiety, giving you an authentic snapshot of total, miserable dysfunction.
Suffocated by this malaise,...
- 3/5/2021
- by Jack Hawkins
- HeyUGuys.co.uk
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