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A compelling, unsettling, psychological thriller. A masterpiece.
British drama often falls into one of two categories: kitchen-sink gritty or cutely adorable pathos. Writer-director Paul Andrew Williams has delivered something that sits, not between the two, but rather in its own brilliant category with his latest feature, Dragonfly.
Octogenarian Elsie has lived in the same small home for decades, and has been widowed for many years. She receives home care from an agency, paid for by her fairly absent son John. She is not keen on having strangers in her house, but tolerates the care workers as various physical issues make everyday chores somewhat difficult for her.
One day, her next-door neighbour Colleen, a single woman in her 30s, knocks on Elsie’s door on the way to the shops to ask if she can get her anything. A friendship develops. When Colleen starts to take on more of a caring role for Elsie, John steps in and becomes territorial. Events ensue which gradually descend to a darkness no one could see coming.
We all love Brenda Blethyn, but it is so good to be reminded of what a truly outstanding actor she is. This film does just that. It also matches her with Andrea Riseborough who is extraordinary in the role of Colleen. Watching these two actors work together is worth the price of admission on its own. The ever-reliable Jason Watkins is perfect as John.
Examining the boundaries between care and control, the ties of family, community, and friendship, and the way in which we patronise the elderly, this film still has an odd warmth at its heart, and a compassion for all three of the players. This is intelligent writing, which refuses to infantilise its audience.
Surely a sign of a resurgence in quality British filmmaking, Dragonfly has already won one award at the Tribeca Film Festival, and is worthy of winning many more.
Dragonfly is currently showing as part of the Russell Hobbs British Film Festival at Palace Nova Eastend and Prospect
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