Vindication Swim

Excellent, moving story which has been captured in a way that highlighted the struggles that Mercedes had as a woman in a male dominated time.

Beautifully filmed which is even more remarkable when you find out it was written and filmed by such a young Director (Elliot Hasler) as an indie film with a limited budget. Despite this, the film stands up on its own and more than comparable to other 'swim' themed films made with Hollywood stars and multi-million pound budgets.

Having decided to go and see the film after watching a few of the cast and director interviewed on BBC breakfast, I thoroughly enjoyed it and the feel good factor I was left with. Would definitely recommend.

What a great film this is about an inspirational true story that seems lost to time. I had never heard of Mercedes Gleitze before, but the film does a great job of bringing you on the journey of really understanding all the challenges she faced and the emotional rollercoaster she went on. Not only did she have to deal with the actual task of swimming the channel, but to do that as a woman at that time makes it all the more impressive.

I loved the way it was shot, the very clever use of black and white scenes mixed with colour scenes when she was in the water which gives the impression she was truly free in the open waters, away from her normal life on land.

A really entertaining, cleverly written film about an amazing woman, well worth a watch.

This is an independent film made on a budget. Once this is borne in mind the film maker has produced a well made film telling a human story about a young woman who achieved amazing success despite being a young woman and in a male dominated sport. I found the story moving, entertaining and educational. I came to understand the struggle involved and courage required for channel swimming. The film captured the risks and the very basic support available at the time. The cinematography is very good, and the music and period atmosphere is excellent. Yes it is not a Hollywood block buster but is has charm, its own style and is well worth watching. It is well worth seeing.

This film has an intimacy about it that subtly wove its way through the remarkable story of Mercedes Gleitze which is all the more so as it's almost 100 years since her successful crossing of the Channel.

The period nature of the film and atmosphere created with the mix of colour and black and white cinematography was as inspired and original as Mercedes herself.

The lead was uncannily similar in looks to Mercedes and portrayed the complexity of her character with understated simplicity that neither overshadowed the story or her achievements.

Ably matched by the supporting character with whom one can only admire as well as feel great empathy.

It was a film with meaning, tension, grit, sadness and inspiration and a reminder that whist sexism and misogyny is not as prevalent now as 100 years ago females are still fighting for equality in sport and the workplace.

A small girl stands on a lonely beach, staring at the mysterious sea. She feels at home here, the sea beckons her.

In the 1920s, far from where the Jazz Age thrives in parts of America, but Mercedes Gleitze , a young British woman who works as a shorthand-typist; who is bored, and feels she is of no importance.

She remembers the sea, the feeling of freedom Could she swim across the English Channel? She approaches the authorities who are contemptuous of any woman doing such a thing. Her hopes are smothered.

Swimming the Channel is largely about endurance, not being willing to give up, rather like a boxer being knocked down and getting up again. And again. This film captures that feeling, which I remember well from my long distance running days.

Ms Gleitze is determined, especially when she finds a man who swam the Channel many years before, a man who finally agrees to train her. She has to fight both the sea and society.

And just when you think the film is nearing its end, a crisis blows up.

Normally I avoid films about sports but found this one quite compelling.