फ़िश टैंक

The best part of this film was the acting. The characters all felt quite genuine. It is a good portrayal of a troubled life and has emotional depth.

Andrea Arnold's "Fish Tank" was a big hit in Britain and at Cannes and now tries its hand at America, who will probably nickname it "White Precious." Anchored by a star-making performance from Kate Jarvis, Arnold's film is more grit and zero melodrama, a step-up from the weepy style of "Precious." Jarvis plays Mia, a teenager living in the ghetto where kids expect to follow in the option-less footsteps of their parents. Her little sister (Rebecca Griffiths) is already smoking and emulating skanks on MTV and mom (Kierston Wareing) is a drunk throwing parties with very sketchy friends. Mia has a dream of becoming a dancer and she finds encouragement from mom's new boyfriend, Connor (Michael Fassbender), a hunky security guard who seems like a nice guy but is, at times, "too friendly." It's familiar other-side-of-the tracks territory but it doesn't spend time wallowing in misfortune. Arnold's film is harsh, and with its use of language (the C and F words are used a lot), dead-end scenery, breathless sexual and violent encounters, and Jarvis' award-worthy portrayal, it's nothing short of compelling. It's a brave performance, a rough-fighter exterior masking youthful vulnerabilities. Fassbender also impresses as a charming/shady character that you're never quite sure has a sexual or fatherly preference toward Mia. It all comes down to a predictable yet scary ending where neglect turns dangerous.

As an American who used to be a fan of British "kitchen sink" drama I can say this film not only eclipsed those films, it eclipsed that whole genre, which was about poverty-stricken males who vented their rage against whoever crossed their path, usually females. "Fish Tank" turns all that inside out. This is "grrrrrl" kitchen sink.

Katie Jarvis cannot get enough kudos for her performance as a teenager called Mia. She's angry at the world. She fits in nowhere. Her mother is an advanced-age party animal who resents Mia for reminding her she's a mom.

Mia's poor. In the U.S., she would live in the projects. Here, it's called council flats.

The plot is fairly simple ... at first. Mia falls in love with her mother's studly boyfriend. He knows she lusts after him. She knows ... The movie is not really about the outcome of these lustful/familial issues as it is about how Mia will overcome/survive them. The movie goes in unpredictable directions.

One wonderful observation about this film is the economy of scenes. Every scene counts. An American version would have included at least one music video. Here, no BS. Every scene counts.

And the movie is about survival. Kids can survive bad backgrounds. We root for Mia all the way to the end.

Mike Leigh and Ken Loach, say hi to Andrea Arnold.

Friendless and unloved Mia (Jarvis) dreams of becoming a dancer and when her mum's new boyfriend arrives on the scene, everything changes for the teenager.

Fish tank is an exceptional artistic creation, based on the purity of Andrea Arnold's script and appreciative direction whilst a debuting Katie Jarvis excels as the troubled isolated teenager, and what a feature this is.

British cinema is some of the most dramatic and flinching cinema in the world. From Trainspotting to This is England there are always issues of realism and points to convey and with this 2009 appraised release we see more hard drama.

The opening sequence follows Mia around the streets, slurring and shouting abuse at anyone in her radar and the coarse dialogue and minimal amount of sympathy is staggering. As if you had been slapped, this will instantly startle you into realizing the type of environment and lifestyle Mia is living in. The language will give Pulp Fiction a run for its money.

Added as an attempt to justify the rural scene of Britain, Arnold gets it spot on as everything flows with little adjustment required. Everything is as it should be because everything has been so carefully planned, in particular the character development which will have many shedding a tear or two.

Katie Jarvis' cold and unappreciative style is spot on for the protagonist and as the film goes through hard fights with families and spending time isolated in a deserted flat, we see the emotional desire of Mia. The ambition of becoming a dancer is exceptionally well produced, owing to the fact that the background is effectively established. The hard family life Mia is living inspires her to find a way out and her dancing is her motive to break free. This really does work up a treat with twists turns, ups and downs and a staggering climax that adds extra spice to the picture.

At only 15 the central character certainly has a controversial agenda set for her. From sleeping with random strangers to drinking anything dangerous, Mia seems unfazed. Seeing her younger sister drinking beer with her mother in the next room will have mouths dropping.

Thanks to this straight forward no messing attitude the plot can move forward and tell the audience of what real life entails and the cultural state we are living in at the moment.

Some British films go out of their way to preach, such as This is England and Brassed off and whilst that isn't a bad quality, the enriching style of this film makes it flow and add extra drama continuously.

The scene setting shots are exquisite, as if made from a Skins episode without the teen angst. The scene in the car is excellent and not to forget this film boasts an exceptional soundtrack that fits the mood as well as 2007's Hallam Foe.

I left this movie stunned and stilled. Katie Jarvis' expressionless voyage through her 15th year soaked my entire attention into her character's being until I was her. A masterful performance of reserve and barely suppressed anger, frustration and awe permeate Jarvis' every move. While the character does unforgivable things at times, she is never who she seems to be on the surface. One can't help but pull for Mia and empathize with her inherent goodness, masquerading as it is under a steely, cold demeanour.

Jarvis' extraordinary performance wouldn't make a whit of impact without a director's equally reserved yet insightful work. Arnold never forces the issue, save for a little bit of symbolic overindulgence near the end, letting the characters play out the story.

Jarvis isn't alone in her excellence. Michael Fassbinder is a wonder, a smooth talking machismo machine who never over exerts but provides the right nuance at the right moment. Kierston Wareing is equally as effective, raw yet vulnerable, but like her daughters you would never know it by her words alone.

Arnold is one of the few modern directors who does not employ gimmicks. Music is one of the most offending of all directing crutches. This director avoids incidental music except when it actually occurs as part of the story. In one scene in particular, crossing fields all you can hear are the rustling of the leaves and the weeds, much like Antonioni did with "Blow-Up". Without distracting synthesisers or orchestras, the scene has all the terror of the moment.

This is a rare movie of substance and grit. It sinks under your skin and won't let you go. It never overplays its hand and keeps you involved. Arnold, Fassbender and Jarvis weave a hypnotic tale that in most cases would alienate and aggravate. It takes real artistry to transform such a gritty tale into a work of art of subtly and reserve. Fassbender is fast becoming a star. It won't take longer for Jarvis to follow, should she want it bad enough. As for Arnold, I'm looking forward to her next work more than any other.