The Selfish Giant

The two leads, as unknowns, are superb, as are all the child actors in this.

Of the adults it is clearly led by the performance of the three lead female actors (four: I should include the school receptionist). But this film has such an almost documentary feel about it you can forgive any of the acting that may feel a little strained or unnatural (perhaps because of a lacking in the script?).

There are some wonderfully emotionally funny scenes equally matched by ones of sadness. People often use words such as grim, depressing or bleak. But this is Britain as it is; which is about looking for the humour and humanity beyond the circumstance of living. If you haven't been in Britain, then you might be forgiven, if you live here then maybe you have been sheltered: This is really how life can be; but it is far more a story about a boy's journey to manhood.

As a statement on modern society then it speaks volumes to say that nothing is different now as from when it's 60's counterpart Kes was made, or for that matter in anytime in our history.

But for me it won on all levels for it's such strong sense of humanity, on Arbor's journey of discovery, which was lacking, somewhat, in Kes.

It is just over a decade ago that by chance I watched Clio Barnard's first short film Lambeth Marsh; by intention or by chance since then I have seen her other works although I was a little late coming to The Selfish Giant. Although I had some problems with her early shorts, her last film and previous short both were very strong and I felt sure she could continue in that vein. As a story teller she delivers really well here with a film that is savaging depressing but yet realistic and convincing. The plot sees two boys, the fast-talking Arbor and the slower but kinder Swifty; the two are friends and have in common that their home lives are a mess with chaos and poverty being common themes. Expelled from school for yet another fight, Arbor leads the two to get into the market for recovered tat – with stolen copper cabling being a particularly lucrative line of business. As they deal with scrap merchant Kitten, Arbor aspires to his money while Swifty shows a natural aptitude towards Diesel, the yard horse that Kitten also races.

The basic story here doesn't exactly rip along and although it does have some bigger moments and revelations, it is very much about putting us into this world and letting us experience it. This is very much in the traditional mould of British kitchen-sink drama, although in this film if there was a traditional kitchen sink, no doubt Arbor would have had it down the tatters with half a chance. This world is one of few options where everyone is out for themselves and characters stripping metal like Bubs in The Wire, although here it is to just pay the installments for a sofa (which has already been sold on to get cash). The story makes this world convincing and depressing although at the same time it does not allow us to be turned off by the characters. This is quite the feat because in the real world the sight of Arbor and Swifty coming would have you keeping an eye on your car and assuming the worst till they are gone. It is to the film's credit that here we do not dislike them although we hate their circumstance. The impact of poverty and their "survival" home life is brutally portrayed and we do care for these ratty broken characters throughout the film.

The downside of the approach of the film is that I didn't think that we got a particularly strong ending so much as just let life go on, such as it is; other than this though the film is as engaging as it is bleak. The greatest part of the film is that the two child actors are great. I hope Chapman is not like this in real life but he utterly convinces as a child brought up in the world of swearing impatience and need. He grabs the attention but Thomas is equally good as a more sensitive boy who frankly isn't cut out for this place and he brings out his tiredness mostly as well as lighting up well whenever kindness is his to give or interest in him is expressed. The adult supporting cast are roundly good too, but these two are the whole film. Barnard's camera mixes distant still shots through fog and more a mobile camera moving in and around the characters in a way that puts us right in the middle of the action.

It is a very accomplished film but please don't make the mistake of assuming that because it is praised that it must be a "good" watch, because it is really a very difficult one. The bleakness and realism of this world is relentless and the nature of telling puts us right in the middle of it while the fine performances make us feel for the characters while hating their situation. It is a very tough piece of British social realism, but it is still a very well made film with it.

This film is stunning - a visually powerful glimpse into a savage, precarious world, with humour and tenderness.

It can't just be reduced to a political diatribe, although the post-industrial setting is bleak and the poverty grinding. Mainly it's the story of a young lad's struggle towards adulthood, ahead of his time and in tough circumstances, as he learns the hard way what it is to be a grown-up.

The echoes of 'Kes' are obvious, but with the destruction of that old industrial world the characters too are ambiguous and troubled. Arbor is a complex mix of ruthlessness, cheekiness and wit. We see his character develop from being a cocky little tawt to something altogether more complicated and touching...

Since Shane Meadows hit us with phenomenal This Is England in 2007, there's been a dusty spot on the mantle of gritty kitchen sink dramas that truly capture the modern current of low- class British life. Fish Tank has been the only contender since but it doesn't feel like it has stuck as firmly as England, which then spawned several mini-series that I really should watch. Instead, British film seems to be concerned with crowd-pleasers after the roaring but typical success of The King's Speech. BAFTA nominees for Best British Film have been questionable this year, with big budget or mainstream films such as Gravity, Mandela, Philomena, Rush and Saving Mr. Banks, all with big stars on their shoulders. The only exception in the bunch is Clio Barnad's The Selfish Giant, and is the only one that truly deserves the honour. Now that Steve McQueen has stepped firmly into the limelight with the powerful 12 Years A Slave, I must urge that Barnard is the next under-the-radar British voice that needs to be heard.

Loosely based off Oscar Wilde's short story of the same name, Clio Barnard's vision is comparable to a Ken Loach slice-of-life style but rather than the sloppiness and lack of clarity that style can bring, it's startlingly energetic and tight in its delivery. It immediately engages you with its opening scene of a cathartic pounding of rage under a claustrophobic bed then a sincerely moving image of holding hands, all from angry underprivileged boys. It's a rough world depicted here. Conflict is around every corner without exception. Characters step outside and witness kids chased down the street. The harshest swear words are thrown around without much regard for their consequence. It's intimidating, but our characters embrace it and dive in with both feet. It's a world of scroungers, those that see the resale value in everything and abuse that opportunity. It's a bleak life, but the film executes it in such an honest way that it doesn't feel preachy in the way that this is the limits of quality of life and future in the working- class north. Their immoral tunnel vision is one of necessity rather than choice. It's a cruel situation that the film immerses you without comfort.

While there may be a touch of melodrama with the theme of the mother's concern and the pacing it thrives off of seems unnatural, what makes the film work is that it still feels authentic in its performances and script. It's perfectly reflected in its terrific cinematography. It's rough and raw, but it's well-measured in its framing and characters don't get lost in its saturation. The real revelation is its lead performance, Connor Chapman, who gives a genuine and confident performance for his age. Mature, if not sophisticated, beyond his years to be able to take on a brutish character like this with such fearlessness. At first you feel animosity towards him, then a deep pity burrows deeper and deeper. Then the film utterly shatters your heart with its inevitable Shakespearean tragedy making it an unforgettable experience. Any doubts I had about the films power hinges on those fateful final 15 minutes. It may be bleak, but there's a thin ray of hope bursting through the grey clouds. The Selfish Giant single-handedly puts my faith back in British independent filmmaking. I hope this sparks a new era.

8/10

A story of dependence, damage and desperation, told with grit and grimy frankness. It's also a portrait of friendship born of need and emptiness, on the road to nowhere. The tone of documentary accuracy makes the film even darker.

Much of the movie is hard to bear, yet it never drags, thanks to the momentum that writer and director Clio Barnard finds in the fable, and, above all, to the energy that she unleashes in her young leads, Conner Chapman and Shaun Thomas.

The first great fiction film to be released in 2014, Clio Barnard's second feature, "The Selfish Giant," is breathtakingly assured, ruggedly beautiful, moving and justifiably tragic.