User reviews

Tormenting and menacing, Lapwing, filmed in a picturesque setting on the Lincolnshire coast in just 16 days, meant that the production was rushed, but still provided stark contrast between setting and place.

The female mute perspective of Patience, with a 16th Century helplessness of women, provides aspects that can be carried across to modern day. The film contrasted this with a cathartic finish. Patience is the perfect name for this character, providing reflections of those who experience oppression even in a modern context, her silence speaks volumes.

Character development was flawed, matching the characters themselves. David was as menacing as his troubles, and the hatred the audience developed for him was not entirely devoid of compassion.

Characters that could have been developed further were the Egyptians, and the hardship faced by them, along with more references to the gypsy way of life, which was more of a footnote in the film. This would have excelled Lapwing into its true pinned wing vision, echoing the discrimination that immigrants faced both then and now.

Worth a watch for the scenery, violent emotive nature, and provocation it awakened in thought.

Showcasing 1500's England as an undeniably grim and grubby place to call home, debut director Philip Steven's small-scale but often impressively shot independent film aimed to replicate recent female centred period affairs such as The Witch, The Nightingale and Lady Macbeth and while it never quite manages to operate at the same standards as those noteworthy features, there's enough going on here to suggest a viewing and that all those involved have what it takes to bring it to the next level in the feature film landscape.

Following Hannah Douglas's mute and troubled Patience, who lives out an unenviable existence alongside her sister and perma-drunk brother in law David (a menacing and mumbling Emmett J Scanlan) as salt farmers in the unforgiving lands of 1555 England, Lapwing rarely if ever pauses for any moments of humour or fun as Patience finds potential love and salvation in the form of Sebastian De Souza's gypsy Rumi, who has been shunned by a recent royal decree and banished from being a part of the English society.

Shot in a Malick-lite way by cinematographer Stewart MacGregor and scored moodily by composer Lee Gretton, Stevens film which was born from screenwriter Laura Turner's raw and uncompromising script, never truly manages to nail its blending of genres that moves from hard drama, attempted trial against the odds love story and nerve shredding thriller, with Stevens aiming to cover some big ground in both scope and themes (religion, violence,bigotry etc) in his film that was shot over the period of a few weeks in the picturesque countryside of Lincolnshire.

While these various elements never click in a way that would've elevated Lapwing into one of those few independent films that manages to break out in a big way (a rare thing to do for films of this ilk in the post-Covid feature landscape) there's enough impressive components here that should please viewers willing to go on the dark journey the film and Patience go on as the horrors of David's oppressive guidance and the time in which we find these characters in makes themselves more apparent.

Unable to work with words, Douglas's turn as Patience is sure to capture the eye of those in the know and one would expect bright things from the budding star who shines brightest despite some solid if unremarkable work from her main co-stars Scanlan and De Souza and as the brief sub-90 minute runtime wears on you can't help but root for Patience to find her place in a world that seems hellbent on ensuring her life is as hard as it can get, leading to a tension riddled climax to a film that deserves to find a willing and accepting audience.

Final Say -

Not an uplifting experience but one that showcases a warts and all examination of a time and place that knew little in the way of acceptance or forgiveness, Lapwing is a solid debut from director Philip Stevens who gives his main star Hannah Douglas a notable canvas to launch her career from.

3 bags of salt out of 5

Jordan and Eddie (The Movie Guys)

Wow, bad acting is hard to find in the UK, but the acting in this is cringeworthy. Script is inane and childish, camerawork and direction childish.

Oh and the 10 star reviews are both clearly written by same person using same phrasing, both with accounts whose sole IMDB activity is to give this a ten.

Zero stars.

In all fairness, this film was okay. But the camerawork infuriated me. It was so awful. I saw it for the first time at it's release in cinema but I couldn't stay the entire time, I had to leave because the camera work was awful.

I generally love harrowing dramas told from a female perspective, but this is among the worst professional productions I've ever seen. The level of amateurishness is off the charts here. First and foremost, the script is so facile and undercooked in the extreme that it should never have been put to film. Second, this has some of the poorest acting performances I've seen in years. You can find better am dram or student theatre up and down the country. The shocking quality of the acting, including by actors who've done good work elsewhere, speaks to poor casting and direction - it's clear the cast have been given almost no guidance. Even technical aspects like the quality of the sound recording are poor. The entire thing is so cringily inauthentic that it feels like you're watching a parody production - there's no attempt to understand or convey how people looked, thought and acted in the place and time the film is set in.

The harshness of some critics astounds me. I am not involved with this production in any way, I am not giving it 10/10, I'm giving it an honest assessment.

A quiet, melancholy film about outsiders. The 'Civilised British' of this film are a group of religious fanatics exploiting those even lower in society than them. Living in tents and eking out an existance farming salt on the bleak Lincolnshire coast hardly makes you a part of society, yet they are still able to make profit off those even worse off than themselves.

The fact that Hannah Douglas has a stammer so severe she is functionally mute, and when she tries to speak she 'screeches like a lapwing' literalises the fact that for so many people throughout so much of history having a voice was not an option. When you can't speak, you can't speak up.

Emmett J Scanlan is a typical cult leader, in that he maintains his power through charisma and control, but what happens when the charisma stops working? Drinking more heavily through the course of the film starts things unravelling. Is he drinking because his control is slipping or is his control slipping therefore he's drinking? Either way it's a portrait of a man no longer in control of himself or others, and in my opinion it works well.

A touch more fatalistic acceptance of the way her life has gone from Hannah Douglas might have been in order and a few more happy interactions with Sebastian De Souza would have been nice, but overall a bleak, heart rending film that worked well on me.

England, 1555. A young mute woman (Hannah Douglas) struggles to survive in her outcast clan, due to the lascivious advances of their leader ("Peaky Blinders"'s Emmett J. Scanlan). Goodness this is not a comfortable watch, and I should mention there are very triggering scenes of sexual assault (so be warned). The story gives me "Breaking the Waves" (1996) meets "the Piano" (1993); with a captivating lead performance of the mute Douglas; helpless in the male dominated clan. She is brilliant; and the segmentation of the story is very cool. And there is lot to take away from the commentary of the film, the cleverness of a literally 'silenced woman' of the past in a post #MeToo world is very creative; though Scanlan's central antagonist needed fleshing out. Why is he their leader? What skills put him in-charge? At points his embodiment of toxic masculinity is very one-note and lacking subtlety. This is a low budget feature film, probably with very limited resources; so when I say the cinematography is GORGEOUS in parts, I'm taking Hollywood level beautiful. Whoever Stewart MacGregor is, my word, he's talented... BOOK HIM NOW!!! For an independent film I was utterly impressed, and forgive a lot of understandable limitations on low budget features (a few of the minor roles were... just not believable). Though independent or not I was disappointed the film triggered my CUNF rule (completely unnecessary nude female). It was pointless and made little sense beyond objectification. A very, very commendable and thought provoking drama. Just quite grim and traumatising in parts.

From a seemingly slow start this film grabs you with a menace which is shocking and visceral. While there is a lot of violence and sex it is justified. It is also beautifully shot and will stay with you for a long time afterwards. When the finale comes it is rewarding and satisfying. An unexpectedly great film.

Another segment / story of human nature and human history.

Not sure how else to explain the story in this film. Not entertaining per se, but also one I had to watch to the end. Sad way for folks to live and get through life.

Really impressed by this bleak but beautiful slow burner. Hannah Douglas does wonders with her role as a young mute woman up against her controlling and terrifying brother in law (Emmett J. Scanlan). The landscape may be calm and peaceful but the relationships with their psychological, and ultimately physical, battles are anything but. Sebastian de Souza offers some heart to the proceedings and Sarah Whitehouse's tortured sister brings another emotional layer to a powerful and memorable picture. A welcome end of year surprise!

A great film that explores so many great modern themes, Lapwing is a breath taking and ground breaking piece of work that is very unique from current Indie films, the extraordinary cinematography that is filmed in the Lincolnshire district is simply outstanding.

I can't recommend this film highly enough, if you have the opportunity to see this film you will not be disappointed.

This film will leave you at a loss for words much like its resilient heroine Patience, beautifully and masterfully acted by the brilliant Hannah Douglas.

Emmett Scanlon was equally superb and created a character that was both menacing and unforgettable.

The cast and crew should be proud of themselves and I thought the setting was eerily beautiful. Deserves a lot of recognition all round.

This film transported me completely. I was gripped from start to finish. Hannah Douglas is sensational. The scenery was beautiful. It was a hard watch in places but so worth it.

Again to paraphrase Random-70778: Wow, bad acting is hard to find in the UK, and this film does not disappoint. The acting is astronomical, inspiring, and delightful to watch. We feel and sense the pain of Patience (Hannah Douglas) and also the anger of David (Emmett J Scanlan). Excellent work by director Philip Stevens with some scenes hard to watch, the script is intelligent and raw, the cinematography captured the desolation and beauty of the seashore.

Must see!!!

This is a stunning film, the Lincolnshire coastline is shown in all its evocative and stunning beauty. Fantastic cinematography creates tension and changing moods. The acting is first class. This is a difficult watch but the story it tells is bold, strong and very relevant to our lives today. Set in 1555 this is a powerful treatment of an oppressed woman's struggle against a powerful, toxic man and the treatment of refugees in the past both of which themes are as relevant today as they were in 1555. I intended to give this film 10/10 but sadly my finger slipped to 9 and I didn't notice in time.

This is a stunning film written by Laura Turner and shot on the Lincolnshire coastline. It's a sparse script dialogue wise but film can work extremely well like that if the non dialogue scenes are effective which they certainly are here. Although some themes are readily apparent the viewer can place their own interpretation on the events that unfold.

It features some superlative performances all round especially from the actor playing the aptly named Patience. The cinematography gorgeously captures the Lincolnshire coastal landscape and I can't think of many if any films set in it before. The soundtrack is highly effective too reinforcing the feeling of living on the edge of society in more than one way. It reminded me in some ways of The Witch but here the horror is all too human rather than supernatural.

My only slight quibble would be that unlike The Witch perhaps the language seemed a little too modern at times unless it was deliberate but because of that I wonder if the captions at the beginning are wholly necessary. They set the film at a specific point in history although the story itself feels more timeless and universal. But that is only a personal reservation and does not detract from what an achievement it is overall.

I read that it was shot in sixteen days and it makes an absolute virtue out of necessity with its small key cast and virtually one location. It's a film the makers can be extremely proud of and it certainly deserves to be up for several awards.

Absolutely beautiful film. Supremely difficult watch but gripping throughout.

Wonderfully economical script stunningly performed.

Amazing shots of the coast as a bonus.

A landscape we would normally associate with warmth, life and peace - the beach/sea, is represented as one that is cold, bleak and to be feared. Lapwing is set in this exposed beach setting where a sense of claustrophobia surrounds us and, like the community he leads, we feel we cannot seem to escape from the protagonist, David's (Emmet J. Scanlon) menacing character.

Structured in three parts, the film reveals David's dominating, controlling presence over a small, salt-farming community and the Egyptian family who want safe passage, whilst revealing a cruel disposition towards Patience (Hannah Douglas), his sister-in-law who is dumb.

She also suffers at the hands of the other male character, Jacob (Lewis Gemmill) and there is a sense of irony that both male characters names are biblical - ones we'd normally associate with being spiritual and holy. We sense both men's repressed desire for Patience who has no voice to speak about the mental and physical abuse she suffers.

Director, Philip Stevens, has skilfully adapted a fine script from the writer, Laura Turner, to present a deeply disturbing character study. The film is shot in mostly natural lighting, but we feel a sense of foreboding with the dark brooding clouds over the sunsets, captured exquisitely by cinematographer, Stewart MacGregor. The film deals with themes of loneliness, prejudice and marginalisation shown by the landscape and character types.

All the actors project very strong and memorable performances that are harrowing and hard to view in some scenes. Although historical in context, the story has themes that resonate with us in the present day. It leaves us with a resolution, and hope. A great film.

Stunning film.

Lincolnshire landscape is a powerful character in the plot a la Hardy. The violence including sexual violence is brutal, shocking and doesn't let you turn away - but necessarily so to increase empathy with victim. Wide angle lense shots makes it all the more powerful. Music superb and all the more so as little dialogue. Best feature seen in ages, including mainstream. Perfect length too at 1 24.

You really get a sense of claustrophobia watching this, as you follow the story of a voiceless woman, trapped in a small community dominated by a jealous monster. This is in stark contrast to the beautifully shot vast landscape of the Lincolnshire coast. Some very disturbing scenes that will stay with we.

This film set in bleak 1500s Lincolnshire, England. An isolated community where despite having a historical setting has modern parallels. The performances in this film are phenomenal, douglas being a tour de force, playing a character who can hardly stutter a word, finding herself only being able to sing to herself, relies on body language and expressions. Also Emmet J. Scanlan plays a menacing David. A vile and brutish character, especially toward patience (Douglas) which pays of as a brilliant and almost terrifying performance from his utter loathsome acts. However behind the misogynistic themes becomes a love story between patience - a character called bewitched - and rumi, a man in an illegal gypsy group. To entwine these brilliant performances is a well written script from Laura Turner and utter beautiful cinematography from Stewart MacGregor which is a powerful contrast between the harrowing story. Overall this is an immersive yet engaging debut from stevens.

Not an easy watch at times, but there's a genuine human story here and one with the power to arrest and astound. And lovely shooting to boot. Recommended.