Lapwing

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.

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.

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.

Lapwing is a beautifully haunting film that tells a powerful and emotionally resonant story with real sensitivity and depth. Set in 16th-century England, it explores themes of love, isolation, prejudice, and survival in a brutal and unforgiving world. The performances are incredibly captivating, especially from the lead actress, whose silent strength and emotional presence speak volumes without a single word. The cinematography is breathtaking, with striking visuals that capture the raw beauty and harshness of the setting. A moving, poetic period drama that lingers in the mind and heart long after it ends.

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.