Review - Dragonfly (Spolier-Free)

Paul Andrew Williams feature debut, 'London to Brighton' (2006), the cinematic equivalent of a gut punch, both stunned and shocked with its portrayal of troubled adolescence and the evil that preys upon them. Similarly, was 'Bull' (2021), Williams' revenge thriller that bares some truly brutal teeth, alongside a woefully solemn feat of unhinged retribution. Now Williams presents 'Dragonfly', a film that can only be described as integrally raw and honest in its depiction of the hidden awry within the kindest of others. 

Dragonfly centres on pensioner Elsie (Brenda Blethyn) who despite her chronic ailments, lives entirely on her own, apart from the infrequent calls from her son, John (Jason Watkins), and weekly visits from indifferent and apathetic care workers. Living in the attached bungalow next door is the similarly alone Coleen (Andrea Riseborough) and her dog 'Sabre'. Together the pair bond over their mutual lack of company, with Coleen soon developing the role of Elsie's primary caregiver. However, John's resentment over the pair's clear bond and friendship arises a bitter tension that results in heinous consequences. 

Bar the musings of Coleen's odd trips to the shops and Elsie's scarce call-ins by aloof and overworked care nurses, the women are entirely alone and socially neglected in the world. They are forgotten in the grand scheme and lost to the coldness of broken Britain. The lack of colour in their lives and the absence of any preppy zing of zest culminate in quite the heartbreaking portrayal of isolation. And yet, these two women from different walks of life find each other. Indeed, Coleen is somewhat baffling and odd, almost disturbed at times, whereas Elsie is a physical manifestation of the forgotten elderly, forcibly retired from life; however, what remains is a unique dynamic that makes for an incredibly moving and thought-provoking watch.

Anchoring this potent story is the film's atmospheric aura that creates a distinct lens for which Dragonfly unfolds. Distant train tracks, the murmur of daytime television, blue screens illuminating a dark bedroom, bottomless cups of tea on saucers, empty high-streets, plastic chairs on front lawns, pale floral nightgowns and bangers & mash all create this familiar, homely quality that paints the narrative with a realist brush, placing the harsh truths of the film in a world that is adjacent to the cold reality of everyday life. British cinema is known for its 'kitchen sink realism' subset of cinema that has hybridised over the years to reflect an array of characters and situations, with Dragonfly being no exception to the long line of phenomenal films belonging to this entirely incomparable niche of media. Dragonfly stands proudly aside contemporary classics such as 'Nil By Mouth' (1997), 'This is England' (2006) and 'Fish Tank' (2009). 

Dragonfly's illustrative means to convey the cold monotony of Coleen and Elsie's separate lives are punctured by the instances of warmth between the two neighbours, whose eventual companionship sadly seems like a rare, but welcomed connection. Despite the continued interruptions of sentiment breaking the film's exhibition of coarse realities, there is something troubling brewing beneath the surface that breeds the film to also belong to the thriller genre. However, what exactly looms in Coleen and Elsie's future is entirely unexpected, cruel and callous. Something is amiss, an eeriness that is impossible to put your finger on; it's a sensation that William brilliantly and silently introduces, where a darkness awaits, but we do not know from whom, why or when. As such, Dragonfly's spectacular finale will certainly result in audible exclamations varying from "what just happened?" to the classic, "what have I just watched?". 

All of Dragonfly's impeccable pacing, riveting writing and affective aesthetic would not reach its peak without the performances by Riseborough and Blethyn. Riseborough's chameleon-like talents see her tackle the role of Coleen like no other, commanding the screen and creating an unmatchable portrayal of an outcast, yet good intentioned woman. Mirroring the arresting magnetism of her screen partner is Blethyn, whose performances are rife with pure emotion and incredible authenticity. Lastly, a very honourable mention is owed to 'Sabre', Coleen's bull-breed dog, who is not only a treat to watch but plays quite an integral role throughout the film. 

Dragonfly is unlike many other films, almost inexpressible in its effectiveness and truly an unforgettable feature that is sure to be not only well-favoured, but also one of William's landmark films. 

Screening details here

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