Review: Scrapper

Wells’ Aftersun, Regan’s Scrapper depict sorrow father-daughter bonds.

Although they both reflect a daring, new assurance in British cinema, Scrapper exists in its own realm and manifests in a very different way from Wells’. For Regan, that society is vibrant, full of optimism, and full of energy, far different from the kitchen sink-isms that are all too frequently thought to be necessary for social-realist movies depicting stories about the working class.

The protagonist of her noisy, proud, and chaotic life is Georgie (a prickly but strong Lola Campbell), who dresses in football shirts as armor, turns bike pieces into beds, and sees two house spiders as unusual pals.

Together with cinematographer Molly Manning Walker, whose own directorial debut, How To Have Sex, will be released later this year, it all testifies to Regan’s vivid spirit as a filmmaker.

Scrapper is a shape-shifter who balances humor with true tenderness in just the right amounts. Georgie would certainly attempt to dismiss that tenderness, but her father Jason (the consistently dependable and superb Harris Dickinson) is aware that it’s the only way to truly connect with her.

It’s encouraging to witness a father-daughter story that stays away from conventional conflict and sweet reunions that rely a little too heavily on irrational notions of fate. Jason and Georgie are merely making the best use of what they have and who they are.

Regan approaches it with considerable emotional intelligence and wit. Her sharp eye and bold vision give the impression of being the work of a director with far more experience. However, like Georgie, perhaps some folks were just meant to be storytellers. It’s a delight to be introduced to a big-hearted universe that emerges from extreme suffering.

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