If anyone reads the synopsis of Scrapper, the story of a girl from a working-class and precarious neighborhood in London who loses her mother and deceives social services to survive, one would imagine a drama of epic dimensions. A gray film, even rainy. A film that would be made by Ken Loach, a filmmaker who has impregnated his style in all subsequent generations. However, the United Kingdom has always shown that British phlegm to deal with social issues from another point of view. The paradigmatic example is Full Monty, Peter Cattaneo’s comedy that swept its way to the Oscars and that, in comedy form, what it did was x-ray a community of workers expelled by Margaret Thatcher’s neoliberal measures.
These exceptions are beginning to become the norm thanks to a new generation of British filmmakers, almost all of them women, who are talking about the working class by opening their eyes, mixing genres and with influences that range from maestro Loach to music videos. He demonstrates this with success and intelligence.a Scrapper, Charlotte Regan’s directorial debut that premieres this Friday the 24th and that, with such a tragic synopsis, achieves a bright, hopeful film with a modern visual style that appeals to a younger audience. The formula has worked, after passing through the last Sundance Festival, where it won the Jury Prize, it has just received 14 nominations for the British independent film awards, the BIFAs.
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