London Film Festival – Review: Herself (2020)

After a highly successful directing career in the theatre, Phyllida Lloyd branched out into directing the musical Mamma Mia!, which became one of the highest grossing live-action musicals of all time.  She followed that up by directing Meryl Streep to an Oscar in The Iron Lady, so clearly knows how to deliver, regardless of the setting.  In this instance, she tackles domestic violence in her new film, Herself.

It is a sad fact that some stories occur far more in real life than they should, and there have therefore been many films aiming to cover similar ground as Herself.  What is significant here is that the story, co-written by Clare Dunne and Malcolm Campbell, covers a far wider scope, and aims to show there’s hope in community.

As well as being a co-writer, Dunne also stars here as Sandra, a Dublin woman struggling to escape from under the spectre of that domestic violence and build a home for her children.  After what must have been repeated assaults, Sandra finds the strength to leave her partner Gary (Ian Lloyd Anderson – Dublin Oldschool) and ends up in government provided accommodation, an airport hotel.  She is, unfortunately, totally reliant on the support from the system, while waiting for housing amidst Dublin’s chronic shortage.  The list is therefore extremely long, and it is unlikely she will get anywhere soon.  Despite working two jobs, times are tight, and she is desperate.

Inspired by her daughter’s Lego, she decides that maybe she could build her own house.  After a bit of internet research, she figures out she will need €35,000 for a small self-build, which she tries, and fails, to get from the government on the basis that in the long run it would cost them less than keeping her in a hotel.  This is where the film enters the realm of having some serious contrivances.  One of her jobs is cleaning for a widowed Doctor, Peggy (Harriet Walter – Killing Eve, Atonement, Star Wars: The Force Awakens), who just happens to have a large amount of land, and a remarkable amount of generosity.  As Sandra’s mother used to clean for Peggy and was her friend, there is a sense of loyalty there that backs up the offer of the land, and the loan of the money.

Obviously, most people would not have this option and it is an unlikely occurrence that does push credulity.  Similarly, Sandra happens to meet up with a sympathetic builder, Aido (Conleth Hill – Game of Thrones, Suits) who ends up helping her with the project.  There are a few things like this that would normally be a problem, but here, the script and performances carry the film along, and you brush aside any concerns.

At the heart of this is the fantastic Clare Dunne, and her onscreen daughters Molly (Molly McCann) and Emma (Ruby Rose O’Hara), who form a powerful unit.  As a trio they work extremely well together, but it is Dunne who shines out as a force to be reckoned with.  From the pain of the assault, to the emotional torture and anxiety she must endure, and to the fortitude she shows building the house, she is note perfect.  That she also then has the wonderful Harriet Walter alongside her makes this work perfectly.

While this undoubtedly ends up as a feel good film with a positive message about resilience, community and empowerment, Herself doesn’t shy away from showing the darker side.  What Phyllida Lloyd has done though is mix the heavy emotional and aggressive content into the story in such a way as to not make it gratuitous or overpowering.  The assault itself is cleverly pieced together from fragments in flashback for instance, revealing the full picture in layers, adding one bit on top of the last, instead of in one continuous shot.  It is this sure handed direction that allows the film to find a balance between the seriousness of the subject matter and the inspirational message.

Ultimately, some will find the relatively predictable story, and plot points that rely on lucky circumstance a little bit too much, but they should stick with it anyway.  This is a remarkable film driven by the brilliance of Dunne, Lloyd and Walter, who imbue this with character, vulnerability, and strength.  Definitely one to watch, especially now at the London Film Festival, as the UK and Ireland release date has been put back.  Hopefully the US release (through Amazon) gives this the audience it deserves.

Herself is showing at the London Film Festival through the BFI Player on Thursday 8^th October, and opens in the US on the 16^th October.