1. Growing
United Kingdom 2017
Director: Chloe Williams
With Georgia Loosely and Henry
Tomlin
Certificate: TBC 5m 30s
Reviewed by …………….
British filmmaker Chloe
Williams presents us with a
story of growth and letting go
from the perspective of
teenagers going out into the
world (following her debut
film Waiting For One earlier
in 2017 - which looked at
homosexuality in teenagers
and the battle to find
yourself).
Whilst the main
problem for the protagonist is
ultimately somewhat unclear
- the morality of Georgia lying
to her friend Billy about
getting into Columbia
University, or the impact of
growing up and moving on in
adolescent friendships -,
there remains, in either
reception, a message for the
audience concerning the
significance of this period in a
person’s life on their close
relationships. Older members
of the audience may be
reminded of this time, having
all of us gone through the
emotional strain of
leaving/being left by friends
as we grow up. Younger
members of the audience
may be able to identify with
the feelings being
experienced by the
characters. The scene
depicting an argument
between the two friends in
particular connotes both the
strength of their friendship -
through the loving yet
despairing look in their eyes -
and the repercussions of the
deception and the events to
take place in the future. It is a
very powerful moment within
the short, that equally
explains the uncertainty of
the opening minutes, with
regards to Georgia’s actions..
The performance
from Loosley is stunning in
how she subtly conveys the
pain and suffering the
character endures as she
makes the decision to give
Billy his university
acceptance letter. It is this
that impacts the audience
and sparks the empathetic
response required by
Williams, due to the
familiarity of loving
relationships that is shared
throughout the audience.
Likewise, the fairly
minimalistic is cleverly acted
as little is spoken between
the two friends. Billy’s line of
‘that’s not my problem’
followed by Georgia
snatching her letter out of his
hands and running away
further constructs the social
realism tone of verisimilitude
that directors such as
Williams strive to achieve.
The meaning is created in the
natural looks and actions
exchanged - stares filled with
anguish as realisations occur
and relationships seem to be
crushed.
The actual process of
Georgia’s growth is, however,
unclear to the audience as
we are given/shown limited
background information to
support it. Should this prove
to be the heart of the film, it
was not effectively
signposted. The connotations
of various aspects of the
technical elements signify
that she is growing and
moving from a place of
deception to one of
selflessness - e.g with the
massively contrasting lighting
changes up to and during the
argument scene. However
means this is a film that has
to be unpacked in order for
the audience to truly grasp
the core of the film and
Williams’ message. This may
not be such a problem for the
film literate in the audience,
of which there will be many
given the genre, but for those
who do not actively watch
and pick apart films this true
meaning may be lost in
favour of a jealous best friend
acting on her own
self-interest.
Despite that, what we
do receive is a heartfelt
insight into the struggle to
hold on to friendships as best
friends go their separate
ways - and to different
countries. Even those
audience members who are
not in the same phase in their
lives will be able to relate in
some form as we have all felt
that pain of losing someone
we love. This aspect of the
message is signified in the
final shot of Georgia and Billy
2. in the car, sharing a moment
of passivity after simmering
conflict.
Synopsis:
Banstead, Surrey, present
day. Seventeen year-old
Georgia lives with her best
friend Billy in her family
home...
Credits:
Directed by:
Chloe Williams
Produced by:
Courtney Harrington
Written by:
Chloe Williams
Cinematography by:
Ben Bishop
Music composed by:
Harry Heaven
Cast:
Georgia:
Georgia Loosley
Billy:
Henry Tomlin
