Director: Frances Lea
Cast: Anna Madeley, Christine Bottomley, Emun Elliot, Philip Martin Brown
Running Time: 84 minutes
Certificate: 15
Synopsis: Gillian (Madeley) is a seemingly carefree young woman, who, whilst on her travels, happens by a strawberry field where pickers are being hired. Acquiring a job, a shabby but adequate caravan to stay in, and the keen eye of hunky farmhand, Kev (Elliot), she appears to be settling in extremely well, until her scheming and mentally unbalanced sister, Emily (Bottomley), shows up.
Lea’s second feature film is set over a hot English summer in Kent. A prospect which, admittedly, does not immediately evoke excitement, but when the characters are introduced, and the bricolage of cultural backgrounds involved (from students to ex-cons) become apparent, this melting pot of personalities inspires intrigue. At the heart of this band of drifters is Gillian, who is trying to forget her past and get her life on track. She is managing reasonably well, even nurturing a burgeoning romance with Kev, until her spoilt sister tracks her down, and proceeds to do what she does best; leech the life force from her good-natured sibling.
It is the first time Lea has written a feature-length script (along with Judith Johnson), and it is easy to discern the enthusiasm and time spent realising each character. Beautifully shot, with striking visual metaphors for the many trials and tribulations of her world-weary creations, Lea has produced a fine piece of cinema, and is a talent the British film industry should cherish. Possibly as a result of being so fully engaged in the screenwriting process, she also manages to provoke rousingly passionate performances from her three main actors.
Madeley (IN BRUGES) is majestic in her portrayal of the oppressed, but deceptively strong female lead, whose deep emotional journey is horrendously arduous. Bottomley (LOST CHRISTMAS), who forms the metaphorical ball and chain around Gillian’s hopes and dreams, is fascinating, detestable, and pathetic in equal measure, which ensures reams of fiery conflict between the two. The third corner of the pseudo-love-triangle is inhabited by Elliot’s (PROMETHEUS) Kev. Initially appearing to be a diplomatic connoisseur of strawberries, his past also unravels to reveal a sinister side, which adds yet another layer to the intricately woven plot. Soon it becomes evident that Kev and Emily are dragging Gillian down even further into her mental dungeon of self-effacement, and so, consequentially, she must make several exceedingly difficult choices.
If viewed whilst in a malicious or reactionary mood, it would be easy to dismiss this melodrama as being the equivalent of an episode of EASTENDERS set in the countryside; irritating characters, in ridiculous situations, with conflict by the tonne. However, on closer inspection, it is much more than that. Most of us can relate to, and many works of art proffer this notion of being chained and bound by responsibilties, family, friends or love, but STRAWBERRY FIELDS does it in a modern setting, with real eclectic characters and raw emotion, which – much like a Greek tragedy of old – takes the audience on a harrowing and cathartic emotional journey.
STRAWBERRY FIELDS is released in UK cinemas today.
