Nobody Loves You and You Don't Deserve to Exist

Like our own movie About Some Senseless Happening, I think if this movie had been made in the 1970s or earlier, it would have been banned and lost for decades without any cinema buff knowing where it went. The fable-like experimentalism of Mirage and the unvarnished, synthetically realist documentary are the only two elements that distinguish this as a standout because they dissect what makes anything meaningful and the conventions we are used to in contemporary storytelling and the narrative.

With static images emulating interviews with women from the protagonists' former lives and various straight long speeches to the camera, we follow all of the film's characters in a fashion that many would describe as barely "cinematic." All this is linked to the tale-like qualities noted earlier, with a scene reminiscent of the fable and the calming and omnipotent narrator acting as liberating and reflection points for the curiosity as a whole. It seems that there are many speakers talking to camera about speech.

However, I believe it is a reductive and unreasonable standard to use in this particular instance. What "Nobody Loves You and You Don't Deserve to Exist" gets right are its universal truths about family, society, art, and purpose. People in this story are paradoxical in that they can both hurt and help those around them, demonstrating the sick and twisted nature that this lack of personal purpose in favour of sins brings onto those around them.

When we look at you in reflection? Is it the version of ourselves we want to see, or do we feel like we want to see it?

This is a difficult film to examine since it appears to defy interpretation, and even on interpretation I feel as though there is a little something for everybody to take away from this unique indie arthouse attack.

The entire sensation is channelled through a fascinating collection of pieces to camera, ranging from the painfully poignant Reuben Clarke recounting his abuse to Wendy Patterson's frustratingly soul-crushing authority, who is a perfect portrayal of the robotic kafka-esque bureaucrats who care not for creativity and freedom.

One of the few films that genuinely achieves the dreamy feeling that many claim to have. The slowness of the introduction, the bridging of the narrative as it fades in and out, and the impression the camera provides us as the viewer's eyes, with no control over where you're going all set the setting for a mesmerizingly bizarre experience that can only be compared to a dream. Similarly, dreams may be interpreted in a variety of ways.

I'd recommend giving this a watch if you are able to find it outside of Manchester.

Manchester to a T. After attending the private screening on the 15th I was mind blown by what I saw.

The child actor Reuben was phenomenal in the role of 'Young Jack' and stood out as a performance that I haven't seen before from a child actor.

I cannot wait for this to be released.

WOW - the hours, days and years that have gone into this film totally transparent, it captures the hearts of true Manchester as Jack embarks on a downward spiral in his life. The writing and crafting of the film is stunning in everyway. The acting is Phenomenal too!

This production company and cast are ones to watch for sure!!

First and foremost, I'd like to thank Jack Clarke, one of the producers who found me and provided me with a private link to this film from the comfort of my own home.

As Vladimir Lenin once said: "art belongs to the people. It must leave its deepest roots in the very thick of the working masses. It should be understood by those masses and loved by them." This film, I believe, must be understood as the filmmakers' attempt to create an expression of their collective voices and ideas that acts in opposition to the current status quo. Unlike Soviet Realism, this film does not project a positive image of the United Kingdom; in fact, it is so unique in its realist social commentary and performances from its true-to-life characters, but it has a very auteurist, heavily stylized visual and editing style.

What is presented is a loss of identity, not just in a poor man's life, but in the collective cultural identity of the UK, with the decline of the Church and Christian ideals in the place of toxic progressivism that sees no end to its insanity and path to collective greed and corruption. Despite the fact that the UK suffers so severely, I believe the director is demonstrating how ignorant and passive its people are to this, no matter how obvious, and the lead performance of Jack embodies this message and idea.

This is not a perfect film by any means, and some of the young adult Jack's performance felt too long, but it really depends on what you consider to be a 'film.' I will make the point that this is a perfect example of autuership, outsider filmmaking, and the early examples of new film movements; Is this the first of its kind in a new era of anti-establishment working-class British filmmaking? Time will only tell.

Important cinematic voices like this are to be encouraged and given more opportunities to express themselves, as they only appear once or twice every generation.