Névoa Prateada

This is Director Sacha Polak and lead actress Vicky Knight second film after 2019's Dirty God, about a young mother who disfigured after an acid attack. Both starring Vicky Knight, herself suffering bad burns when she was a child. Silver Haze seems to be the most based on her life, it also has her own real life family playing her on screen family (her real life young sister, Charlotte is especially good as her younger sister in this).

This is Vicky's film all the way, and she brings it as Franky. Esmé Creed-Miles (Samantha Morton is her mum) is really solid as Franky's troubled girlfriend. She's not always most likeable of characters and this film has quite a few. It's not a easy watch, the really closed in cinematography also adds to tension.

I hope Vicky Knight sticks to acting and maybe goes off and does something out her comfort zone. She's got a nice presence on screen. Creed-Miles although nowhere near the actress her mother was at her age (Morton was one of best acting talents of her generation) just give Florence a likeability.

I sadly doubt the film will get much traction and that be a shame. I do think it's better then it's IMDB rating right now (6.2 of right now).

"Franky" (Vicky Knight) is a nurse who can't shake the effects of a conflagration fifteen years earlier that left her slightly scarred physically but more so emotionally. Partly, that's because she reckons that her mum's pal "Jane" was responsible - but there's no proof. Anyway, unable to hold down any kind of meaningful relationship she cruises through life until she encounters "Florence" (Esme Creed-Miles). This is a bit of a bolt from the blue for her as she falls completely and the two abscond. Their time together is turbulent at times, but it does give them the opportunity to plot revenge. Is that what "Franky" really wants though? Has she just become so hard-wired that she can't learn to move on? Things begin to recalibrate when she discovers that her beloved nan "Alice" (Angela Bruce) has cancer and rather predictably, the histrionics all calm down and the story rather loses it's spark. Aside from a rather odious scene on a bus - which may well be based on true events in London - the rest of this is an unremarkable love story (it's in no way a romance) that follows a bunch of unlikable characters about whom I couldn't care less after about twenty minutes of stereotypical and foul-mouthed characterisations. The acting is fairly visceral, to be fair, but it's presented in pseudo-documentary style some of the time then in a more straightforward form of drama at others with neither really engaging. It's contrived coming of age stuff that's neither original nor vital, sorry.

Vicky knight did an amazing job portraying her character, i feel she was probably able to draw upon her own physical and mental scars from her own burns and her own experience (yes her scars are real) , the character of florence is flawed and messy and annoying, and her story arc was inconclusive to me. I felt also that franky's story deserved a better ending but at least it was somewhat wrapped up, if slightly ambiguous.

I am a fan of these british made films that arent flashy and big budget, but raw and show social/economic issues which is the sad truth many face even today. The sister and mums story was a bit strange and not well developed but i have still given the film a 7 out of 10 as it did a really great job for its budget and its genre :) i will look out for more projects from the director and the main actress.

I am moved to comment on one particular aspect and not the film in general, which was magnificent and has been reviewed well. The night I began watching Silver Haze I paused it about 40 minutes in and left it for about two weeks. It was the Florence character which disturbed me, and when I finally finished the film I felt utterly vindicated for being hesitant at seeing what happens with her. The signs were there early that this is a tragic person--what I would diagnose superficially as having symptoms consistent with borderline personality disorder. She says she's a bad person early in the film, and it brought a tear to my eye. The scene where she flips and tells the woman she's fallen in love with that she doesn't like her anymore made me ball shamefully, because it is so familiar. The splitting, the nature of love/intimacy to a borderline person is fleeting and turns as quickly to disgust as it developed into love. It's unstoppable, and I felt for both of them, especially Florence. It's one thing to be able to walk away from her, it's another to be inside her, feeling that always. Love and disgust are far too fluid for borderlines, this is something inescapable, and it's the reason why we're labeled by others and consider ourselves 'bad people', and why relationships are difficult at best. I am really happy that I watched it and I'm equally happy I left the final 40 for a time when I was better equipped to handle the content. 8/10.

You won't find a dramatic film of more emotional intelligence or intuitive compassion so far this year than Sacha Polak's Silver Haze, a striking coming of age drama that highlights many of the blunt, difficult truths life hurls our way in straightforward fashion not often seen in storytelling. Vicky Knight is a wonder as Franky, a young nurse from working class London who was burned horribly in a building fire as a child, an event she still feels was done on purpose and seeks the perpetrators of, who may be painfully close to home. She strikes up romance with another young girl (Esme Creed-Miles) on suicide watch in the hospital she works in, a turbulent coupling of two souls who have both been through unimaginable trauma and begin to find a modicum of solace in each other, before life has new curveballs to throw both of them. This is a heartbreaking film that doesn't rely on sentimentality to get its point across and make you feel something, it's all about the actors here and they are stunning. Knight was in a fire for real, her scars are genuine and she uses her experience to haunting effect here, giving a multifaceted, mesmerizing turn. Miles has the more difficult role and her character is often easy to judge or dislike, but we the audience know almost nothing of her past beyond the fact the she is a runaway who ended up in the suicide ward, she gives subtle hints in her challenging, thought provoking and searingly human performance. This is a film of unbelievable depth, uncommon emotional complexity and hypnotic, gorgeous London atmosphere, its only Polak's third feature as a filmmaker and she has already achieved what some artists strive for their whole career. A brilliant film, one of the best so far this year.