Névoa Prateada

"Silver Haze" is a beautiful example of how the cinema still didn't run out of new creative ideas for coming-of-age films. Sacha Polak, the director, succeeds with her 4th feature film and her 2nd colaboration with Vicky Knight in creating an unmistakably small-town English aesthetic with depiction of struggling lower-class society. Vicky Knight shines brithly in the leading role with her rusty voice and cockney accent as she works her way through every part of Franky's story. From childhood trauma (both physical and mental), dealing with loss, discovering your true self and your sexuality (LGBTQ+), losing a family while gaining a new one "Silver Haze" presents a clear vision in all its aspects and leads the audience to a perfect closure at the end. I also have to mention simple yet intimate cinematography and a very fitting soundtrack, that pairs perfectly with what is happening in the film.

Hospital nurse Franky (Vicky Knight) is covered with burn scars from a fire 15 years ago when she was a child. She meets troubled patient Florence (Esme Creed-Miles) who tried to commit suicide. She suspects her mother's friend having set the fire and it continues to haunt her.

The film is filmed in the style of 'fly on the wall', or graphic documentary style. And given the subject matter and stated storyline, that's not the best way to do it.

It presents southern English people as common, uneducated, ungracious people with no manners or courtesy and not even able to speak English properly. That for me takes away form the central story and starts to take on the role of a social commentary on the way people live in Britain.

In the first half of the film there are only 2 references to a fire, so rather than Frankie's search for the truth of what happened to her, the first half of the film is nothing but anti-social behaviour, swearing, arguments and graphic, but completely unnecessary lesbian sex.

I'm sitting here at the half way stage still waiting for the story to start and for someone to be able to speak English.

I've given it a 2 and that's more than it's worth.

Franky (Vicky Knight) is a nurse who's badly scarred by a fire that happened when she was a child (Knight herself was burned as a child - the scars are real). She believes the fire was started deliberately by her mother's friend, who's now in a relationship with her (Franky's) father from whom she's estranged. Fifteen years on, Franky still dreams of revenge.

In hospital, Franky meets Florence (Esme Creed-Miles), the survivor of a suicide attempt. The two develop a friendship, and later become lovers, though they later break up. Prompted by Florence, Franky's quest for revenge develops into something more tangible.

The rest of the cast have their own stories to tell: Franky's mother, who spends her entire life on the sofa; Franky's sister, who's dabbling with Islam (she has a shawl and a prayer mat, but hasn't cottoned on to the fact that she's no longer allowed alcohol); Florence's grandmother (the excellent Angela Bruce) who has terminal cancer: Florence's brother, who has learning difficulties...

It can't be said that any character in the film is less than three-dimensional, but for me this added up to too many sub-plots and an over-crowded film.

As a depiction of British working-class life it's sharp and observant (without stooping to poverty porn) and the acting is solid throughout - as is the direction.

The ending is not the on the viewer expects, and might leave some disappointed by its slightly ambiguous nature, but I thought it worked well.

"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.

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.