Dark River (UK, 2017)

Outsider trying to get back

Spoilers ahead!

I must admit I had reservations when it became clear that the trauma suffered by Alice (the excellent Ruth Wilson) was being sexually abused by her father when a child. There is a danger that such a horrendous breach of trust will become a cliché if it is wheeled out too often; I first felt this when seeing Michael Haneke’s The White Ribbon. However, in the film Clio Barnard does manage to add to our (my) understanding of the lingering effects of the abuse.

Ruth returns home after the death of her father, played with brooding presence by Sean Bean in the flashbacks. Her brother, Joe, a slightly unhinged character played by Mark Stanley, is less than welcoming but the film is nuanced in its portrayal of characters that – dad aside – can mostly be seen to also have a ‘good side’. Ruth is a character of immense strength who single-handedly looks to be capable of turning the farm around but the absentee landlords ensure that profit comes before the land.

What makes Barnard’s film interesting is the way the flashbacks are integrated, like Film Stars Don’t Die in Liverpool, into the continuity editing so that the past is integral to the present. The scene shifts back many years with an eyeline match editing; Ruth’s memories momentarily seem as if they are happening now. This shows how the abuse Alice suffered 15 years earlier is still ‘present’ in her existence.

Adriano Goldman’s cinematography captures the ‘it’s grim up north’ beauty of the moors more effectively than God’s Own Country (UK, 2017). The farming community is unsentimentally and sympathetically portrayed. In one scene Joe eulogises about the millions of insects that can be hosted on one field in stark contrast to this week’s report that bird populations in France are plunging because of insecticides.

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