(spoiler free)
Kitchen-sink dramas have often been characterised by their drab, colourless settings. And while these features are sometimes appropriate, they’re hardly representative of working-class domestic settings as a whole. First-time feature film director Charlotte Regan clearly thinks so too, as her debut, Scrapper, couldn’t be further from these somewhat reductive genre trademarks.
After sadly losing her mother to illness, 12-year-old Georgie (Lola Campbell) has been left to fend for herself. Pretending to be in the care of an imaginary uncle, she now lives alone in her pastel-coloured family home on an East London council estate. She earns money with the help of her best mate, Ali (Alin Uzun), by stealing bikes and selling them on for parts. However, during the summer holidays her newfound independent existence is suddenly disrupted when, fresh from the Ibiza party scene, her Dad, Jason (Harris Dickinson), who she’s never met before, arrives unannounced on her doorstep.
Right from its opening moments it’s obvious that Scrapper is a film full of character, and it wastes no time in establishing that of its youthful protagonist’s either. Georgie’s independence is immediately evident, making it clear that she’s a very capable young girl. This maturity doesn’t come at the expense of her personality though, as Georgie has an undeniable charm and cheeky edge to her that’s instantly compelling. Lola Campbell – in her screen debut – promptly puts the audience at ease with her spirited performance, as much like her character, she effortlessly demonstrates her ability, despite her years.
Her co-star and onscreen father, Harris Dickinson, is similarly proficient at winning over the audience. The actor – who’s continued to impress ever since his 2017 debut in Eliza Hittman’s Beach Rats – delivers one of his most accomplished performances to date. He portrays Jason’s delicate balance of parental inexperience and emphatic eagerness to be a more active father incredibly effectively. And much like Campbell, he brings a natural charisma to his role that makes Jason especially endearing. As the pair begin to warm to each other, their burgeoning relationship becomes truly heartening. It alone would be more than competent enough to carry the rest of the film, but Scrapper never requires this, as it’s just as robust as the uplifting daddy-daughter dynamic it has at its core.
Regan’s script is brimming with originality which she translates to the screen with vigour and flare. One instance sees Scrapper communicate its young characters’ limitless imaginations by including playful visuals to accompany their thoughts. Elsewhere, Regan uses mockumentary-style interview sections to offer some lighthearted insight from the likes of Georgie’s school teacher, neighbours and social workers. These help to fill in gaps of her story and shape her character – or at least, her reputation. This breezy filmmaking keeps Scrapper jovial while still giving Georgie’s grief the space and attention it deserves. Regan’s assuredness in executing this vision makes way for a film that exudes creativity, truly setting it aside from other, more conventional kitchen-sink dramas.
Tied together with a smart, yet zany edit, Scrapper offers a real variety in both how its characters see the world and how its audience experiences their stories. Its thoughtful and often amusing touches continually enhance Regan’s screenplay, giving Scrapper a joyful presence that’s impossible to resist. The film’s appealing amalgamation of styles and themes could affectionately be described as Rye Lane (2023) meets Aftersun (2022), as it has all the colourful magnetism of Raine Allen-Miller’s vibrant rom-com, while also beginning to share the depth of relationship seen in Charlotte Wells’ affecting drama.
And just like these new favourites, Scrapper as well deserves to be considered not only one of the decade’s strongest debuts from a female director, but from a director period. As this remarkable film is a life-affirming tale of exciting new beginnings for both its characters, and its director.
Written by Hamish Calvert
★★★★
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