Jane (Sally Hawkins) has not led the most pleasant life. When she was younger, she was victim to the malice of others, most notably being left at the altar after her husband-to-be abandoned her at the last minute, which comes almost concurrently to her time as a participant in local beauty pageants. She has now nestled into middle-age, and does her best to remain positive, which becomes increasingly difficult after she is diagnosed with depression and paranoid schizophrenic disorder. Her family doesn’t quite know what to do with her – her parents (Dame Penelope Wilton and Robert Pugh) have done their best to give her a good start in life, which she has squandered through her immense loneliness. Her younger sisters (Billie Piper and Alice Lowe) view her as something of a failure, rather than the role-model she would like to believe she is. Her meagre existence is momentarily improved by the sudden arrival of Mike (David Thewlis), a spectre of her past that manifests one afternoon, and thrusts her into a romantic frenzy after it becomes clear that he himself has been battling his own psychological demons that have situated him on the outskirts of society and made him just as much of a lone-wolf as Jane, who he expresses deep fondness towards. They rekindle a love that they apparently vaguely recall but can’t quite pinpoint, and gradually come to terms with their own mental health issues, finding a kindred spirit in the other that helps them combat the callous world that doesn’t quite understand them or want to even attempt to give them a place in it. However, Jane sees that the road to hell is paved with good intentions, and that the actions of even those who claim to care deepest for her mean nothing unless she reaches the enlightenment to boldly profess her own worth.

If there was ever a film that demonstrated the value of not trusting marketing and advertising, it would be Eternal Beauty, the sophomore directorial effort of Craig Roberts. What has been promoted as a charming and heartwarming romantic drama about a pair of lonely people finding their way through middle-age is actually secretly one of the most harrowing films of recent years, a bitingly funny dark comedy that takes aim at so many different themes, we’re almost overwhelmed by the sheer volume of content Roberts is presenting to us. Not someone who is necessarily a stranger to more alternative means of storytelling – especially since he worked closely with Richard Ayoade on his two directorial efforts that looked at some similar ideas as well – Roberts continues to establish himself as a fascinating voice in contemporary cinema. Eternal Beauty is absolutely not the easiest film, nor is it one that leaves us with the placid warmth that we expect it to based on the way it has been marketed. However, it manages to be something even more impressive – a complex, unsentimental glimpse into the lives of a few wayward souls coming to terms with their own imperfections, delivered in the most unconventionally disconcerting manner imaginable, which somehow only makes it even more riveting. The kind of film that rewards a viewer who will persevere to the very end, and gives us unique insights into some distinctly human concepts from a very unique perspective, Eternal Beauty is one of the year’s most surprising films, and an oddly delightful dark comedy that feels so much more interesting than it would’ve been had it taken a more conventional approach.

Eternal Beauty is a film constructed out of the idea of outsiders finding their own way in a world that doesn’t seem to have any room for them. Roberts employs a sense of unbelonging throughout the film, looking into the lives of a complex protagonist who is struggling with certain mental health issues, but also seeking a sense of acceptance that has eluded her for years. Due to the fact that the film is focused on some very sensitive topics, it was appropriate that the director approach them in a way that was compassionate, rather than exploitative. The film industry has previously sought to use such individuals as either the butt of inappropriate jokes, or heightening their mental maladies in a form of well-meaning exploitation that does more harm than it does good. Eternal Beauty is a far cry from these films – instead, Roberts crafts a thoughtful, heartfelt comedy that gets to the root of some very serious issues, going about them in a way that feels earnest, but not overly sentimental. This material was always going to be tricky to convey perfectly, and the director chooses to go in a more absurd direction, without subjecting the real-world issues to lose its impact. A seriocomic odyssey that is brimming with darkly subversive humour doesn’t quite appear to be the meaningful work of social commentary that it proposes it is, but through his carefully-calibrated control of certain themes, and the good sense to emphasize certain aspects over others, Roberts is able to construct one of the most achingly beautiful stories of individuality of the past few years, a compelling and often incredibly moving film that doesn’t neglect the creative side of the medium, weaving together a fascinating and insightful story with some bold narrative and visual choices that immediately capture our attention and invite us to look even deeper than we would had we not had our interest piqued from the first moment.

Intrinsic to the success of the film is the central performance – Jane is a complex character, and thus required an actress who was able to balance all sides of the material. Eternal Beauty is partially a romantic drama that is supported by a darkly comical form of surrealism, which are coupled together beautifully, manifesting in the lead character’s mental and physical journey. Roberts casts Sally Hawkins in the part, and she delivers a knockout performance that sometimes flirts dangerously close with being her best work. She has made her career playing these charming outsiders who are steadfast in their individuality, and Eternal Beauty offers her the chance to hone this wonderfully. A perfect combination of her masterful work in Happy-Go-Lucky and The Shape of Water, she brings Jane to life in a way that feels thorough and authentic – not too many actresses could transform someone as unlikeable as Jane into such a compelling character, but Hawkins manages it with an ease that truly proves her immense talents. She’s supported brilliantly by performances by the incredible Penelope Wilton, Billie Piper and most notably David Thewlis, who is also doing some of his best work. Even though he makes his entrance relatively late into the film, and leaves very suddenly, Thewlis leaves such an incredible impression, reminding us that he’s far more than just a reliable character actor – he’s someone who can command the screen with a frank intensity and roguish charm that very few filmmakers other than Mike Leigh have managed to capture. The film hits unbelievable heights when Hawkins and Thewlis are working across from each other (undoubtedly related to the fact that both are graduates of Mike Leigh films, a director who Roberts clearly seems to be paying homage to in some parts of this film), and they get to do some remarkable work throughout a film that actually genuinely cares about its characters, despite its somewhat cynical leanings.

It’s important to understand what to expect when going into Eternal Beauty – not even in terms of the message it conveys (which is often unbelievably dark), but also the tone it takes. The director blends numerous genres together, and instead of having the film bounce around between them, it becomes a muddle of all of these different ideas, which seems to have been an intentional decision that pays off exceptionally well when we realize the chaos evoked from this film is analogous to the main character’s own struggles. Roberts isn’t exploitative, but he’s also not aloof in how he addresses this material – refusing to infantilize the struggle of the main character, but also not come across as too overtly callous, he depends on the more disjointed narrative and the sensations evoked from it to stir the emotion that becomes so important to the film. As a result, Eternal Beauty is not a film that is going to be particularly pleasant for everyone, and is sure to keep everyone expecting something somewhat lighter at bay, since it heads towards some very dark territory and makes certain statements that we wouldn’t normally find in films that appear as effervescent as this. The film is quite diligent in making it clear that it’s not going to be conventional – from the first moments, there is a sense that what we’re about to see is going to be a lot more experimental than we’d think, and it gradually delves deeper into a range of complex subjects over the course of the film, remaining perpetually intent on uncovering some deeper truths that don’t always manifest perfectly, but are still thoroughly worth investigating, especially when they’re as riveting as they are here.

Eternal Beauty is a film that may be polarizing depending on how you look at it – the comedy is pitch-black, and there’s a sense of foreboding danger throughout that can actually come off as exceptionally bleak, especially when the film seems to be heading to a more pleasant resolution, but veers off course into something even more harrowing. However, it’s also beautifully optimistic, carrying with it a sense of hope that penetrates every frame, even when the story seems to be at its most heartbreaking. This is all part of the sensation of seeing Roberts’ hauntingly striking depiction of the human condition that stands as a bold and ambitious testament to the importance of individuality, and the unimpeachable resilience that comes with being enlightened to one’s own worth. The exact direction this film was taking isn’t clear, and it takes until the very end to fully comprehend what Roberts was attempting to say – but does that really matter all that much when the qualities that make Eternal Beauty so incredibly compelling reside in its ability to say so much with only the slightest use of implication and inference. It’s not a work that easily establishes itself as something we can relate to – inarguably, it’s often cynical and callous towards its main character, which is all part of her journey to realizing what she is capable of. Once we are fully immersed into the world Roberts creates for us, its not difficult to become enveloped in this gorgeous story, as we’re being taken on such a beautifully complex journey that navigates difficult territory, but eventually reaches a conclusion that may not be particularly conventional, but is all the more worthwhile considering the paths taken to get there, which mean the most.