We have all at some point encountered Elisabeth Kübler-Ross’ theory of the Five Stages of Grief, the self-explanatory belief that every individual will undergo a few different psychological experiences after an immense loss. It’s formed the foundation for a lot of therapy towards those during the mourning period – but like all of psychology, it is merely hypothetical, a framework through which we can judge individual cases. This theory has found its way into the arts, with many great works being crafted through engaging critically with a similar framework – and a recent example of this comes in the form of Scrapper, a film that directly references these beliefs, telling the story of a young girl who loses her mother to cancer, and instead of allowing herself to be put under the care of adults who don’t understand her, she decides to become independent, raising herself in their family home, with only her best friend to keep her company. This is until her estranged father, who left her when he and the girl’s mother were teenage parents, finds his way back to her, and insists on taking on the role of a parent, something he had been avoiding doing for several years. This is the foundation of one of the most endearing and lovable directorial debuts of recent years, with Charlotte Regan proving herself to be a major new talent, someone with a keen eye for detail and the soul of a poet, which is demonstrated in every frame of this wonderfully entertaining, heartfelt comedy that perfectly blends humour and pathos as it explores the dynamic between two characters forced to get to know one another, and realizing that they have more in common than they initially thought. It’s a quaint film that takes a simple idea and infuses it with bold, earnest emotions that sustain the entire premise, and it becomes one of the year’s most delightful hidden gems, a film with as much heart as it has humour, both of which occur in abundance and helps push this wonderful film to extraordinary heights.

In recent years, those who pay attention to cinema produced in the United Kingdom will have likely noticed that we are currently at the peak of something of a revival of the kitchen sink realism movement, which has started to become more focused on diverse stories. No longer the dominion of the “angry young man” that informed the movement in the first place, we’ve started to see broader voices being brought to the forefront, with many ambitious young filmmakers using their own experiences to inform their vision. Scrapper is a film made by a young female director, who is not weaving a tale that is particularly autobiographical in the traditional sense but still touches on universally resonant themes, especially for her generation, the people who were born in a country in the years following the fall of Thatcher, but where social and economic challenges still present themselves in much the same way. Regan is not particularly political, and she seems to be singularly disinterested in going against the grain in terms of how she comments on certain matters, but she instead uses them as the foundation for this extraordinarily touching coming-of-age narrative, in which we spend some time with a couple of characters as they navigate various challenges that are presented to them, realizing that the only way to overcome them is through working together, which in turn can only come about through putting aside their differences and avoiding the tension that lingers between them. This is a story about independence, and how it is not always the smartest decision to spend your time yearning for emancipation from society since the loneliness can become overwhelming, something that we find strikes a chord for many of us, even if we were mercifully never in the same position as these characters. It’s a film that looks at some very harsh subject matter, but in a wonderfully endearing way, and in choosing to focus on primarily a growing relationship between a feisty pre-teen who insists on her independence, and her lacklustre father who forces his way into her life under the logical belief that she should have someone to take care of her, Regan crafts a wonderfully sweet film that tackles material that would have likely not made such an impact in the hands of someone who didn’t understand the fundamental aspects of the narrative and precisely what makes it special.

Scrapper is a very simple story of a father and daughter, and how they develop a relationship from essentially the ground up, only entering each other’s lives after a mutual loss, which forces them to find ways to get along, knowing that deep down that they need one another. It’s a wonderfully sweet character study, and we find that this kind of film only makes an impact if the central roles are played by actors who are convincing and are doing something valuable on screen. Harris Dickinson has been flirting with becoming a major actor for a few years now, and he is finally starting to be taken seriously since his incredible versatility and unique expressiveness have made him a truly unique actor, and someone whose work has continued to be extremely exciting. His performance here is quite straightforward, but it is filled with heart and soul, and we genuinely can emphasize his character, who is a complex, layered human being with honesty and depth, rather than just a one-dimensional archetype. However, the true star of this film is Lola Campbell, who is nothing short of a revelation on the part of Georgie, the young girl who believes that she is capable of being independent, not realizing the true scope of her loneliness. Every few years, we find a child actor delivering a performance that is not only excellent for the standards of their age group but is truly astonishing overall, and what she does in Scrapper is simply extraordinary. It is already an achievement to capture an audience’s attention, but to maintain it is a nearly impossible feat for such a young actor, she manages to do it without much difficulty, finding so much heart and nuance in a relatively simple part. The chemistry between the two leads is also palpable, and we are consistently convinced about the nature of their relationship, which is a key component behind the resounding and moving success of this film.

Taking note of the subject matter and how challenging some of these themes may be, it’s a miracle that Scrapper manages to find time to still be extremely funny, which makes sense considering it was clear that Regan was far more interested in exploring these ideas through a more comedic lens. This film walks such a narrow boundary in terms of tone, it becomes a marvel just to witness the deft leaps between outrageous humour and heartfelt melancholy, some of it even happening within the same scene – I’ve always appreciated a work of art that can make you both laugh and weep in equal measure, so being able to achieve this in tandem is an immediate sign of immense promise. Navigating these themes could not have been an easy task, especially not for a first-time director, who spends a sufficient amount of time ironing out the details in the story, allowing the underlying conversations to emerge organically and without too much difficulty, which gives the film an effortless atmosphere. Much of the credit needs to go to how Regan chooses to represent the emotions situated at the heart of the film, focusing on a wide range of feelings that would likely define these characters’ daily routines, and rather than being too overtly heavy-handed in how they’re delivered, they come about naturally, with only a few moments where it feels like it is veering towards becoming overwrought, which seemed inevitable for a film with such a challenging premise. Despite its simple exterior, Scrapper has a lot simmering beneath the surface, and it takes us on a very touching journey by inviting us to spend some time with these characters as they navigate their quandaries and find common ground that unites them and proves how even the most insurmountable challenges can be overcome with the right mindset and the willingness to embrace change when it is necessary.

Scrapper may be simple and almost entirely predictable, but this doesn’t seem to be too much of a flaw, especially since there is something wonderfully subtle about how it approaches a lot of its main ideas, which it develops in the form of this quaint but heartfelt blend of comedy and tragedy, which have never felt more symbiotic than in films that touch on both the beautiful and upsetting aspects of life, which is the thesis statement for this entire film. The message at the heart of Scrapper is clear – when all else fails, there’s always value in striving to be independent and forging your path, despite the obstacles that may present themselves along the journey. It’s a concept that has been replicated elsewhere, but yet is still always important to remember, and while it never strives to intentionally teach us a lesson, there is still something to be learned throughout this film, which proves to be an eternally optimistic work that keeps itself afloat through challenging us to examine the relationship between a young child and her father, both of whom are known for their rebellious ways, including in their interactions with one another, which prove to be the biggest challenge they have had to face yet. It’s a delightfully irreverent, heartfelt comedy that is not afraid to explore subjects that are decidedly much darker, maintaining a consistently touching tone that feels genuine and compelling, allowing the film to flourish into a truly captivating story of overcoming obstacles and the value of tenacity, which is especially important in times of despair since there is nothing quite as resilient as the human soul and our capacity to take on even the most intimidating of challenges.