We first meet Lyle, a married father of two, in his bright white home, washing his extremely expensive car, and eating a bland-looking English breakfast. Everything about him feels meticulously controlled, from the gleaming surfaces to the way he moves through the space, as if performing normality rather than living it.\u00a0<\/b><\/p>\n
\u201cMy experience of Britain, really, is that everything is quite repressed. It\u2019s a repressed existence, particularly outside of London. Things do feel quite muted, the palette, the atmosphere, the emotional landscape even,\u201d says Karia. \u201cHe’s curated this kind of lifestyle, which is quite clinical and kind of wipe clean.\u201d<\/p>\n
The film lingers in these spaces, letting the silence stretch just long enough to become uncomfortable. It invites the viewer to notice what isn\u2019t being said.<\/p>\n
\u201cI have begun to see my country change over the years, and to slowly lose its sense of identity, its confidence, its pride,\u201d Lyle says in a subdued voiceover. \u201cAnd I\u2019m afraid a lot of that comes down to immigration. And that\u2019s not racism, that\u2019s just the way it is, I\u2019m afraid.\u201d It almost sounds like a reasonable statement, and Lyle moves through his world with a studied calm. But every now and then, the mask cracks.<\/p>\n
\u201cWhat was interesting to me with this film is that the people purporting to be our saviours are also shit scared and vulnerable and, like, fucking deeply confused,\u201d Karia says about the film\u2019s genesis. \u201cI don’t think it’s useful to look at a certain kind of political party, or figures, and make a film saying, \u2018Look how nasty and awful you are\u2019. It’s more potent to look at their vulnerabilities.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"We first meet Lyle, a married father of two, in his bright white home, washing his extremely expensive…\n","protected":false},"author":2,"featured_media":928189,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_share_on_mastodon":"0"},"categories":[3935],"tags":[27861,77,3063,3943,4678,16,15],"class_list":["post-928188","post","type-post","status-publish","format-standard","has-post-thumbnail","category-movies","tag-commission","tag-entertainment","tag-film","tag-movies","tag-society","tag-uk","tag-united-kingdom"],"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@uk\/116492764903153495","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/928188","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/comments?post=928188"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/928188\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media\/928189"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media?parent=928188"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/categories?post=928188"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/tags?post=928188"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}