I See Buildings Fall Like Lightning

With warmth and heartfelt passion, and a quintet of outstanding performances from young actors shot in looming closeup for so much of the time, Clio Barnard has created an absorbing and moving social-realist picture.

I See Buildings Fall Like Lightning achieves something very few films of its kind can: introducing and sustaining a group protagonist while paying the necessary attention to the individuals who form it.

This might be familiar dramatic terrain, but it’s handled with blazing empathy by all involved.

Clio Barnard’s adaptation of the novel by Keiran Goddard is, like her previous works, an expertly-observed study of human relationships, how they are shaped by environment and buffeted by opportunity – or lack of it. Featuring a superb ensemble cast, it’s grounded by a gritty, relatable authenticity that pushes it past its more didactic moments.

Overall, though, this is a timely drama from a director with a growing canon of eloquent humanist work – a melancholy torch song to the stories that play out beneath our changing skylines.

Barnard has always coaxed layered, thoughtful performances from her cast and knows this kind of battered but unbowed community like the back of her hand. But the drama here feels too diagrammatic, foretelling a tragic fate from the first scene onward as everyone parties down like their lives depend on it.

In theory, the British director’s fifth feature — premiered in Directors’ Fortnight at Cannes — is a film of big, bubbling emotions and anti-capitalist rage. In execution, it’s a choppy outline of five working-class lives in the U.K. cobbled together by gloopy sentimentality.