Sundance Review: Adura Onashile’s Tender Mother And Daughter Story ‘Girl’

Premiering in the World Dramatic Competition, Adura Onashile’s debut feature Girl takes place in Glasgow, Scotland, but, given its themes of identity and belonging, this tender story of a refugee m…

Premiering in the World Dramatic Competition, Adura Onashile’s debut featuretakes place in Glasgow, Scotland, but, given its themes of identity and belonging, this tender story of a refugee mother and daughter might as well be happening anywhere.

The mother, Grace , is in her mid-’20s, and she is devoted to her 11-year-old daughter Ama . Their backstory is never fully explained, just that the two only have each other and don’t wish for anything else other than some sort of posh domestic idyll for them to live in together, complete with carpets “soft and white, like clouds”. Instead, home is a condemned block of flats where Grace leaves Ama locked in every night while she goes to work as a cleaner in a shopping mall.

Grace has a mantra — “We cannot trust anyone” — and her paranoia is stoked by frequent visits from a sympathetic social worker who is concerned by Ama’s erratic school attendance. Grace would prefer never to leave the house, and for no one to know they were ever there, but her wish for anonymity is confounded when Ama spots a fire breaking out in an apartment block across the way. That family’s little girl is Ama’s age and in the same school, so they become friends.

It’s a dark story but Onashile focuses on the light, and she is ably assisted in this by Tasha Back’s luminous cinematography and Ré Olunuga’s ethereal score, which makes a most welcome change from the nondescript plinky-plonk that seem to be the default setting for British social-issue dramas. Of the core duo, Lukumuena has the hardest job, playing an emotionally frozen and often selfish character who seems hell bent in destroying her daughter’s future.

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