While not audacious and brave in it's style as Barnard's smashing debut "The Arbor", it explores much of the same territory – poverty in northern England. But this time Barnard uses a more neo-realist bent that recalls the films of Ken Loach, among others. And after two viewings, while I missed the wild rule-breaking she did in her first film, I felt she had made a film of gritty honest and emotional force. The story centers on two young teens (very well played by non-pros). Diminutive Arbor is hyperactive, angry, and so on the edge he can be frightening and simultaneously heartbreaking -- Arbor needs meds just to allow him to be calm enough to function. And there's Swifty, his best friend who is introvert to Arbor's extreme extrovert. Swifty is willing to go along with Arbor's schemes to a point, but he also wants to honor his mother's wish that he get an education, and try to move up and out of poverty. The two begin collecting (and sometimes stealing) scrap metal to sell to a tough local junk metal dealer, Kitten. This is a man who is capable of being almost a father figure one moment, and stomping you into the ground the next. A sort of modern Fagan, using the boys to do his bidding (although, to be fair, the boys come to him). A dark, moody and ultimately deeply disturbing film, that refuses to let us or society off lightly when it comes to kids growing up in the cycle of poverty.

(79%) A brilliant, honest look into modern day British life for children living at the very bottom step of society. If Ken Loach is to retire (don't hold your breath) then Barnard is worthy to continue what he has perfected, as this is "Raining stones" through the eyes of children. The performances from the two main stars is uniquely wonderful, and they are real performances, not to be confused with simply playing themselves, as I don't buy that for a second. This comes highly recommended for anyone who craves some grim reality in their cinema, with plenty of bite, attention to detail, and a heart bursting, non-sugar coated tale to tell. A future British low-budget classic in waiting.

The Selfish Giant is in line with the purest British tradition of social cinema à la Ken Loach, relying on classical, overused yet still striking, themes such as poverty, unemployment and the social link.But while the tireless Englishman manages to create a story around those themes and to (relatively) renew himself, Clio Barnard's approach remains very primary. The plot lacks grip and stakes, we've seen the situations a million times before, the characters can't be more typical and ultimately the scenario doesn't offer anything that hasn't been tackled, often in a better way, in other productions. Basically, every characteristic of the genre is excessively emphasized which sometimes gives the impression to be watching a parody.However, the story still does the trick because it is sincere and the good direction coupled with good acting make The Selfish Giant an above average movie yet too banal to really stand out in a saturated genre.

Painfully truthful social realism at its most painful and fragile form . Fully brilliant and abstract genius. When that little is so much and when that is large so little - what's a few pounds extra in Bradford's poorest and vulnerable areas really worth? Is it worth a few scrape? A few broken bones? Some blood? Someone's life?Last time I saw something like this incredibly vulnerable and genuine was 2011 in Warp X-film Tyrannosaur, also a British film that plague one's mind with soiled hyper-realistic social realism. But regarding genuineness in every single small frame, The Selfish Giant is even better.It hurts a little extra in the chest, a lump is in my throat - oh, this was a movie! I thought I was teleported to Bradford. I'm sold , take my extra pounds, I do not care - you have tortured me enough.The spectacle is so incredible that I do not for a second think of the fictional character that is playing in front of my eyes.What hurts most is that I can not give the movie or the play, or motion pictures, more than a 7/10, that is a little hard, but that's all I can spare when I put the film in context to other movies I rated.