Dragonfly review: Brenda Blethyn is at her very best in frequently heartbreaking film

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A star rating of 4 out of 5.

Dragonfly is a compelling and somber film exploring loneliness and the challenges of social care in modern Britain, featuring two highly acclaimed actors at the peak of their careers.

Brenda Blethyn stars as Elsie, an elderly widow living alone in a modest house. Elsie’s husband passed away thirteen years ago, and her son, John (played by Jason Watkins), doesn’t visit very often. Her main company comes from the home care workers who come and go, helping her with daily tasks like bathing and making tea before rushing off to their next client.

Coleen (played by Andrea Riseborough) lives next door. She’s a solitary woman who shares her home with a large, strong-willed dog that she deeply loves, though she struggles to manage its behavior. She keeps her hair pulled back and has pale skin, and appears older than her 35 years, despite claiming otherwise.

She spends her days on the sofa, lost in TV and a general sense of unhappiness, relying on financial assistance. Things begin to change when she starts running errands for her neighbor, Elsie, picking up groceries from the local shop. This small act of kindness blossoms into a beautiful friendship, offering both women a much-needed sense of connection and comfort.

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British filmmaker Paul Andrew Williams both wrote and directed this new film, continuing a career that began with the gritty thriller London to Brighton nearly twenty years ago.

Williams often explores unsettling themes in his movies, like he did with his 2021 film, Bull, and Dragonfly continues that trend. The bond between Elsie and Coleen seems promising, but it’s headed for a dark and unexpected turn that will likely catch you off guard.

The film flirts with a realistic portrayal of life, but through Williams’s unique perspective. The subtle electronic music, from the composer of the horror film The Substance, emphasizes the unsettling emptiness of Elsie’s home and hints at how much she’s lost.

Filmed with natural light, the movie has a somber mood, made especially heartbreaking when Elsie asks a caregiver, “What’s my name? You don’t know, do you?” It subtly portrays a Britain struggling with serious problems – a country that feels like it’s failing.

The film begins with scenes of a bleak British town – specifically, West Yorkshire – and immediately establishes a respectful tone. Williams avoids looking down on or simplifying the struggles of the people he portrays.

Even though the story is often sad, there are moments of gentle humor, like when Coleen gets a walkie-talkie set so she and Elsie can talk to each other. Elsie has a lot of trouble figuring out how to use it, jokingly complaining that she can hear better just by shouting through the door. While it’s funny at first, those simple walkie-talkies become more meaningful as the film goes on.

Blethyn’s performance is arguably her best since her acclaimed work in Mike Leigh’s 1995 film, Secrets & Lies, though the two styles are quite different. This series has a more biting edge than Leigh’s typically gentler depictions of family life, even though his work is excellent.

Riseborough delivers a truly transformative performance. Even after twenty years of working in Hollywood, she continues to completely reinvent herself with each new role, making her almost unidentifiable.

The film deeply explores Coleen, a woman who has struggled with a difficult life and relies on government assistance while battling significant mental health challenges. The director, Williams, generally portrays her with sensitivity, though one particular close-up shot feels a bit excessive.

Both she and Blethyn have earned a nomination for Best Joint Performance at the upcoming British Independent Film Awards, and it’s a well-deserved recognition. Their chemistry is fantastic, and they truly shine in this insightful and often deeply moving film.

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2025-11-05 18:07