Portraits of Dangerous Women is a quintessential countryside character study. One concealing gentle moments of melodrama, captured in a picture-perfect setting and intriguing from the outset. Writer-director Pascal Bergamin has fashioned something subtle in this snapshot of English country life, disarming audiences with sedate pacing and deceptively complex introductions. Portraits also provides melodrama even in those quieter moments and offers an excellent ensemble emotional depth to mine. Opening on a canine hit-and-run and rarely escalating the urgency, Steph, Tina, Ashley, and Jon are quickly introduced. Each unconnected until now but drawn together through a shared sense of responsibility.
Jeany Spark is front and centre as full-time teacher Steph, trapped by routine into a marriage that exists out of habit. Tina is the school caretaker with an intriguing past, and Jon owns the local art gallery. Beyond these three, Ashley has a passion for local history and acts as the catalyst between them. Much of what makes Portraits work comes down to the chemistry that runs through this quartet, while Jeany Spark galvanises things further by giving Steph an unpredictable edge.
Image Courtesy of PODW Pictures
Although Portraits never actively attempts to raise the pulse or ramp up tensions through shocking revelations, there is something intriguing about how these people connect. Tara Fitzgerald might be best known for Game of Thrones, but her turn as Tina requires an awareness of tone that keeps audiences on side. Dressed down and stripped of make-up, this is a performance that offers the actor no means to distract. However, Tina remains a supporting role in every sense, gently underpinning any melodrama while elevates those around her. Making her friendship with Steph feel less orchestrated and more organic, earning Tina an authenticity that might have been lacking in lesser hands.
Mark Lewis Jones also brings his experience to bear in Portraits, having been in everything from Star Wars: The Last Jedi to Gangs of London. However, his turn as Jon lacks those whistles and bells but still packs an understated punch. His connection with relative newcomer Yasmin Monet Prince in the role of Ashley comes with a paternal edge. Their scenes are pivotal and their evolution across Portraits profound, offering up a gentle rite of passage sub-plot that genuinely offers resolution. What audiences should understand going into the film is just how hard it is to make things look this easy. Beyond a few key moments of genuine drama, this low-key character study relies on the ensemble to engage audiences. Chemistry is key in making that work and thankfully Portraits has that in abundance.
In negotiating the line between gentle farce and melodrama Portraits delivers a snapshot of village life infused with universal truths. One that delves into the true value of companionship and affords Annette Badland an honourable mention. In the pivotal part of Doreen, she almost steals this film in a few fleeting moments of monologue, mourning her missing dog and what they meant. Speaking as if of a loved one, she talks about sharing her dotage with this canine companion, who has offered nothing but unconditional love. It is a moment that encapsulates the importance of genuine connection in a world obsessed with validation and gives Portraits a poignancy which is undeniable.
Portraits of Dangerous Women comes to digital download from July 11.