Holly

Margaret Kane-Rowe’s emotional short Holly is a synth-bathed story of that examines the positive and negative influences on young people stem from their relationships with adults around them. Whilst it is heavy-handed, the heart-on-the-sleeve nature wins over audiences by placing family at the film’s centre.

 

Claire (Francesca Europa) is a young girl on the verge of adulthood, growing up in the 80s. Battling local neighbourhood youths, her body, and her own self-confidence, she feels adrift from her family as both mother (Clare Monnelly) and father (Declan Reynolds) search for ways to connect with their daughter. Shoots of connection with adults around her allow Claire to flourish into a newer, stronger version of herself.

 

Holly is a film that puts the importance of family at its heart. It's a story of a young girl at a crossroads in her life, a moving tribute to the importance of familial love and support – even when it is imperfect, awkward or out of the expected. Claire may not have conventional relationships with the family around her, but that does not mean that the impact they have on her life cannot be profound. Small gestures from a father who may not have all the answers still result in critical directions, whilst a mother battling her own demons is still able to provide all-important affection through simple acts of love. It is an uplifting short that is filled with moments that will melt viewers' hearts.

 

The film lacks subtlety throughout that impacts on the ability to immerse into the story. Inauthentic displays of the (lack of) affection between Barbara’s parents are awkwardly inserted to underline story beats rather than inserted seamlessly into the flow of the film. Other moments such as Claire’s harassment at the hands of local boys, are awkwardly shot and forced, in what is a key moment meant to demonstrate the divide between Claire and her dad. This laxness is present in other key scenes that means the film lacks an intensity and grit – that is really missed in certain scenes that are meant to highlight the difficult circumstances in which the family live. A slight but significant lack of resolve and drive feels like a cause of these moments, where the emotions that are meant to drive the film do not feel present.

 

Visuals are clean and crispy throughout, presented with an 80s warmth that recalls pivotal coming-of-age eras in the lives of even people who were not alive at the time. Margaret Kane-Rowe knows how to frame a family film, and balances the twin stories of Claire and her father so that viewers are able to relate to both from how scenes are staged. The synth soundtrack is timely – both for the era in which the film is set and for modern tastes – and assists in drawing viewers into the film’s emotional core.

 

Holly is a touching yet imperfect short that knows how to connect to the emotional centre of its audience. Blighted slightly by some clumsy edits, it nevertheless overcomes production flaws to stand up as a solid coming-of-age story that reminds viewers just how important inspiration from adults can be for young people.