LFF 2021: Boiling Point
LFFSo many films have an embarrassment of riches in terms of plot, filmmaking ability and ensemble cast, but so few reach the heights of what is initially envisioned. Therefore, it feels so relieving and tremendous to state that Philip Barantini's Boiling Point is an exquisite blend of filmmaking and craftsmanship of performance, entangled together for a thrilling and stunning piece of British cinema.
Boiling Point is led by the stupendous talent of Stephen Graham. Arguably the best British actor working today, he turns in a fabulously constructed exercise in emotive depth and range that flaws the viewer with the actor’s constant measuring of nuance delivery from internal to external – dripping away effectively but never totally alluding to the exercise on the whole nor sacrificing character for the plot. It is a performance that, on the surface, can be taken for granted – and for many, it probably will be – but seeing an actor like Graham who devises such technique and who could devote himself to green screen masquerades for the rest of his life yet chooses to act in this style of character-driven spectacle – as well as Jack Thorne's Help and Jimmy McGovern's Time – showcases the sheer talent the actor has with his eye too.
Graham is surrounded by an equally as tremendous cast list that adds small but pivotal motion and tissue to build upon to create a foundation of acting expertise. Anyone familiar with the UK cinematic or television circuit will identify a considerable amount of familiar faces here and there. Notably, the likes of Sherlock's Vinette Robinson, Save Me's Alice May Feetham, Ray Panthaki, Hannah Walters, and Malachi Kirby – just to name a few. Talents that have added to an ensemble cast but never have truly been given their dues for their respective immaculate talent and yet, here, are allowed to flourish with individualism and specific idiosyncrasies. In one specific example, it is hard not to think that such a performance from Vinette Robinson will garner a newfound layer of material for the actress to explore after such a seismic role here. Courtesy of Barantini and co-writer James Cummings’ screenplay, Robinson is able to truly strut her stuff and reveals a sincere and layered underbelly of baggage brought forward.
Surprisingly with so much already on offer, Boiling Point gets even better; director Philip Barantini alongside cinematographer Matthew Lewis and editor Alex Fountain conjure up a genuine marvel in terms of production in a feature that is crafted by one long, unbroken take. Now, understandably this may seem excessive, and while it would not be for the faint of heart, Barantini and the team work wonders with an element that outshines the gimmick nature and elevates the material at hand.
At no point does the image stagnant, pause or take a breath; it contextually appropriates and contextualises the emotions felt by the characters on screen and, thus, the level of immersion and anxiety-inducing tension is felt throughout. This accompanied with the diegetic sound only reinforces place and identity, constantly brooding and churning tentative power.
Boiling Point is one of the best British film this year – if not the best. It is exhilarating and often monumentally challenging in sequences that form a range of powerful, emotive responses. It deals with themes of racial bias, the horrors of staff and servers, the pressures of demand, and more personalised engaging themes to catch the eye. Boiling Point could very well have remained restrained and still envisioned itself to be a strong piece of immersive cinema but takes a stunning risk that lifts and elevates the special into a trajectory all of its own.
