Not an easy watch, but outstanding performances from Christine Bottomley (Early Doors), Majinder Virk and Natalie Gavin as daughters and mum respectively are among the many compensations.
This halfway house may be a novel approach but there’s more than a whiff of Nick Park’s Creature Comforts about it, and that coupled with the unrelenting grimness makes The Arbor something of a chore.
Barnard has created a modernist, compassionate biopic: a tribute to (Dunbar's) memory and her embattled community.
A remarkable film.
Though it's a hard watch, it's a devastating insight into the realities that sometimes lie behind the creative process.
Rather than being distanced by Barnard’s formal experimentation, we end up engrossed.
It’s a powerful story, but muddled by the nagging distraction of having these voices lip-synched by actors.
Moving, bold, unconventional and impeccably staged, The Arbor is a worthy tribute to a powerfully artistic voice.
Barnard's bold treatment is vivid and accomplished.
The Arbor: examining Andrea Dunbar's legacy
Andrea Dunbar: A genius from the slums
Sound vision: lip-synching and looping in the movies
Clio Barnard's The Arbor is out of lip-synch with reality
General release. Check local listings for show times.