I See Buildings Fall Like Lightning Review
· outdoors
The Elusive Promise of Social-Realism on Screen
Clio Barnard’s latest film, “I See Buildings Fall Like Lightning”, is the latest iteration of British cinema’s tradition of gritty, unflinching stories about working-class people. On paper, it sounds like a slam dunk: five interconnected storylines set in post-industrial Birmingham tackle themes of addiction, housing precarity, and class tension.
In practice, however, “I See Buildings Fall Like Lightning” feels like a mess. The film has all the trappings of a classic social-realist weepie: a rough-around-the-edges cast, a nostalgic soundtrack, and earnest attempts to tackle big issues. But somehow, it never coheres into anything more than disconnected vignettes.
The characters feel like caricatures, their arcs resolved with the subtlety of a sledgehammer. This is particularly evident in the film’s portrayal of working-class life, which feels shallow and sentimental. Even the use of archival footage – clips of Birmingham’s high-rise housing towers being demolished – can’t add depth to what feels like a shallow narrative.
Despite its ambitions, “I See Buildings Fall Like Lightning” feels like a missed opportunity. With its sprawling ensemble cast and scope, it had all the makings of a major theatrical event. Instead, it feels like a TV movie, stretched out over several episodes rather than condensed into a single, coherent narrative.
This raises questions about the future of social-realism on screen: can films like “I See Buildings Fall Like Lightning” truly capture the complex lives and struggles of working-class people? Or are they doomed to feel shallow and sentimental?
The answer is complicated. But one thing is clear: if social-realist dramas want to continue being taken seriously, filmmakers need to do a better job of capturing the messy, nuanced reality of working-class life.
The Problem with Social-Realist Dramas
Social-realism has long been a staple of British cinema, from Ken Loach’s “I, Daniel Blake” to Andrea Arnold’s “American Honey”. But in recent years, the genre has started to feel tired. Films like “I See Buildings Fall Like Lightning” rely on sentimental plot twists and contrived emotional moments.
These dramas prioritize emotional impact over genuine insight into working-class life. This is evident in their reliance on stereotypes and caricatures rather than nuanced portrayals of complex lives. By doing so, they undermine their own credibility as works of social realism.
The Limits of Social-Realism
Social-realism can be a powerful tool for storytelling, but it’s no substitute for genuine insight and understanding. Films like “I See Buildings Fall Like Lightning” may tackle big issues, but they often do so in a way that feels shallow and superficial.
The problem with social-realist dramas is their failure to genuinely explore the complexities of working-class life. Instead, they rely on easy emotional payoffs rather than nuanced portrayals of real people.
The Future of Social-Realism
The future of social-realism on screen is uncertain. Will filmmakers continue to churn out shallow, sentimental dramas that prioritize emotional impact over genuine insight? Or will they take a step back and try to do something more meaningful?
If the latter happens, it could signal a return to form for British cinema’s tradition of gritty, unflinching stories about working-class people. Until then, social-realist dramas risk becoming a tired and predictable genre.
Reader Views
- MTMarko T. · expedition guide
"I See Buildings Fall Like Lightning" feels like a misfire because Clio Barnard is trying to cram too much into one narrative. The film's true potential lies in its fragmented structure – what if she'd experimented more with non-linear storytelling? Consider the parallels between this movie and the docu-series style of films like "This is England". By abandoning the tried-and-true narrative tropes, Barnard might have created something truly innovative, rather than a TV-movie hybrid that doesn't quite land.
- JHJess H. · thru-hiker
While I applaud Clio Barnard's intention to tell working-class stories on screen, I think the author of this review misses the mark by calling out the film for being a "TV movie". Maybe that's because they're expecting something more polished and marketable. The real issue is that social-realist films like "I See Buildings Fall Like Lightning" often prioritize gritty realism over genuine character development, leaving viewers with nothing but surface-level portrayals of working-class life. By doing so, the film inadvertently perpetuates the very stereotypes it's trying to critique.
- TTThe Trail Desk · editorial
While Clio Barnard's latest film struggles to balance gritty realism with sentimental portrayals of working-class life, one cannot help but wonder if social-realist dramas have become too reliant on a familiar template. By embracing tropes and conventions, filmmakers may be sacrificing nuance for the sake of audience comfort. A more daring approach might involve decentering the white, middle-class gaze, exploring non-traditional narrative structures, or collaborating with community-led production collectives – approaches that could yield more authentic and inclusive representations of working-class experiences.