There is much to recommend in this film about the aftermath of the murder of a teenager in a rough London neighbourhood.
HUSH YOUR MOUTH doesn't go for an easy revenge plot, but takes a subtle multi-layered approach, focusing on the psychological upset and emotional impact such an event has on the family and community. And so the narrative moves about a bit. The focus of the story shifts back and forth from our main character - Leo the brother of the murder victim, to the police dealing with the crime, then to the main suspect Isaiah, and back to the family. This creates a sense of time passing and the builds up a deep three dimensional world. Although this structure doesn't make for a relaxed easy watch, it has the ultimate effect of big rewards for the viewer - making you feel that you've been on journey rich with interest and delivering a satisfying and moving denouement.
Casting is good. With it's urban setting, I was pleased not to see a bunch of London - street stereotypes. The acting from a largely young and up-and-coming cast felt subtle and authentic. Having worked with young people - to me these young actors appeared to be the real deal. There is a standout performance from Coshti Dowden who is very sympathetic as prime suspect.
The look of the film is unusual as well. Tyrwhitt has done wonders on a tiny budget - he apparently had a documentary sized crew - working light and fast, but this has not diminished the visuals. He has created a claustrophobic and gritty look using long lenses and a cold blue grey palette, which not only suits the urban setting well but adds to a feeling of fragmentation and desolation that the characters going through. As the story develops and this heavy feeling lifts, this is mirrored in the look of the film - the colours get warmer and the camera pulls away and opens up.
The way that music is used in the film is also very effective - haunting and melancholy, underpinning the emotion, without manipulating us. It would have been easy to stick a thumping drum and bass or grime soundtrack on it. Instead the score is lead by a lilting female vocal from singer songwriter Sukie Smith and produced by director Tom Tyrwhitt. It weaves in and out and blends well with the great sound design.
There is a lot in this film and it definitely deserves a second look.