Animol Review: A Gritty Young Offenders Drama That Challenges Conventional Machismo
Institutional menace and an idealistic perspective on redemption coexist in Animol, a British film directed by Top Boy actor Ashley Walters. This empathic, though occasionally over-earnest, movie delves into the brutal world of a young offender institution, where survival demands the abandonment of innocence and submission to gang authority.
A Harsh Setting of Lawless Brutality
The film, written by Nick Love of Marching Powder fame, portrays a place where terrified newcomers quickly learn that decency is a liability. Here, drugs arrive by drone, and facially tattooed inmates exchange cool, opaque challenges in the canteen. Even the pool table in the recreation area serves a sinister purpose: its cues and balls are tools for inflicting violence, often leading to extended stays in the hospital wing, while underpaid guards in lanyards and ill-fitting v-neck jumpers turn a blind eye.
Compelling Characters and Performances
Tut Nyuot stars as Troy, a young man on remand for conspiracy to commit murder, emotionally scarred by his neglectful mother Joy, played by Sharon Duncan-Brewster. He forms an instant bond with Krystian, portrayed by Vladyslav Baliuk, a shy Polish kid remanded for a chaotic library burglary attempt to sniff glue from book bindings. Their lives are menaced by the chilling Dion, played by Sekou Diaby, whose rule they must obey, and they remain wary of the sinister Mason, portrayed by Ryan Dean. Stephen Graham brings depth to the role of Claypole, the unit's caring youth worker, though his performance is noted for its earnestness.
Storytelling and Plausibility Challenges
While Animol offers a bold, idealistic belief in redeemability, it sometimes lacks the storytelling ingenuity or plausibility of comparable films like the Bafta-nominated Wasteman. The cathartic final scene, where Claypole assembles inmates to discuss shame, may feel unconvincing to some viewers. However, this scene and the film overall challenge the genre's hetero machismo, presenting a nuanced view of masculinity within the prison system.
Currencies of the Prison World
The film highlights three key currencies in this environment: phones, drugs, and respect. The first two can be airlifted in by drone, a modern twist that contrasts with the nostalgic economy of cigarettes, or "snout," from the 70s BBC comedy Porridge. Respect, however, is more intangible, accumulated and maintained through exhausting theatrical displays of menace, as seen in Dion's character, who manipulates consiglieres in his cell like a Renaissance court. In contrast, Mason lacks leadership talent, radiating only violent spite as a loner.
The Dangerous Commodity of Secrets
Beyond these, Animol introduces a fourth commodity: secrets. Knowing and threatening to reveal them becomes a perilous endeavor, serving as a learning and coming-of-age process for the inmates. This exploration adds depth to the narrative, emphasizing the complex dynamics of power and vulnerability within the institution.
Overall Assessment and Festival Screening
Despite its flaws, Animol is a film marked by empathy and strong performances. It screened at the Berlin Film Festival, offering a thought-provoking look at the UK criminal justice system through the lens of young offenders. With its gritty realism and challenging of machismo norms, it stands as a noteworthy addition to prison drama genres.
