Finding Hope Within Darkness in ‘Herself’: LFF Review

Warning: This review contains mention of domestic abuse

With films like Mamma Mia! and The Iron Lady under her belt, Phyllida Lloyd is no stranger to
female empowerment and the sentiment of a mother’s love, but Herself proves itself to be much more of a challenge.

After fleeing the abusive hands of her husband, Gary, young mother Sandra (Clare Dunne) is now a victim of the broken housing system in Dublin while taking care of her two young girls. While it might appear as an escape, every day and every task becomes a struggle she must endure alone. Not only does she work two jobs in order to provide for little Emma and Molly, but her ex-husband is still a regular part of her routine when he takes his daughters for the weekend.

The cast on her hand, courtesy of Gary himself, is a constant and painful reminder than while her abuse is escapable, her past and the memory of it is not. Sandra’s suffering is only made worse by their living situation as she attempts to raise her children in a cramped hotel room, far away from their school. Luckily, things start to look up when her boss and late mother’s friend, Peggy (Harriet Walter), decides to help her build her own house.

Despite its incredibly important, yet distressing plot, Herself seems to lose its focus when the house-building begins. It is, of course, a lovely metaphor for her rebuilding her life, but what began as a serious journey with a domestic abuse survivor starts to include scenes that appear like light-hearted 60 Minute Makeover episodes, complete with punchy pop songs and fun characters that have only a ten-second introduction.

It was Dunne’s own script that brought her character’s inspiring story to life, but while that itself was messy at times and contained certain characters lazily slotted in, her performance was emotional and she carried the film earnestly, like the weight of the world hung on her character’s shoulders. The child actors playing young Emma and Molly (Ruby Rose O’Hara and Molly McCann) were equally as brilliant. Emma’s cheeky and mischievous attitude gave Sandra small glimpses of joy, while the much quieter and adorable Molly is all the motivation she needs to keep moving forward.

Sadly, too few scenes depict the cruel side of the system. How it truly treats its victims is something that a film like this should include. However, one such moment does so in a way that will rightfully both upset and infuriate. When her ex-husband is tired of his youngest daughter refusing to see him, Sandra is forced to go to court in order to keep custody of her children – a court case in which they question the relationship. In an outburst of emotion, Sandra pleads with the judge: “You always ask me ‘why didn’t you leave him?’ You never ask him ‘Why didn’t he stop?’” As one of the more heartbreaking moments of Herself, it stands as a reminder to the audience about just how important this film, and films like it, are.

The Verdict

An inspiring film filled with phenomenal performances, Herself is a heartfelt story about a survivor rebuilding her life one step at a time, with a team of wonderful people by her side and two delightful daughters. Although the tone of the film never seems to stay in one place, it is at times truly profound and will more than likely leave you teary-eyed. It ignites hope and reminds us that while there are those who will cause enough pain to make you feel completely alone, there are others who will go to great lengths to prove that you are not.

Rating: 7/10

Words by Libby Briggs

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Other reviews from the London Film Festival can be found here.