To Nowhere echoes a lot of heavy themes from the offset but never quite follows through on them. It has the aura of your standard coming-of-age film and yet feels half-hearted in this approach.
★★✰✰✰
To Nowhere is the feature film debut of director Sian Astor-Lewis. The film collected multiple awards at various independent film festivals in the likes of Paris and Sweden. It is set for a theatrical release later this year after performing well with the critics.
At the heart of this project is a case study of the two leading girls, Tulip (Lily Lesser) and Finn (Josefine Glæsel). They are navigating the trials and tribulations of teenage life as they try to find their place in the world. At such an age, they are experimenting in many different ways, whether it be with alcohol or sex. In the bustling city that is London, and with trauma in their past, Tulip and Finn could become as close as ever, otherwise they risk losing each other.
From the outset, Astor-Lewis lays a lot of heavy themes on the table for the lead characters to deal with. Alcoholism, abuse and—of course—love are at the fore, all of which help make this a very authentic project. As is often the case with small-budget productions, the acting is at the heart of it all and, love them or hate them, it has to be said that Lesser and particularly Glæsel are hugely engaging individuals here, most notably when they are in each other’s company.
However, on the topic of these weighty ideas, one place where To Nowhere struggles is that they linger in the background at times. Occasionally, that can be a powerful approach, but it felt as if this film could have been propelled further forward by the emotional trauma that is hinted at. We are briefly made aware of the alcoholism and abuse at play both in the present and the past, but nothing more is done with it after the initial introduction.
When it comes to potential inspirations, the coming-of-age genre comes to mind straight away. Stand By Me (1986), Lady Bird (2017) and The Perks of Being a Wallflower (2012) are just a few of the leading lights beloved by many in that department, however, To Nowhere is sadly more of a wannabe coming-of-age film. It could have a lot of depth but at the end of the day, the movie doesn’t really go anywhere. A major criticism would be that it moves so fast without actually going anywhere.
To Nowhere boasts a very small cast, with just three main figures. On top of that, the two lead names are very contrasting characters: whilst Finn is opinionated and outspoken, Tulip is a delicate and quiet soul. This duality between the pair is really fascinating but again, we are left with more questions than answers to it come the end. Stanley (Orlando Seale) is the only other person to get significant screen time and, whilst he is a middle-aged man, he is undertaking the same life lessons and exploration as the younger pair. The experimental element of youth is fascinating and seeing how that intertwines with an older family member who himself is unsure of where life is taking him should really have been explored in greater detail—we are somewhat left in the dark regarding the intricacies of their relationship with Stanley. On the whole, it felt as if To Nowhere barely scratched the surface.
The raw, real and rocky relationship on show is heartfelt, but everything around it lets the film down. Alcoholism and abuse enhance what we know of the couple but these themes don’t go any further.
The Verdict
To Nowhere feels very unfinished and unpolished. The tag of a wannabe coming-of-age film is strong but there is some merit there, particularly with the end of the film lacking a true conclusion—one that shows us how their lives have moved along in some way, perhaps.
To Nowhere will be launched at Soho’s Curzon Cinema on June 30th
Words by Jamie Rooke
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