Harris Dickinson as Jason and Lola Campbell as Georgie in Scrapper. Photo / Supplied
Harris Dickinson as Jason and Lola Campbell as Georgie in Scrapper. Photo / Supplied
When her mother dies and little Georgie is left to fend for herself, the self-sufficient tween is determined to make it on her own.
Fastidiously cleaning their council flat and rearranging the sofa cushions just so before she heads out to “work” nicking bikes, Georgie (extraordinary newcomer Lola Campbell)is swiftly working her way through the stages of grief with no time for self-indulgent mourning.
“I think I’m almost finished,” she states a couple of days in, when her best friend Ali (Alin Uzun) asks about the five-point checklist on the fridge.
Georgie’s got “I can look after myself, thanks” sorted. Pretending to live with her uncle “Winston Churchill”, she records the bloke in the corner shop so she can satisfy the regular phone calls from Social Services.
So when Georgie’s absent father Jason (Harris Dickinson) jumps the garden fence one day to begin a belated attempt at parenting, the 12-going-on-32-year-old vehemently resists. What ensues is a winsome, often hilarious, exquisitely performed black comedy about overcoming distrust and letting love in.
This feature debut of British writer-director Charlotte Regan is accomplished as well as charming. Her cinematographer is recent NZIFF visitor Molly Manning Walker (director of How to Have Sex), and in casting two talented first-timers (Campbell and Uzun are naturals as street-smart larrikins) against the experienced Dickinson, Regan has struck acting gold.
The star of The King’s Man and last year’s Triangle of Sadness is fantastic as the East London lad who leaves his fun-loving life in Ibiza to meet his wary daughter for the first time. But it’s the tiny Campbell who is absolutely captivating, with a maturity beyond her years. She is particularly impressive in scenes where dad and daughter bond through gentle ribbing and larking about.
The pair may bring to mind last year’s Aftersun, but while that film also portrayed a touching but troubled father-daughter relationship dotted with moments of magical realism, Scrapper is much funnier and more enjoyable. It’s not meant to be a ha-ha comedy, but Dickinson and Campbell’s perceptive portraits and evident bond touchingly bring together two odd bods who just need to realise that they need each other.
