In Paul Andrew Williams’ latest effort, Dragonfly, screened in the International Narrative Competition at this year’s Tribeca Film Festival, and also announced to feature in the Special Screenings strand of the upcoming Karlovy Vary International Film Festival (see the news), Elsie (Brenda Blethyn) is an elderly widow who lives on her own. After she suffers a minor injury, her son John (Jason Watkins), who lives far away from his mother, arranges for in-home caregivers to assist her. Nonetheless, her only meaningful human connection appears to be with her lonely neighbour Colleen (Andrea Riseborough), whereas the women who visit her seem distant, their presence more a matter of duty than of genuine concern. Colleen is a young woman who seems to struggle to fit into society, and only seeks companionship with her scary-looking Pitbull, before becoming friends with Elsie.

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Dragonfly was shot on 16 mm by director of photography Vanessa Whyte, a choice that beautifully captures the emotional core of the story. Its grainy look makes the story feel both dated and timeless, while the plot addresses a topic that goes beyond generations. Elderly individuals left alone, especially in suburban settings like the one portrayed in the movie, often feel like burdens to their children and caregivers, which only intensifies their loneliness. In a film like Williams’, where emotional nuance is central, Riseborough’s performance is breathtaking. Every glance, every movement and every word that Colleen delivers is conveyed with remarkable precision, resulting in what could possibly be one of the year’s most powerful turns. Blethyn is equally compelling, bringing a tender vulnerability to her role. Her portrayal is quietly devastating and, at times, evokes Ellen Burstyn’s Sara Goldfarb in Requiem for a Dream, particularly in scenes where she sits silently in front of the television. In her desperate search for companionship, she is portrayed as deeply human, and the natural chemistry between her and Riseborough is undeniable.

From a production standpoint, the film features a minimalistic and intimate setup, which also proves highly effective. The movie recalls classic British works dealing with social issues, infused with subtle interpersonal conflicts that evoke Mike Leigh’s style – and not merely due to Blethyn’s past role in his acclaimed Secrets & Lies. The repetition of everyday actions builds a sense of familiarity with the audience, only for the film to later disrupt that rhythm with the emotional tension that arises between the two women.

Notably, the decision to keep the director relatively "anonymous" or, rather, "invisible" feels particularly sensitive and is, arguably, the most fitting approach for a story of such quiet depth. The audience is subtly intruding into these women’s lives while watching their loneliness from afar. In fact, many camera movements rely on zoom-ins, which are at times even slightly unsteady, to reinforce a sense of discomfort and emotional closeness.

Finally, the slow burn leads to what feels like a brief and underwhelming conclusion, which is possibly the film’s least compelling moment, paradoxically. Despite a sense of tension building throughout, the resolution feels hesitant and ultimately predictable. What comes before is far more nuanced and engaging, making the final payoff feel somewhat like a crowd-pleasing compromise. The film, however, is one of a kind and serves as a quietly powerful portrait of two memorable characters.

Dragonfly was produced by the UK’s Giant Productions and Meraki Films Ltd. Its international sales are handled by Alliance Media Partner International.