The British road trip movie is a sorely under-explored genre. There’s so much cultural diversity across Britain that would perfectly suit this type of film, but for whatever reason it’s a niche generally left untouched. Fortunately, Black Dog is proof that this melding of grassroots British cinema and road trips narrative structure absolutely works. It’s tender, driven exclusively by great characterisation and powerful performances, and well worth checking out.
Black Dog follows two teenage Londoners on the cusp of adulthood. There’s Nathan (Jamie Flatters, who also co-writes), a child of the care system finding himself unmotivated and at a loose end, and Sam (Keenan Munn-Francis), who struggles with bullying, mental illness, and an eating disorder. After a chance encounter while Sam is mugged one night, the two end up on a road trip out of London up north, confiding in one another rather tenderly along the way.
It’s a setup that unravels in a very satisfying way across the 90-minute runtime, with director and co-writer George Jacques knowing exactly when to reveal more about each character. For example, the film doesn’t make it immediately clear why Sam, with his father’s permission, drives to Scotland – but when that reveal comes, it’s at a point where we’re invested enough in the characters for it to pay off wonderfully.
Black Dog is a two-hander in every sense of the phrase, completely anchored by the two leaders, their individual performances, and the chemistry between them. They couldn’t be more different: Nathan is cocky, rough around the edges, but undeniably charming, and Sam is vulnerable, tender, and reluctant to open up to anyone.
One thing Black Dog excels in is presenting these characters as flawed and at times hard to root for – which is exactly the point. After all, these are teenagers on the cusp of adulthood, both of whom have serious trauma and personal issues. It’s refreshing to see them mess up, behave poorly, and deal with the moral ramifications behind it. There’s one particular narrative swing that’s a little bit harder to stick with at the start of the third act, which is bound to prove contentious. My main issue was that it led to Flatters’ performance as Nathan—previously anchored by his undeniable boyish charm despite his flaws—losing said charm as the scenario gets unpacked.
What it does so well is give these characters and their performers time to breathe. With so much of the film set in a car, it forces Nathan and Sam to confront each other, dissect their issues, and grow closer. It’s not only a credit to the writing, but the behind-the-camera too: the reliance on natural light during these extensive driving sequences, and the blocking to get varied camera angles in a stuffy car.
It’s contrasted by scenes where the two boys get up to mischief and have a laugh – points where you remember that actually, these are young adults on the cusp of entering a world that they don’t gel with. There are some truly beautiful scenes watching their friendship blossom, frolicking in the sea and opening up to one another, that carry a real poignancy (and even some hints of Moonlight-style romantic tension). It’s important to see them forget their troubles, however briefly, to enjoy wryly funny banter and revel in being young, a repose these characters sorely deserve.
Black Dog is a dark film, but the emotional payoff behind it all is more than worth those tougher sequences. It covers a lot of heavy subjects but does so in a sensitive, gentle way that humanises these characters every step of the way – again, thanks in huge part to two different but very convincing leads. It’s one of the most tender and very best British films of the year, and is more than worth experiencing for its wonderful character development and novel concept.
★★★★
Black Dog releases on Apple and Amazon on August 19, 2024.
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