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True Things
Theatrical release poster
Directed byHarry Wootliff
Screenplay by
Based onTrue Things About Me
by Deborah Kay Davies
Produced by
Starring
CinematographyAshley Connor
Edited byTim Fulford
Music byAlex Baranowski
Production
companies
Distributed byPicturehouse Entertainment
Release dates
  • 4 September 2021 (2021-09-04) (Venice)
  • 1 April 2022 (2022-04-01) (United Kingdom)
Running time
102 minutes[1]
CountryUnited Kingdom
LanguageEnglish
Box office$140,688[2]

True Things is a 2021 British psychological drama film written and directed by Harry Wootliff, starring Ruth Wilson and Tom Burke.[3]

The film had its world premiere at the 78th Venice International Film Festival on 4 September 2021, and was released theatrically in the United Kingdom on 1 April 2022 by Picturehouse Entertainment. It received positive reviews from critics.

Synopsis

[edit]

Kate works in a benefits office in the English coastal town of Ramsgate. She is sleepwalking through life when a chance sexual encounter with a charismatic stranger awakens her. High on infatuation, she finds herself inexplicably drawn to this mysterious man. Hoping he will provide the escape she so desperately desires, she embarks on an emotionally dangerous journey that slowly begins to consume her.

Cast

[edit]

Production

[edit]

Ruth Wilson and Jude Law produced the film, alongside The Bureau, BBC Films and the BFI.[4]

Filming began in early 2020 but was halted due to the COVID-19 pandemic. Production resumed in September 2020 in Ramsgate, England, and Málaga, Spain, and wrapped the following month.[5] Other filming locations include the Kent towns of Margate and Broadstairs.[6]

Release

[edit]

True Things had its world premiere at the 78th Venice International Film Festival,[7] and also screened at the 2021 Toronto International Film Festival[8] and the 2021 BFI London Film Festival,[9] where it won the IWC Shaffhausen award.[10] In March 2021, Picturehouse Entertainment acquired UK and Ireland distribution rights to the film,[11] while North American distribution rights were acquired by Samuel Goldwyn Films that October.[12] The film was released theatrically in the United Kingdom on 1 April 2022,[13] and was released in theatres and on digital in the United States on 9 September 2022.[14]

Wootliff has discussed what appealed to her about the book, as well as the universality of the material for both men and women: "What I loved about it was the feeling of infatuation, of addiction to somebody [...] You know those relationships where you think 'why did I ever go there?' It's one of those."[15]

A sentiment articulated by critic Mark Kermode of The Observer: "Anyone who has ever defined themselves through the eyes of others, or sought self-worth in unworthy romance, will recognise both the agony and ecstasy of Kate's predicament."[16]

Critical reception

[edit]

True Things received positive reviews from critics. On Rotten Tomatoes, the film holds an approval rating of 81% based on 68 reviews, with an average rating of 6.7/10. The website's critics consensus reads, "Elevated by its stars' magnetic chemistry, True Things mines complex, character-driven drama from an ill-advised romance."[17] Metacritic, which uses a weighted average, assigned the film a score of 68 out of 100, based on 22 critics, indicating "generally favorable reviews".[18]

While it is commonplace for many male critics to overlook the formal abilities of female filmmakers, True Things was seen as a successful sophomore progression formally and cinematically, with Screen International's Fionnuala Halligan commenting that Wootliff "expands her range to a dazzling degree with her immersive second feature True Things (following on from the admired, if less formally-daring, Only You). This intoxicating tale of a woman and the wrong man in a rundown seaside town is adventurously delivered".[19] The film's lack of easy solutions, in relation to the protagonist being a complex and multi-layered female character, was noticed by Rebecca Harrison of Sight and Sound: "It feels frustrating because it's meant to: this is what it's like to care for this character... a film that refuses to simplify Kate's experience or force the character to give everything of herself away."[20] Tim Robey of The Daily Telegraph commented on the way society pigeon holes women like Kate: "There's something affecting about her struggle to be a normal person, doing what normal people do, while independently rebelling against the drudgery required of her to fit in", describing the role as Wilson's "best film work to date."[21] Kevin Mayer of The Times pointed to the inherent contradictions of complex and emotionally-led female characters, which is a cornerstone of Wootliff's film style: "Wootliff and Wilson create a central character who is irrational, sometimes infuriating, but always intensely sympathetic."[22]

On its US release, Sheila O'Malley of RogerEbert.com noted the film's assuredly grown-up perspective, "for those of you who miss films made by adults and for adults, films which treat things like sex and loneliness with respect and honesty, True Things isn't to be missed."[23] Nicolas Rapold of The New York Times singled out the camerawork "because it is the kind that is often described as 'intimate' but rarely pulled off with such Maysles-esque aplomb."[24] Referring to the central character of Kate, Noel Murray of the Los Angeles Times highlighted the use of PJ Harvey's song "Rid of Me" as a "simultaneously sad and thrilling assertion of her own right to exist".[25] Fran Hoepfner of The Wrap was drawn to the depth and complexity of the story, "A relationship like the one Kate pursues with Blond isn't fed by reason; it's fed by something larger and stranger and endlessly unknowable."[26]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

True Things

View on Grokipedia
from Grokipedia
True Things is a 2021 British psychological drama written by Harry Wootliff and Molly Davies and directed by Wootliff in her second feature-length project. It stars as Kate, a young woman working in a benefits office who becomes obsessively infatuated with a charismatic stranger referred to as Blond, played by Tom Burke, after a chance sexual encounter disrupts her monotonous life. The film is an adaptation of the 2010 novel True Things About Me by Welsh author Deborah Kay Davies, which explores themes of desire, submission, and emotional turmoil through a . The story centers on Kate's descent into an all-consuming affair that challenges her sense of self and stability, blending elements of erotic tension with psychological introspection. Filmed primarily in the seaside town of , , the production was backed by companies including Films, BFI, and Riff Raff Entertainment, with serving as one of the producers. True Things had its world premiere at the on 4 September 2021, in the Horizons section. It received a in the on 1 April 2022 and in the United States on 9 September 2022, distributed by Picturehouse Entertainment and , respectively. Critically, the film has been praised for the intense performances of Wilson and , as well as Wootliff's direction in capturing the raw volatility of unbalanced relationships, though some reviews noted its exploration of gender dynamics as occasionally uneven. On , it holds a 79% approval rating based on 68 reviews, with critics highlighting its "humidly intense" portrayal of amour fou. scores it at 68 out of 100, indicating "generally favorable" reception. The film's reception underscores its role in contemporary British cinema's focus on intimate, character-driven dramas about personal unraveling.

Plot

Kate works as a benefits claims officer in a drab office in , coastal , where she interviews frustrated claimants and navigates bureaucratic tedium, her days marked by lateness, sarcasm, and a pervasive sense of boredom that leaves her sleepwalking through life. Her routine includes unfulfilling lunches and evenings at the pub with her friend and colleague Alison, underscoring her isolation in the tacky, windswept seaside town, where and neon lights amplify a claustrophobic atmosphere. This monotony shatters when Kate interviews a charismatic, insolent stranger with dyed blond hair—whom she dubs "Blond"—recently released from a four-month stint, applying for benefits after losing his job. Drawn to his rakish grin and bold flirtation during the session, she impulsively skips lunch with him, leading to a raw sexual encounter in a nearby car park beside his Mercedes, igniting an intense passion that awakens a dormant side of her. What follows is an erratic romance: sporadic dates filled with outdoor swims, lakeside intimacy, and fervent declarations of connection, interspersed with Blond's hot-and-cold withdrawals that leave Kate anxiously checking her phone. As their liaison deepens, Blond invites Kate to for his sister's , though he arranges to meet her there separately, heightening her anticipation during the solo flight. Revelations emerge piecemeal—his criminal history, including vague " " for which he borrows her car and vanishes temporarily, and the existence of a young son—painting him as unreliable and manipulative, yet Kate clings to the highs of their encounters. Her transformation accelerates from initial infatuation to all-consuming obsession, mirroring an addictive pull that erodes her stability; she resigns from her job, seeks therapy to unpack her emotional turmoil, and resorts to self-destructive acts like obsessively searching his address on and him across Margate's coastal fringes. Ruth Wilson's portrayal captures Kate's vulnerability, evolving from quiet dissatisfaction to desperate yearning, while Blond's enigmatic cruelty underscores the relationship's toxicity. The narrative drives forward through this lens of emotional , with Kent's isolated beaches and rundown promenades heightening the sense of in her unraveling world.
!The story culminates in escalating desperation as Kate's fixation leads to further confrontations and revelations, though the film's resolution remains focused on her internal reckoning rather than tidy closure.!<

Background

Source material

"True Things About Me" is a 2010 debut novel by Welsh author Deborah Kay Davies, published by Canongate Books. The book employs a first-person narrative from the perspective of an unnamed female protagonist, capturing her internal monologue in a raw, stream-of-consciousness style that delves into themes of obsession and desire. This approach emphasizes the protagonist's psychological turmoil through short, snapshot-like chapters that blend hallucinatory clarity with everyday banality. The novel centers on the protagonist's consuming with a charismatic stranger she encounters at her job in a benefits , exploring the of her ordinary life through this obsessive relationship. In adapting the story for the screen in "True Things," director Harry Wootliff named the protagonist Kate to provide a more tangible anchor for the audience, while altering certain events to enhance visual pacing, such as expanding intimate scenes for dramatic effect. The film also tones down some of the novel's darker, more violent undertones, presenting the male character's abusive tendencies in a less explicit manner compared to the book's unfiltered portrayal. These changes shift the focus from the novel's intense internal obsession to a more externalized suitable for cinematic . Upon release, the received initial critical acclaim for its unflinching depiction of female desire and emotional vulnerability, with reviewers praising its pared-down prose and compelling momentum despite the disturbing subject matter. was subsequently named one of the 12 best new British novelists by TV's Culture Show, highlighting the book's impact on contemporary literature. While it did not win major literary awards, the work contributed to ' reputation for exploring the shadowy aspects of human relationships.

Development

The screenplay for True Things was co-written by director Harry Wootliff and Molly Davies, with Davies contributing earlier drafts before Wootliff took over the writing and directing duties. The film rights to Deborah Kay Davies's 2010 novel True Things About Me were optioned around 2018 by actress and producer , alongside and Ben Jackson of Riff Raff Entertainment. For the cinematic adaptation, Wootliff and her collaborators shifted the story's emphasis from the novel's first-person internal monologue to visual and sensory elements, using techniques like dream sequences and intimate to convey the protagonist's emotional and psychological immersion. Financing for the project came from , which supported development and committed to production funding, alongside The Bureau and producers including , , Ben Jackson, and Tristan Goligher. The provided significant National Lottery funding, awarding £1.28 million in production support in 2020, along with additional COVID-19-related grants to aid the delayed timeline. Development spanned from the rights acquisition in 2018 through script refinements and financing approvals into early 2020, when was originally slated to begin. The COVID-19 pandemic ultimately postponed filming, prompting BFI assistance to resume efforts. True Things marked Wootliff's second feature film following her debut Only You (), which premiered at the and earned her the British Independent Film Award for Best Debut Director. Wootliff's vision centered on female-led narratives exploring emotional vulnerability and risk, portraying complex women who defy traditional expectations of victimhood or . She became involved after Wilson, impressed by Only You, approached her to adapt the novel, leading to collaborative script revisions that deepened the themes of obsession as an addiction-like force driving self-destructive love. These drafts emphasized the protagonist's agency in her desires while interrogating the blurred line between passion and peril, drawing directly from the novel's core motifs of alienation and intoxicating .

Production

Casting

stars as Kate, the film's protagonist and a benefits officer whose life becomes entangled in a tumultuous relationship. As a producer on the project through her company , Wilson optioned the source novel in collaboration with Jude Law's Riff Raff Entertainment and approached director Harry Wootliff to helm the adaptation, directly influencing her casting in the lead role, which was announced in May 2019. Tom portrays Blond, Kate's enigmatic love interest and an ex-convict whose presence disrupts her routine. Wilson initially hesitated to cast , viewing him as "too cerebral" for the part, but after conducting a chemistry read, she selected him for the "tortured enigma" he brought to the character. The supporting cast includes as Alison, Kate's supportive colleague at the benefits office; as Mum, Kate's mother; Frank McCusker as Dad, her father; and as Nan, her grandmother. Additional roles are filled by as Mark, a brief romantic interest for Kate; Awoderu as Tash; and as Dave. These ensemble members provide the familial and social backdrop that underscores Kate's personal arc.

Filming

Principal photography for True Things began in early 2020 in , , , capturing the 's seaside setting to reflect the protagonist's environment. Production was halted shortly thereafter due to the and associated lockdowns, which disrupted many shoots worldwide during that period. Filming resumed in September 2020, adhering to strict COVID-19 protocols that included testing, social distancing on set, and limited crew sizes to ensure safety amid the ongoing health crisis. The production wrapped in late October 2020 after a total shoot of approximately six weeks, split between the initial pre-pause period and the resumption. Key locations in Kent's Thanet district provided authenticity for the story's coastal British backdrop, including Ramsgate for harbor and street scenes, Margate for residential and supermarket exteriors, Broadstairs for pub and hotel sequences, and Kingsgate Bay for a dream sequence. Additional exterior scenes depicting a romantic getaway were shot in Málaga, Spain, while interior office settings, such as the job centre, were filmed at the former Canterbury Christ Church University campus in Broadstairs. As an independent production with a modest budget, the film faced logistical constraints that necessitated efficient scheduling and , particularly under restrictions. The intimate scenes central to the narrative required the involvement of intimacy coordinator , who facilitated choreographed and consensual filming to protect the actors, including leads and Tom Burke. These measures helped navigate the challenges of depicting vulnerable, physical interactions while maintaining professional boundaries on set.

Release

Premiere

True Things had its world premiere at the on September 4, 2021, as part of the Orizzonti section, which focuses on innovative and boundary-pushing cinema. The event marked a significant debut for director Harry Wootliff's sophomore feature, adapted from Deborah Kay Davies's True Things About Me. Lead actress and co-star Tom Burke joined Wootliff on the and at the photo call, drawing attention to the film's raw exploration of obsession and . A post-screening Q&A with Wootliff highlighted the challenges of adapting the source material's introspective narrative, fostering early discussions on the film's psychological depth. Critics at the festival responded with initial buzz, praising Wilson's immersive performance and the film's unflinching depiction of a destructive , though opinions varied on its intensity. The film continued its festival circuit with screenings at the on September 14, 2021, where it participated in the Contemporary World Cinema program, eliciting conversations on modern relationship dynamics during a team Q&A. These appearances built anticipation ahead of wider releases, emphasizing the film's thematic resonance in diverse festival contexts. The premiere occurred at the 65th on October 10, 2021, serving as a showcase that celebrated Wootliff's rising profile. At the event, Wootliff was awarded the Filmmaker Bursary, recognizing her contributions to contemporary British filmmaking. The screening atmosphere reflected growing acclaim for the cast's chemistry, with attendees noting the film's provocative take on desire and consequence without delving into formal critiques.

Distribution

True Things was released in the United Kingdom on April 1, 2022, distributed by Picturehouse Entertainment for a limited run in arthouse cinemas. In the United States, the film had a limited theatrical release on September 9, 2022, through Samuel Goldwyn Films, coinciding with its availability on streaming platforms including digital VOD. Internationally, distribution remained limited owing to the film's independent status, with releases in select European markets such as on August 14, 2022; there was no wide global rollout. Festival screenings at events like and helped secure these modest territorial deals. Home media options included DVD and Blu-ray in the UK starting July 4, 2022, via Picturehouse Entertainment, while in the , physical releases followed digital availability in late 2022. By late 2022, the film expanded to major streaming services like and for broader accessibility.

Box office

True Things achieved a modest worldwide box office gross of $140,688, with all reported earnings coming from the . The film opened in the UK on April 1, 2022, earning $60,572 (approximately £46,200) over its debut weekend across 67 screens, resulting in a per-screen average of $904. In the United States, True Things received a on September 9, 2022, through , but generated no reported domestic box office revenue, underscoring its minimal commercial footprint beyond the . This performance aligns with the broader challenges for independent psychological dramas during the post-COVID recovery period, where limited screen allocations and reduced theater attendance constrained earnings for non-mainstream releases.

Reception

Critical reception

True Things received generally favorable reviews from critics. On , the film holds an approval rating of 79% based on 68 reviews, with an average rating of 6.7/10. On , it scored 68 out of 100 based on 22 critics, reflecting "generally favorable" reception. Critics widely praised the intense chemistry between leads and Tom Burke, which anchored the film's exploration of obsession and toxic desire. Variety highlighted their "hot chemistry" and described Wilson's performance as "gutsy and emotionally volatile" while calling Burke "riveting," noting how the pair conveyed a "thrilling yet misguided relationship" with authenticity. Director Harry Wootliff's handling of the material was commended for capturing the unease of obsession through a "spiky formal register" and "pulse-sensitive camerawork," establishing her as a notable British talent. Some reviewers noted pacing issues in the later acts, with the final portion feeling rushed and motivations vague. A few found the explicitness gratuitous, as in The Guardian's description of it as an "erotic flop" despite the actors' commitment. The film drew comparisons to a female-perspective take on in its depiction of unbalanced desire. In a notable review, awarded 3.5 out of 4 stars, praising it not as an but as a character study treating "sex and loneliness with respect and honesty." The Hollywood Reporter emphasized its strength in portraying emotional , though characters remained somewhat sketchy.

Accolades

True Things garnered several nominations and awards primarily from British and European film festivals, highlighting its recognition among independent cinema circles, though it received no nominations from major bodies such as the (BAFTA). At the 2021 (BIFA), the film earned a for for Ruth Wilson's portrayal of Kate, but it did not secure any wins. A notable accolade came for director Harry Wootliff, who received the £50,000 Filmmaker Bursary at the in October 2021. This prestigious award, supported by the , honors emerging British directors for their potential and innovative contributions to filmmaking. The film was featured in the Orizzonti competition section of the 2021 Venice International Film Festival, positioning it among innovative works vying for section awards, though it did not take home any prizes. Further honors included Ruth Wilson's win for at the 2021 , where her intense performance was praised for its emotional depth; the film was also nominated for Best Film. In addition, True Things won the Award for Best Original Score at the 2021 European Film Festival for composer Alex Baranowski's evocative music.

Themes and analysis

Themes

The film depicts Kate's infatuation with the charismatic stranger known as Blond as a compulsive , portraying as a destructive force that parallels through her escalating obsession and withdrawal-like symptoms of emotional distress and fixation. This motif is evident in Kate's rapid disintegration, where she prioritizes the intoxicating "high" provided by their encounters over her daily life, neglecting work and relationships in a manner reminiscent of addictive dependency. , who portrays Kate, describes this infatuation stage as feeling like "obsession or it feels like ," emphasizing the illusory, dream-like quality that blinds the character to reality. Central to the are themes of toxic relationships and dynamics, presented from a female perspective that underscores vulnerability, agency loss, and the critique of as a mask for manipulation. Kate's submission to Blond's hot-and-cold behavior exemplifies emotional and power imbalances, where her desire for connection leads to a destructive dynamic of control and dependency. This exploration incorporates class elements, contrasting Kate's stable life in her office job at a benefits center with Blond's instability as a recently paroled ex-convict, highlighting how socioeconomic differences exacerbate the relational toxicity. Wilson notes the film's focus on why individuals, particularly women, enter relationships where they are "blind to the realities," using Kate's story to illuminate gendered patterns of projection and unmet expectations. Isolation and self-discovery emerge through the coastal setting of , which symbolizes emotional entrapment and Kate's stagnant yearning for escape, mirroring her internal confinement within the obsession. The seaside town's mundane, humid atmosphere amplifies her loneliness, as seen in her detached home life with dead houseplants and empty fridge, holding others—and the audience—at arm's length. Ultimately, Kate's journey toward reclaiming her identity post-obsession unfolds in intimate solitary moments, revealing the raw truth of her self-worth and potential for change amid the lingering effects of trauma and low self-esteem.

Critical analysis

Harry Wootliff's directorial style in True Things emphasizes subjective intimacy through the use of extreme close-ups and handheld camerawork, which heighten the viewer's sense of unease and immersion in the protagonist's emotional turmoil. The fluid, hand-held shots, captured with an ARRI Alexa Mini in a 4:3 , create a claustrophobic atmosphere that mirrors the character's psychological descent, while non-linear fantasy sequences introduce emotional flashbacks to underscore relational decay. This approach draws influences from directors like and , whose character-driven films prioritize raw emotional expression over conventional narrative linearity. The film's visual design employs a muted color palette to evoke the drabness of , with Ashley Connor using Nikon AI-S lenses for a candid, unpolished aesthetic that contrasts with heightened, surreal colors in moments of frenzy. The score by Alex Baranowski amplifies underlying tension through subtle, pulsating motifs that accompany the protagonist's obsessive impulses, blending orchestral elements with electronic textures to reflect . Explicit scenes are handled with raw realism, facilitated by Ita O'Brien, who choreographed encounters to ensure performer safety and authenticity in depicting vulnerability and desire. As a product of UK independent cinema, True Things contributes to explorations of female psychology by centering an unnamed protagonist's inner world, adapting Deborah Kay Davies's to highlight the complexities of women's experiences in unbalanced relationships. Released in , the film resonates with contemporary discussions on and obsession, portraying relational dynamics through a female lens that echoes the novel's feminist undertones in its unfiltered depiction of emotional .

References

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