![]() I used to think Neil was just just an idiot, like, Why is he telling him to do this? Why wouldn't he want to have Hilary supported? But it's just because he knows more about the situation, because he's probably grown up around people with mental health issues. And that's, I think, the driving force behind why Stephen leans in a lot more. The fact that Stephen doesn't know what this world is-and he's seen Hilary for who she is-he feels like he can get back to that. It’s because knows more about that situation. MW: I think it was equally interesting that someone like Neil, who really cares for Hilary, wasn't necessarily saying that helping is a bad thing. And watching these two people care for each other against all the odds is a beautiful thing to witness and something that we can all learn from. OC: Yeah! I don't know if that was intentional, but I certainly think that's what you can take from it: external influences that have impressed themselves upon your private relationships and they shouldn't. Do you think the film is saying you can be there for someone even if you don’t know how to be? MC: Despite not being able to understand the entirety of each other’s experience, Hilary and Stephen have a willingness to be there for each other anyway, even if they do it in a clumsy, awkward way. It's only when people know, when people find out and they know that people know, it becomes different, because then those things that make them outcasts are visible, to a certain extent. And what the outside world thinks, it doesn't matter. MW: That's what’s special: When they're alone it's like none of that matters…it's just them, it's just their souls. Here, she and Ward unpack the power of finding love and community during dark times. “It was a little ad hoc family!” Colman tells Marie Claire of the characters’ relationships. With the exception of the cinema’s predatory manager, played by Colin Firth, the employees embrace Hilary and Stephen with care and concern, and act as a shield to their otherwise sometimes crushing isolation. Their connection seems to transcend their myriad surface-level differences, seeing only each other’s humanity.ĭespite the very real trauma these two vulnerable people experience-racism, mental illness, social stigma, sexual harassment-they find a path towards the light. When Ward’s character, Stephen-Black, just out of school, with a unique perspective on music and film-also starts working at the theater, the two soon become involved. She keeps to herself, but it quickly becomes clear as the film unfolds that she lives with a mental illness for which she takes lithium (a diagnosis is never named, but she experiences episodes of mania). In the film, Colman’s character, Hilary, is a white, 40-something employee at a movie theater in a coastal English town.
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