THE STORY – Behind the walls of a young offender institution, Troy (Tut Nyuot) is thrust into a brutal world of gangs, loyalty and violence. From the moment he arrives, he is tested. Paired with a volatile cellmate, Troy is forced to deal with daily threats and power struggles. An unspoken bond with a fellow inmate offers solace in the oppressive environment, but their growing connection becomes a dangerous vulnerability. As Troy’s welfare officer Claypole tries to reconnect him with his estranged mother, Troy is increasingly caught up in the institution’s brutal hierarchy and is eventually forced to make impossible choices. And when violence erupts, Troy finds himself isolated and confronting his deepest fears. In this unforgiving world, where survival means betrayal and trust can be weaponised, Troy must navigate a path between the person he once was and the one he is in danger of becoming.
THE CAST – Tut Nyuot, Vladyslav Baliuk, Sekou Diaby, Stephen Graham & Sharon Duncan-Brewster
THE TEAM – Ashley Walters (Director) & Nick Love (Writer)
THE RUNNING TIME – 90 Minutes
Ashley Walters has been a presence in the entertainment industry for decades, having appeared in British TV shows such as “Top Boy,” films like “Bullet Boy,” and, most recently, earning accolades for his performance in “Adolescence.” Walters has taken the leap and shot his debut feature film as a director, “Animol,” a gritty, authentic British film about youth violence, UK prison culture, and maturing without role models in a masculine environment.
The film begins as Troy (Tut Nyuot) arrives at a coastal young offenders institute. He’s there under murder charges, but they’ve yet to confirm his fingerprints on the body. The murder is not shown; the audio of the incident is heard, so we’re led to assume he’s guilty. Inside the prison walls, gang culture reigns supreme as Troy is quickly recruited by a young man named Dion (Sekou Diaby) to bring in a burner phone, “where the sun don’t shine.” This instantly propels Troy into life in prison, constantly fearing for his safety, as almost everyone around him is volatile and violent.
Troy strikes up an unassuming friendship with a Polish inmate (Vladyslav Baliuk), aptly nicknamed “Lewandoski” by those around him. He is the only person Troy trusts, so he gets him involved in his shady activities because he has a knack for yapping. This distracts the guards as Troy sneakily collects drug drops from the outside world. It’s clear that the danger posed by those around him, whether it’s Dion or others, Troy deems it necessary to do anything for survival. Naturally, Troy cannot avoid violence; as things heat up, he becomes increasingly isolated, and his very existence is threatened. Meanwhile, Troy’s welfare officer, Claypole (Stephen Graham), tries to reconnect him with his mother (Sharon Duncan-Brewster). She’s a single mum, one year sober, and just recently got a two-bed flat in Stoke Newington, London. Troy isn’t alone, but he must endure hardship, fear, and pain to discover who he truly is as a young adult.
Walters tackles a subject that has long been taboo in the Black community; the director himself has stated this in interviews about the film. Being homosexual or bisexual is often looked down upon, but here Walters explores the theme in the most masculine-filled setting, which adds to the tension of the film. Liking another guy was certainly not on the cards for Troy when entering the young offenders unit; it’s as unpredictable for him as it is for the audience. The moment he kisses his Polish comrade is a short, sweet release, but it comes with consequences. Troy isn’t allowed to reckon with his choices, instantly bottling his feelings up as he focuses on survival. It’s not until the ending that he breaks down; only outside those walls is he free to think and act in a way he pleases. Navigating emotions in such a tense, toxic masculinity-filled environment is undoubtedly hard for anyone. He has no positive male role models, so there was always a danger he’d turn out like the hatred-filled boys around him.
The film is autobiographical for Walters, having been in a young offenders institute himself, he knows the culture all too well. Walters is working within his comfort zone here; the language is very South London with endless slang and “roadman” talk. It’s very culturally specific to the Black experience in London, but also to those who grew up with glimpses of that environment in London. For Americans or people unfamiliar with how some Londoners talk, the dialogue may seem over-the-top, but for Londoners like me, every word rang authentic.
Cinematographer Tasha Back does a fantastic job of visualising Walters’ vision. The opening shot is lit with warm tungsten lights, illuminating Troy’s glum face as he is driven to prison. The gritty feel is established right away, with Back’s camera getting right up in the characters’ faces and lighting them in a harsh, but realistic, way. At times, the lighting becomes quite stylistic, with deep blues strewn across the screen as moonlight; it’s striking. Or a later homage to Spike Lee, with a dolly zoom completely lit in red. These moments show some burgeoning creativity in Back and Walters’ vision; they aren’t afraid to show some personality and be a little out-there.
The performances are nothing short of excellent. Off the back of “The Long Walk,” Tut Nyuot shines as the protagonist. He says little but constantly emotes through his captivating eyes. Nyuot disappears into the role; he plays everything so well, whether it’s pent-up emotions like anger and fear or occasional joy. He’s easy to empathise with; it’s clear that Troy is a good young man who’s been forced into this lifestyle and is just fighting to survive. His isolation and the extent to which he’s manipulated are frightening and eye-opening as we are given an insight into prison culture in the UK. Diaby is a newcomer who stands out for his threatening and controlling performance as Dion, while Stephan Graham shines as a figure of authority and trust in the few scenes he has.
Ashley Walters has done a stand-up job in making his directorial debut. It’s clear that his insight and passion for authentically displaying UK culture are a gift, and he has something important to say. Without positive male role models, young people surrounded by poverty or living life on the edge are bound to end up down dark paths. As for Troy, his journey allows him to weather the literal storm of life in prison and emerge as a changed man. Although it’s not a groundbreaking film for UK cinema, it’s a solid entry into showing this side of London culture to the rest of the world. Not everyone is posh, rich, and civilised like they are in “Downton Abbey”; there is a whole lot more to the country’s people.
