Roxanne

The scouts

Everyone expects this premise to be either exploitation or heavy-handed morality play, but Frankl refuses both—he lets the relationship breathe in ways that actually *complicate* your sympathies instead of settling them, which is rarer than it should be.

A formally restrained piece that understands the British social realist tradition without genuflecting to it; the editing moves with real patience, letting silence and spatial geography do the emotional work that lesser films would hand to music.

The film's entire architecture hinges on a single recurring choice—how Frankl frames Roxanne and Lily in the same space—and watching that visual language shift from guardedness to tentative communion is where the whole delicate economy of the piece lives.