The Inheritance

In the nether fields of no budget filmmaking the script is king, which is why The Inheritance kicks off with such an advantage. Tim Barrow’s screenplay – let’s call it a diatribe – is starkly honest. There are no polite references to Scotland’s heritage, midges-to-go scenery, or family bonds that heal the wounds of separation. This is the story of two brothers who hate each other on a journey of selfdiscovery. What they’re looking for are pots of gold. What they find is themselves.

David (Barrow) is a skinny rat of a man, who has misspent the last five years in London. Fraser (Fraser Sivewright) stayed in Edinburgh, was mummy’s boy until mummy died and knew that dad preferred the prodigal exile to him. Now the old man is dead and David has taken the train up north in the hope of cashing in on the spoils. Naturally, he’s late for the funeral, but on hand when Fraser opens the safe in dad’s workshop. Inside they find a key and a note, saying that they must go to Skye where they will find what they are looking for.

Essentially a two-hander, this is a film of astonishing conviction. Charles Henri Belleville directs with the vigour and confidence of a man who knows where he’s going, unlike his protagonists, and Chris Beck’s cinematography is exceptional by any standards.

*Screening with the short film La Foret (Daniel Graham / England / 13 minutes) The story of a man and his young daughter who are forced to leave the safety of their home as the father searches for work.