Teenage Wasteland

Andrea Arnold navigates the murky waters of working-class adolescence in Fish Tank

By Bryan Johnson
Published: February 8th, 2010 | 10:15am

Sometimes growing up sucks and sometimes you hate the people you love and sometimes you trust people you shouldn't and sometimes you want to run away and sometimes all you can do is breakdance in a vacant apartment. Such is the life of 15-year-old Mia (Katie Jarvis), the protagonist of Andrea Arnold's moving Fish Tank, which won the 2009 Jury Prize at Cannes. It's a sincere look at the ups and downs of adolescence.

Through Mia's eyes, we see the bleak world she inhabits. She lives in a British housing project with a selfish, often-drunk mother (who we suspect never wanted children in the first place), and a bratty, acid-tongued little sister who provides some comic relief. Most of the action occurs within this oppressive clump of buildings and the immediate surroundings — parking lots, warehouses, and barren fields.

Mia fully occupies these spaces and can't seem to sit still: The camera, shot mostly handheld to an unsettling effect, follows her closely as she walks briskly, jostles around, and works on her choreography (she aspires to be a hip-hop dancer). She knows she's trapped and wants to free herself, but isn't quite sure how. It's quickly evident that her violent temper and prickly façade are defense mechanisms, masking the typical teenage fears, insecurities, and desires she can't quite wrap her head around. When her mother brings home the attractive, playful Connor (Michael Fassbender), things get complicated. Mia lets him assume a fatherly role as she simultaneously develops a crush on him — and his ever-shifting responses add a layer of tension to the story.

The film succeeds on many levels. Arnold's script is wonderfully paced. Nothing feels forced, rushed, or extraneous. Relationships between the finely drawn characters grow or deteriorate realistically over time, and the acting is superb. Fassbender really shines as Connor, a role that comes on the heels of an amazing performance in 2009's Hunger. With quiet control, he plays this character just right, one-upping Peter Saarsgard's turn as David in last year's An Education as a man who may or may not be hiding dubious motives.

However, the real star is Katie Jarvis. Jarvis (who grew up in a similar neighborhood in Essex and became a mother at age 16) was discovered and cast after publicly arguing with her boyfriend on a train platform. Her performance is pretty close to fearless and Hollywood has taken note. She already inked a contract with an agent in the States.

Arnold also deserves to be celebrated. Along with Shane Meadows (Somers Town), this writer/director is calling attention to up-and-comers in British independent cinema, and I thank her for it. Here, she treats each character with love and respect, and stays true to the difficult situations presented without ever resorting to melodrama. She doesn't force emotion onto her audience, refuses to moralize, and poetically captures the everyday struggles of growing up and wanting to be loved. It's what Precious could have been, without the heavy hand and sentimentality.