A chaotic and brilliant mockumentary into why giving the upper class a camera isn’t always a good idea.
Lady, directed by Sam Abrahams, is a mockumentary that blends satire, surrealism and character-driven storytelling into something that feels both unusual and refreshingly confident. Framed as a documentary following an aristocratic woman determined to reclaim the spotlight, the film quickly moves beyond its premise, leaning into unpredictability and imaginative storytelling.
At the centre of the film is Sian Clifford as Lady Isabella, a narcissistic yet oddly endearing aristocrat who hires a filmmaker to document her life. Clifford’s performance is the clear highlight, bringing energy, humour and surprising emotional depth to the role. What could easily have become an exaggerated caricature instead feels layered and engaging, with moments of vulnerability cutting through the character’s more theatrical tendencies. Her presence gives the film a strong anchor, ensuring that even its most surreal turns remain watchable and grounded.
The narrative follows a struggling filmmaker drawn into Isabella’s world under slightly questionable circumstances, setting up a dynamic that allows the film to explore control, perception and the blurred line between performance and reality. As Isabella’s desire for attention intensifies, the film becomes increasingly playful in its structure, moving between mockumentary realism and something far more surreal. This shift gives the film a distinctive identity, setting it apart from more conventional comedies.
Visually, Lady makes strong use of its stately home setting, using wide, open spaces to reflect both grandeur and isolation. The scale of the environment contrasts effectively with the personal nature of the story, reinforcing the sense that Isabella is performing not just for the camera, but for an audience that may not be there. This attention to visual detail adds to the film’s overall tone, helping to create a world that feels slightly detached from reality.
What makes Lady particularly enjoyable is its willingness to fully commit to its ideas. The humour is dry and often unexpected, while the more surreal elements are used to reflect the character’s internal struggles rather than simply for shock value. There is a sense that the film understands its own eccentricity and leans into it confidently, resulting in something that feels both distinctive and memorable.
Beneath the satire, there is also a surprising emotional core. Themes of loneliness, identity, and the desire to be recognised are woven throughout the film, giving it a level of sincerity that balances its more absurd moments. This combination of humour and emotional depth allows Lady to resonate beyond its initial premise, offering more than just surface-level entertainment.
Overall, Lady is a confident and imaginative debut that succeeds through its originality and strong central performance. Anchored by Sian Clifford’s magnetic portrayal, it delivers a film that is as strange as it is engaging, blending comedy and character study into a uniquely entertaining experience.
The Manchester Film Festival runs until the 29th of March. Tickets here – https://manchesterfilmfestival.app/home
