A provocative new cinematic offering is poised to ignite conversations about history, morality, and the very nature of storytelling itself. The first trailer for “Think of England,” the hotly anticipated satirical WWII drama from BAFTA-nominated writer/director Richard Hawkins, has officially been released, promising an unflinching and darkly humorous exploration of an enduring wartime urban myth. Hawkins, known for his incisive work on films like “Theory of Flight” and “Everything,” delves into a controversial chapter of alleged history, prompting audiences to question the boundaries of ethical conduct under extreme pressure.
The film takes its audacious premise from a persistent rumor that during the darkest days of World War II, Winston Churchill’s U.K. government secretly commissioned the production of pornographic films. The purported aim? To bolster the flagging morale of Allied troops desperately awaiting the pivotal Normandy landings. This intriguing, albeit unverified, piece of folklore serves as the launchpad for a narrative that is as much about the human cost of war as it is about the manipulative power of images and the shifting sands of societal norms.
Having already made its initial debut to critical interest at the Tallinn Film Festival, “Think of England” is now set to grace U.K. screens, making its highly anticipated national premiere at the prestigious Glasgow Film Festival on March 6th. This festival selection underscores the film’s artistic merit and its capacity to engage audiences with its complex themes, positioning it as a significant entry in the independent cinema landscape of the year.
Set against the stark, isolated backdrop of the Orkney Islands in the summer of 1943, the narrative unfolds with the palpable tension of an impending invasion. The Normandy landings, a turning point in the war, are on the horizon, and the troops on the front lines are teetering on the brink of despair. It is into this crucible of anxiety and urgency that a disparate group of individuals is assembled, each selected for a specific, seemingly indispensable skillset. Their mission, shrouded in the highest secrecy, is to embark on the controversial task of producing the aforementioned pornographic films, believed by some to be the unlikely key to reigniting the spirits of the weary soldiers.
The film meticulously chronicles the struggles of these assigned characters as they grapple with the profound ethical dilemmas inherent in their task. Conscience battles coercion, and fear looms large over every decision. Hawkins masterfully crafts a darkly satirical story that transcends its immediate premise, delving into universal questions: Who possesses the authority to draw society’s moral lines? Who is charged with enforcing these boundaries? And, most critically, what happens when these lines are not just blurred but irrevocably crossed under the immense, existential pressures of total war?
Beyond its compelling narrative, “Think of England” is also a testament to a particular philosophy of filmmaking. It was shot under the guiding principles of Ted Hope’s NonDe movement, an approach that typically champions independent spirit, creative freedom, and a commitment to challenging conventional industry norms. This ethos likely informs the film’s gritty authenticity and its willingness to tackle taboo subjects with an unvarnished honesty, distinguishing it from more mainstream productions and reinforcing its status as a work of bold, independent cinema.
The ensemble cast assembled for “Think of England” brings a wealth of talent and experience to these complex roles. Ronni Ancona, celebrated for her versatility in “Big Impression” and “EastEnders,” portrays Agnes Duprée, the astute wardrobe and makeup artist. Her character is pivotal, representing the creative hand behind the controversial images, and likely navigating the intricate balance between artistic integrity and the demands of the mission. Agnes’s perspective offers a unique lens through which to examine the objectification and commodification of the female form, even in the name of national interest.
Leading lady Natalie Quarry, recognized for her role in “Call the Midwife,” embodies Holly Spurring, a character whose journey is central to the film’s exploration of agency and vulnerability. Holly’s involvement in the production of these morale-boosting films undoubtedly places her at the heart of the moral maelstrom, compelling audiences to consider the personal sacrifices and ethical compromises demanded of individuals during wartime. Her performance promises to be a nuanced portrayal of a woman navigating an unprecedented and morally fraught situation.
Jack Bandeira, known for his work in “The Gold” and “Andor,” takes on the role of Corporal Evans, a leading male figure within the production. His character, along with the other male members of the team, will likely confront their own definitions of duty, masculinity, and the societal expectations placed upon them as soldiers. The interplay between the male and female characters, especially within the context of producing sexually explicit material, is ripe for examination of power dynamics and gender roles prevalent in the era.
Olivier award-winner John McCrea, acclaimed for “Everybody’s Talking About Jamie,” plays Captain Anthony Clune. As a military officer, Captain Clune likely represents the institutional authority and the strategic imperative behind the mission. His character will be crucial in illustrating the top-down pressures and the bureaucratic justifications for actions that might otherwise be considered morally reprehensible. The tension between his military duty and personal conscience is expected to be a key dramatic driver.
The supporting cast further enriches the film’s tapestry of characters, featuring talents such as Ben Bela Böhm from “Better Call Saul,” Oscar Hoppe of “All the Light We Cannot See,” and Ollie Maddigan from “The Olive Boy.” Their collective performances are poised to bring to life the diverse perspectives and internal conflicts of individuals caught in an extraordinary and ethically challenging undertaking.
Behind the camera, “Think of England” is a project helmed by the unique father-daughter producing duo, Nick and Poppy O’Hagan, for Giant Films. This family collaboration brings a distinct dynamic to the production, perhaps allowing for a broader, more intergenerational perspective on the film’s themes of morality, history, and the evolution of societal values. Their partnership underscores a shared commitment to bringing complex and thought-provoking stories to the screen.
The producers and director describe “Think of England” not merely as a historical drama, but as a “controversial film about cinema itself.” This meta-narrative layer invites audiences to reflect on the intrinsic power of moving images – how they have “historically tested, challenged, and redrawn the boundaries of what audiences are willing to see.” From early cinema’s shocking innovations to modern-day streaming content, film has consistently pushed the envelope of public decency, artistic expression, and social commentary. “Think of England” uses its wartime setting to dissect this phenomenon, exploring how the medium can be deployed for propaganda, morale-boosting, and ultimately, as a mirror reflecting societal anxieties and desires.
Crucially, the film, while firmly rooted in its 1940s context, also “shines a light on the institutional misogyny and homophobia of the era.” This is a particularly vital aspect for contemporary audiences, especially those on a women-focused platform. The film is expected to dissect how these prejudices were embedded within military structures and broader society, influencing everything from the perception of women to the treatment of LGBTQ+ individuals. By confronting these historical biases, “Think of England” allows its “unlikely characters to gesture toward a more tolerant future.” This forward-looking perspective, even amidst the grim realities of the past, offers a powerful message: it reminds us to “continually question the sensibilities and censorship of any age, including our own.” In a world where debates around free speech, content moderation, and historical revisionism are constant, the film’s reflections on censorship and societal norms are profoundly relevant.
The unveiling of the trailer provides a tantalizing glimpse into this ambitious and thought-provoking film. It promises a visually compelling experience, shot against the rugged beauty of the Orkney Islands, juxtaposed with the inherent tension of its controversial subject matter. Audiences can expect a careful balance of dark humor, dramatic tension, and profound ethical inquiry, all wrapped within a meticulously crafted period piece. The trailer is an invitation to engage with a story that challenges perceptions, provokes debate, and ultimately, seeks to illuminate the enduring complexities of human morality and the power of cinema to shape our understanding of the world.
This film is not merely a recounting of a historical anecdote, but a profound meditation on the compromises made in times of crisis, the often-unseen sacrifices, and the enduring human struggle to define right from wrong. By tackling such a contentious and under-explored aspect of WWII lore, “Think of England” is poised to be a significant cultural event, prompting discussions that extend far beyond the cinema screen and resonate deeply with our current societal dialogues about ethics, power, and representation.
