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The British comedy starring Sebastian Koch (The Lives of Others), Felicity Jones (The Tempest) and Jessica Brown Findlay (Downton Abbey) sees the truly amazing granddaughter of Sir Arthur Conan Doyle working to be a cleaner at a family run hotel in an English seaside town. Her name is Emilia and she makes such an impression on the family which they invite her for dinner, where her unusual attitude to life and constant confidence as well as sarcasm have different effects on each family member, themselves a troubled great deal. Of course the father, Jonathon, wants to give the girl “writing lessons” (yeah, sure) and hang out with her. He’s an once profitable writer who had popular with his book The Cliff House, which brings-up in conversation no less than ten times a day time, to which his wife will point out that his follow-up, Mental Interiors, was a huge washout. Emilia sees right by means of him, but finds time in order to mess him around as well as flirt anyway. Beth, the daughter of the family unit is heading to Oxford Uni, but wants to rebel a little bit before she starts any life of student bookwormship. She and Emilia turn into close, but the plot incorporates a few tumbles in store for the kids (and we have a scene in which Beth endeavors smoking grass for once, guess whether or not she’ll cough just a little and hand it again). The mother, played with real zeal by Julia Ormond, hates Emilia right off, and with good cause really, a failed actress herself she sees just what this little tramp is as much as, or at least feels she does. It all adds up to and including pretty satisfying little comedy/drama, which reminded me to some degree of ‘An Education’ but without worrying about backdrop of the nudists 60′s. Emilia’s character, played well by Findlay, threatens at certain points to be just that little little bit too knowing, wise and dare We say it, quirky (she has on mismatched earrings and deals with wise elderly relatives) but she keeps the type just vulnerable enough that people don’t lose sight of Emilia’s more human, earnest qualities. (Her mother as an example, committed suicide, twice)It’s not an exceptionally taxing film, light hearted and fun could be the order here, but it’s got very good performances and direction of very decent quality, there are laughs too brought forth mainly by Jonathon’s clumsy attempts with flirtation, and Emilia’s pithy a single liners and scathing set downs. It’s not going to be able to win any Oscars, but it won me over from the end and I must admit I wasn’t confident going in that I’d enjoy this. Do yourself a favour and follow through out if you obtain the chance. Making its world premier at the EIFF 2011, Niall MacCormick’s coming-of-age comedy-drama Albatross will be destined to be just about the most talked about and beloved British films with the year, not least because this balances feel-good laughs with pertinent issues for everyone ages. The film follows would-be article writer Emelia (Jessica Brown leafy Findlay) who uses a job as a cleaner in a very seaside hotel owned through frustrated writer Jonathan (Sebastian Koch) along with his family. She soon befriends his / her daughter, Beth (Felicity Jones), and naively gets a part of the writer while managing her personal issues in addition to home life. Aside from the wonderfully observant script by Rafn, the cast is why is Albatross work so nicely. Standing out is Koch (world cinema fans will recognise him because the lead from the Oscar-winning This Lives of Others) because Jonathan who seems struggling to resist Emilia who comes along at just the right/wrong moment (according to how you look at it) as he is actually struggling to replicate the earlier literary success when his marriage is start to break down; Felicity Jones as Jonathan’s optimistic student who starts for you to let her hair along; and particularly relative newcomer Findlay as the charming and conflicted Emelia who makes this family’s life like a whirlwind. The film jumps effortlessly between touching human drama and true-to-life humour (occasionally from one moment to another), never once feeling like its two varieties of movies vying for screen-time as is so often the case. Everything from the forbidden relationship between Jonathan as well as Emelia to her difficult home life rings completely true, belying the inexperience of Rafn to be a screenwriter. Albatross is exactly that which you hope for from any coming-of-age “dramedy”: cute without being schmaltzy, sweet without being quite sickly, insightful without being preachy. With a dynamite debut piece of software from Rafn, Albatross is just about just like this sort of thing gets and is easily the most effective films of the EIFF 2011 to date

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