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Poland | UK 2025
Opening June 4, 2026
Directed by: Jan Komasa
Writing credits: Bartek Bartosik, Naqqash Khalid
Principal actors: Stephen Graham, Andrea Riseborough, Anson Boon, Kit Rakusen, Monika Frajczyk
“I’m the king and I’m fucking out,” Tommy (Anson Boon) announces well into a rampageous night of disco, drugs—Gabby (Savannah Steyn) shuns doing a line and is left behind—unscrupulous cavorting and carousing surrounded by hot babes and his mates. The nineteen-year-old is half-stumbling/walking and half-crawling along a deserted London street when his life changes irrevocably.
Concurrently, Rina’s (Monika Frajczyk) job interview seems to be going well until a couple of strange questions cause a reaction that, noticing, Chris (Stephen Graham) clarifies by asking “no addictions?” Relieved, Rina assures there are none… she really needs this job.
Tommy awakens to bird song and a dog’s collar in the cellar of some house as a young woman in the next room starts the laundry. Having arrived earlier, Ms. Rina is introduced to Chris’s trance-like wife and son, Kathryn (Andrea Riseborough) and Jonathan (Kit Rakusen), the house rules, and then Tommy – “thank you for not screaming.” Chris is Tommy’s main contact … trainer one could say whose actions are focused on encouraging positive behavior change. Tommy’s preening while watching his filmed/uploaded antics elicits a sharp rebuke from Chris, “This is not the movies, Tommy, this is real life.” As the daily routine develops, Kathryn seems to reemerge into the world around her; having earned trust, the four watch television together. Still, Tommy is determined to be free. And leave. Whatever it takes.
Polish director Jan Komasa’s genre defying film is spellbinding in its aberrations, social commentary and pulse-quickening, skin-crawling action. Forefront for Komasa was, “Is freedom still worth striving for in a world that craves attention, if no one sees you?” Bartek Bartosik and Naqqash Khalid’s compelling screenplay’s twists and surprises introduce topics and scenes that Komasa’s conjuring direction visually stretch, reinterpreting the meanings of normal, status quo, freedom. The cast brilliantly, believably portray their unorthodox characters’ emotionality. Heightening tactile signals is Michal Dymek’s mood-catching camera work; Agnieszka Glinska edits with adroit clarity; Abel Korzeniowski’s prudent, sweeping score and Fletcher Jarvis’s production design add salient psychological depth. What occurs in Heel is within the scope of current society’s perceptional reasoning, which is possibly the most troubling, and organic aspect. (Marinell H.)
ANOTHER OPINION BY BECKY TAN
Kathryn (Andrea Riseborough) and Chris (Stephen Graham) live with their ten-year-old son Sunshine, real name, Jonathan (Kit Rakusen). Chris does the cooking and Jonathan speaks English. Kathryn is their “princess.” They decide to “adopt,” i.e., take over the responsibility for Tommy (Anson Boon). He is nineteen and a bad boy with a history of drugs and violence during wild parties. Their method of “caring” for Tommy is to chain him onto a mattress on the floor in the basement. They “visit” him, bring food, and converse. Another “visitor” is the cleaning lady Rina (Monika Frajczyk), who comes to the basement to dust. His goal is, of course, to escape. Sometimes they all sit together watching the TV show Kes. Tommy begins reading books including To Kill a Mocking Bird.
We find ourselves “living” with a difficult patchwork family. Is Tommy in love with Kathryn? What is Rina’s relationship to her own family? Is there a secret history? Tommy asks, “Why did you take me? Who was here before? What did you do to him?” There are many good film close-ups. Actor Stephen Graham stars as the father. The most popular word is “fuck.” The original title was simply Good Boy. The second part: Wir wollen nur dein Bestes (we want the best for you), was added in order to distinguish it from the film Good Boy by Ben Leonberg which also opened in 2025. Our Good Boypremiered at the Toronto International Film Festival in September 2025.