ΒιΆΉΤΌΕΔ

As if making your first UK feature film wasn't tough enough, writer/director Jan Dunn binds herself to the Dogme 95 manifesto. This means there's a lot of shaky-cam in Gypo, but Pauline McLynn (best known as Father Ted's tea lady) is a sturdy anchor as Helen, the long-suffering wife and mother who offers a hand of friendship to refugee Tasha (Chloe Sirene). Whenever McLynn is on screen, this earnest parable of racial tolerance feels more vibrant and engaging.

It begins like any number of kitchen sink dramas: in a poky council house with a baby wailing in the background and a lot of f-this and f-that. The noisy tot is Helen's grandchild who she's forced to care for while her teenage daughter (Tamzin Dunstone) nurtures her inner brat. Husband Paul (Paul McGann) is no prize either, bitter with his lot in life and blaming the influx of refugees. It's little surprise that he disapproves of Helen's friendship with a Czech Romany girl.

"SACRIFICES SUBSTANCE FOR SENSATION"

Just when you think you've seen it all before, Dunn tells the story again from a different point of view. In three concurrent strands, hypocrisies are exposed and rifts within the family are torn wider. It's all cleverly pieced together and becomes gradually more involving. Towards the end though, Dunn arguably goes a twist too far and sacrifices substance for sensation. At other times she pulls punches, glossing over the indignities Tasha is forced to endure (which also softens the finale). Still, Gypo is a poignant drama that benefits from being a little bit different.