'Peaky Blinders' star Joe Cole and director Clio Barnard on class, masculinity and modern Britain
Premiering in the Directors' Fortnight section at the Cannes Film Festival, "I See Buildings Fall Like Lightning" is Clio Barnard's adaptation of Keiran Goddard's acclaimed novel about five childhood…
Premiering in the Directors' Fortnight section at the Cannes Film Festival, "I See Buildings Fall Like Lightning" is Clio Barnard's adaptation of Keir
Read Full Story at France 24 →Why This Matters
The adaptation of Keiran Goddard’s novel by Clio Barnard marks a rare intersection of literary depth and cinematic experimentation, particularly in how it interrogates class and masculinity through a distinctly British lens. For audiences accustomed to historical dramas, this film’s contemporary relevance—rooted in economic precarity and fractured social identities—signals a shift in how modern Britain is being mythologized on screen. The collaboration between Barnard and actor Joe Cole also underscores the growing influence of working-class voices in reshaping cultural narratives.
Background Context
Clio Barnard’s filmography, including *The Selfish Giant* and *Ali & Ava*, consistently explores marginalized communities and the lingering scars of deindustrialization in the UK. Keiran Goddard’s novel, meanwhile, emerged from a wave of post-financial crisis literature that dissected the psychological toll of austerity on working-class youth. The Cannes Film Festival’s selection of this project—outside the traditional competition—reflects its perceived artistic ambition over commercial appeal.
What Happens Next
If the film resonates critically, it could galvanize further adaptations of working-class British literature, particularly those grappling with post-industrial decline and generational trauma. Barnard’s involvement may also inspire other directors to experiment with non-linear storytelling in adapting literary material. For Joe Cole, a foray into producing or mentoring emerging talent could emerge as a natural next step, given his rising profile beyond acting.
Bigger Picture
This project aligns with a broader cinematic reckoning with class in Europe, where films like *The Square* (Sweden) and *Titane* (France) have blurred genre boundaries to critique social hierarchies. It also reflects a generational shift in storytelling, where creators from working-class backgrounds are reclaiming narratives traditionally dominated by middle-class perspectives. The film’s Cannes premiere could accelerate this trend, positioning it as a bellwether for how modern Britain is framed in global cinema.
