At a time when Western nations are consciously prioritizing wealthy organizations and individuals, there is a severe decline in support for less affluent backgrounds. In England alone, social housing saw a net loss of almost four thousand physical spaces between 2024 and 2025 — buildings were either sold or demolished. This crisis needs to be taken more seriously. Director Clio Barnard potently brings the conversation to the forefront with I See Buildings Fall Like Lightning, showing the real impact the growing wedge amongst social classes is having. 

The film follows five childhood friends from Birmingham who are all on diverging paths yet remain loyal to one another. Food delivery driver Patrick (Anthony Boyle) and stay-at-home mum Shiv (Lola Petticrew) live with their two daughters. Rian (Joe Cole) is the big shot who made it with a lucrative job in a high-rise London flat. Drug dealer and user Oli (Jay Lycurgo) is on a downward spiral. Conor (Daryl McCormack) is about to embark on his first building project as manager. Together, their unapologetic love for each other is tested as they harbor resentment and insecurities when comparing their successes.

Based on a book of monologues of the same title written by Keiran Goddard, writer Enda Walsh transforms the source material into a conversational, natural screenplay whilst still keeping the prosaic messaging. Walsh wonderfully balances the narrative to give every character their moment to shine, offering different perspectives on the situation at hand. He recognizes none of them are perfect and hones in on that. We are able to empathize with each one of them.

The ensemble is packed with up-and-coming British talent, giving their all in their performances. Not only are they individually best suited for the roles, but the dynamics shared between them are so realistic to what a friendship group in their early thirties would be like. Casting director Shaheen Baig clearly has an eye for talent, after being involved in key casting decisions like Frank Dillane in Urchin (2025), Owen Cooper in Adolescence (TV Mini Series 2025), and once again in this film. If you see her name associated with a project with actors you’ve never heard of, you should pay attention.

Barnard and Walsh draw out the discontent in the characters — they all want something they don’t have. Whether it is a dependable, loving partner, a stable, well-paid job, living up to the image of a parental figure, or simply just structure in their lives, each looks for what their life is missing rather than what they have in front of them. Society often forces us to feel this way. This is seen at its best in the tension between Patrick and Rian. Boyle and Cole bring their A-game, amplifying their festering jealousy. The restraint in their animosity is palpable.

Yet the story beams with joyous moments, especially through Oli’s eyes. Lycurgo’s screen presence is commanding — you cannot help but smile seeing him take strides to better his life. Barnard’s clear direction allows for both the devastation and joy to shine through at the right moments. You never feel bombarded by either emotion, tenderly harmonizing the two for an emotional gut-punch of a story. 

The editing by Maya Maffioli ties everything together. From the strobing, high-energy club scenes to dramatic transitions to physical buildings being demolished, her cutting puts into perspective the bursts of hope existing within a bleak, borderline despondent society. 

Barnard asks the question: what is really important in life? Is it the assets and wealth we possess, or is it the connections we make with one another? The wedge between the working class and the wealthy is growing at an alarming rate, risking further defunding of low-income households. But there needs to be a shift from the top down to provide more state housing and opportunities to those who need it most. The film is a direct message to those in power to make this change urgently.

There is no more important British film you will see this year. I See Buildings Fall Like Lightning is a poetic, timely, and necessary commentary on social housing and the class divide in the UK, asking us to look within ourselves and what brings us joy within our own lives rather than fixating on what we lack. The ensemble is nothing short of electric and shows real promise for emerging British talent. 

Review Courtesy of Nandita Joshi

Feature Image Credit to Curzon Film