Netflix, with all its money, doesn’t have the best track record when it comes to its original series productions. While some of them, such as SQUID GAME, STRANGER THINGS and BRIDGERTON have done phenomenally well, others, such as REAL ROB, THE GOOP LAB and RICHIE RICH, were slammed by critics and quickly abandoned by viewers. The streamer seems to have hit the jackpot again with the British limited series, ADOLESCENCE. Since premiering on March 13^th, the Internet has been abuzz with the show’s impressive production style and stellar performances led by co-creator/writer Stephen Graham (the VENOM films; FILM STARS DON’T DIE IN LIVERPOOL).

ADOLESCENCE opens in a quiet English town. In an early morning raid, the police break down the door of the modest home of the Miller family and they arrest 13-year-old Jamie (Owen Cooper, soon to be seen in WUTHERING HEIGHTS as the young Heathcliff) on suspicion of murdering his classmate, Katie Leonard. Jamie, who looks like he couldn’t kill a mosquito, denies the accusation but the evidence is clear. As the series progresses, it follows the process of the murder investigation and Jamie’s motive, and the effect that the arrest has on Jamie’s family.

This is one firecracker of a show! Throughout the series’ four episodes, ADOLESCENCE walks a precarious tightrope and it doesn’t falter once. It makes for some challenging viewing but the performances all around will keep your eyes riveted to your screen. Rather than following a well-trodden path for crime shows, ADOLESCENCE looks at four different times, which are dubbed “Day 1”, “Day 3”, “7 Months” and “13 Months”. Some of the characters from one episode return in others but the throughline is Jamie and the now 15-year-old actor delivers a performance that is well beyond his years and acting experience. The true brilliance of this series, though, comes from director Philip Barantini (BOILING POINT), who shoots each episode as one shot, similar to the movie 1917. The camera quietly follows one character as he or she goes from one location to the next, then it directs our focus to another character as he or she continues on his or her way. My understanding is the Barantini would shoot up to two takes a day until the actors got all their lines and blocking right. As if that wouldn’t be hard enough though, sometimes the characters were getting into and out of cars and the camera would have to be hooked onto the car and then unhooked and back into the hands of the cinematographer without missing a beat. The ending of the second episode is probably the most impressive as the camera first follows Police Inspector Luke Bascombe (Ashley Walters, TV’s BULLETPROOF) outside Jamie’s school as he gets into his car with his son and drives off. The camera then gently shifts its focus over to one of the students who was featured earlier in the episode as she heads home alone. The camera then lifts skyward to give an aerial view of all the students and the neighbourhood. As the field of view opens up, the taped off crime scene can be seen in the corner. The camera gently heads over there and comes down to earth just as Jamie’s father, Eddie (Graham), gets out of his van. The camera is now on him as he drops off some flowers and takes in the gravity – probably for the first time – of what his son is alleged to have done. It’s powerful stuff!

As the police and the audience come to learn, the motive for the murder is not all cut and dry, and it speaks to a huge problem that teenagers all over the world are dealing with today. Given that the series is only four episodes long, it doesn’t get into the roots of the problem nor does it offer any solutions but it does leave the door open for discussion between parents and their kids and hopefully action from government officials who, at best, have been keeping their heads in the sand.

ADOLESCENCE is streaming now on Netflix. I’ll be honest and say that it’s not an easy watch but it is an amazing production and well worth your time. Expect to see this series clean up at the BAFTA awards next February.

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