Ever has it been that love knows not its own depth until the hour of separation.

Kahlil Gibran words describe the nature of events which unfold in a small semi-detached maisonette in South London, in the realist short directed by Jay Davies. When we are first introduced to Billy, he is in the normal state of any teenage boy imprisoned amongst clothes and debris lounging in his bed which isolates him from the ongoing life outside his room, typical?, or just hiding the known of his fathers vulgar habits. Billy knows that his brother, Dillon, whos narrow minded approach to life is typically restrained by his age, is due for the news of his relocation urged along by his ambiguous, so called father. The plot leads the two brothers down memor y lane to an empty spot where Billy used to take Dillon when he was just a baby a touching attempt on Billys part to bond with his sibling. It seems that the travel to this place brings emotion in its self by seeing the two brothers engage with each other, in the sense that Billy is making the most of his little brothers presence showing a clear feel of dependence from one another to survive this cruel nature. Davies past film, Solitude (2012) offered an uncomfortable watch by creating a socially deteriorated boy who finds comfort in talking to his deceased relative. Apart from you portrays a similar basis of issues from its predecessor; from a broken child to a broken family, Davies has gone safe with what he knows best to create this moving piece which includes an in- capable father who tends to harm for authority, a socially strong brother who is emotionally glued to his little brother and Dillon who knows nothing better but to love. This is no ideal family tie, the broken link of the mother has loosened into a corrupt disfigurement of a once happy family relationship which now worsens instead of gets better, with the faith of recuperating, the brother sacrifices his own place in this once called family to do whats best for his little brothers future. Of course theres a sensitive topic of child abuse overseeing the fathers lavish behaviour, which can be seen as a harsh infringement to a film as emotive in the narrative as it is already. It seems the traumatic theme is secluded in a way its not as much in your face spitting its indecency at you. Its safe to say Billy (Georgia Elsie) is having a hard time tolerating this grown lifestyle which consequently the father has done nothing more than sail the issues. The scattering of beer cans and cigarettes to red marks on the little boys neck indicates the pain, misery and the complete struggle which Davies has fused into this gripping film. This sum what twilight family has left Billy in this state which we grow ever so sympathetic towards which inclines as the story progresses. It is obvious to state that the audience are viewed with a continuity of emotion. We would hope to see Billy grow from this gruelling day but we see no hope in ever seeing a closure to this uphill battle which of ever seeing a normal day. The dominants of the father overrule any signs of this emotional path narrowing. Billy is shown to be at the first time we see him, lounging on his bed, a typical convention of a teenage boy, also this presentation of a lazy, laid back, bone idle boy who does nothing but make the dust around him pile, but as the story progress the feelings for him blossom as we see him as a more independent caring character who wants nothing more than a warm family. Billys decisive decision for Dillons future is far from Davies expectations for this short; I feel this its not only a drowned realism film with one meaning but the impact of a mothers death what has been fed chaos with its atrocious shrapnel what scars a victim instead of a mere graze. We see this as a step closer to a feature but not an invitation.