Breaking and Entering

In the muted hum of contemporary London, Will Francis builds landscapes by day, shaping gardens that promise order while his own home feels increasingly fragmented. Sharing a cramped flat with his Swedish‑American partner Liv and her teenage daughter Bea, whose quiet rebellions and singular focus on gymnastics cast long shadows over their fragile routine, Will finds himself drifting between professional composure and personal unease. Their attempts at counseling hint at deeper cracks, and the weight of being an outsider in a family that isn’t biologically his begins to shape his quiet obsession with finding a more authentic connection.

At the sleek offices he runs with his business partner Sandy in King’s Cross, a series of unexplained break‑ins disturb the polished routine of the workplace. The subtle tension of these intrusions pulls Will out of his domestic confines, granting him nocturnal hours that feel oddly liberating. He takes to watching the building after dark, a habit that not only offers a respite from the strained atmosphere at home but also draws his attention to the fleeting silhouettes moving through the city’s underbelly.

One night his curiosity leads him to a young acrobat, Mirsad “Miro”, whose lithe agility seems to belong to a world far removed from corporate corridors. Following the trail, Will encounters Amira, Miro’s mother, a seamstress whose modest apartment exudes a quiet resilience. A chance meeting with Oana, an enigmatic figure lingering in the neighborhood’s nightscape, adds another layer of intrigue, prompting Will to question the boundaries between his carefully curated existence and the raw, unfiltered lives unfolding around him.

The film unfolds with a subdued, almost lyrical tone, marrying the sleek geometry of modern design with the tangled emotions of its characters. It invites viewers to linger in the spaces between duty and desire, offering a portrait of a man standing at the threshold of two very different worlds, each promising a different kind of entry—and exit.

Last Updated: September 20, 2025 at 16:45