Scrap: Review. By Joe Muldoon

Beginning its life in 2018 as a 20-minute short of the same name (directed this time by Leena Pendharkar), Scrap is writer-director-lead Vivian Kerr’s latest project. Kerr stars as Beth, a young single mother trying to balance parenthood, job-hunting, and basic self-care.

Recently having been made redundant from her cushy job, she now lives in her admittedly flashy car whilst her daughter is looked after by her brother Ben (Anthony Rapp) and his wife Stacy (Lana Parrilla) – all of whom are entirely unaware of Beth’s predicament, whose pride keeps her from asking for help.

Whilst we watch Beth attempt to traverse her situation, we’re introduced to Stacy’s heartbreak as she contemplates another round of IVF after previous unsuccessful rounds. And as Beth self-sabotages herself through reckless decisions, we feel Stacy’s frustration towards Beth’s problems as well as her own, looking after her sister-in-law’s daughter whilst unable to have a child of her own.

But the film doesn’t feel judgemental towards her; Kerr’s writing carries within itself a deep empathy, not wanting to punish Beth, but to bring a forgiveness and understanding towards her messy jam.

The sisters-in-law lead parallel lives of sorts, each woman having what the other seeks; Beth being a mother desperate to find a job and Stacy having a successful law career, yearning to become a mother. Their plights are difficult to watch, with the subtle humiliations Beth faces of having cards declined and her car towed, and the despair Stacy faces of being unable to conceive.

And amidst the exploration of the socioeconomic struggles of upper/middle-class Los Angeles suburbia, we see Ben and Beth attempt to mend their estranged sibling relationship. Rapp and Kerr have genuine chemistry as dysfunctional siblings, their irritation and familial love towards one another driving their performances forward.

But despite this, far from being a gloomy mood-sapper, Scrap offers rays of hope to all of its characters, realistic and satisfying resolutions to their issues. A warm lightheartedness gradually cuts through the misery, making this an ultimately pleasing indie drama.

By Joe Muldoon

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