A film about a Nigerian boy being fostered by a white working-class family and then joining a horrifically racist skinhead gang in Essex sounds like a work of fiction. This work of fiction, however, isn’t fiction at all.

Adewale Akinnuoye-Agbaje’s autobiographical film, FARMING, brings a harrowing story to life and does not hide any ugly truths about 1970s Britain. ‘Farming’ was the process of Nigerian students or workers paying white, often working-class, families to foster their children. Enitan, played by Damson Idris as an adult and Zephan Amissah as a child, is ‘farmed’ out to Ingrid (Kate Beckinsale). The film follows his journey into becoming a skinhead and the product of his internalised racism. The film is intense, brutally violent and heart-wrenching. There are small moments of relief but these are short-lived and the film does not seek to soothe the viewer.

“There is no relief for the viewer, much like there is no relief for Enitan. The periodic racism has been internalised and the film takes the viewer deep into the outcome of this.”

Akinnuoye-Agbaje slowly builds the intensity of the film by showing the character development of Enitan. At first, he is shown as a young boy who prefers the company of his imagination and yearns for the acceptance of Ingrid. Once he returns after struggling to assimilate in Nigeria, the reclusiveness that was shown in him as a child becomes overbearing and defines the young boy. The cataclysmic moment of change is during this period when Enitan becomes aware of race and the colour of his own skin. In a devasting scene, Enitan aggressively tries to wash the colour from his skin. The lack of speech and the pain expressed in the young boy’s face makes for incredibly heartbreaking viewing. There is no relief for the viewer, much like there is no relief for Enitan. The periodic racism has been internalised and the film takes the viewer deep into the outcome of this. From this moment forward, the film spirals into intense violence, both physical and verbal, which keeps the viewer uneasy and uncomfortable. Akinnuoye-Agbaje’s choice to keep the viewer uncomfortable is important. He did not get to escape and neither should the viewer. He has created an immersive experience and, therefore, does not let the atrocities disappear from the viewer’s mind when the credits roll.

“The importance of words is highlighted by Akinnuoye-Agbaje here, letting the viewer know that words are sometimes not just words and our language can affect those around us in deeply personal ways.”

Another important aspect of FARMING is the repetition of words. This aspect is used subtly but it is one that creates an impact every time it is used. A particularly important example is during Enitan’s second encounter with the skinheads. He is forced to repeat a racist phrase about himself whilst having a boot on his throat. He is first whispering the phrase and then, as he becomes more frustrated, screams it. Every time he says the phrase it is another mental wound and the viewer becomes increasingly tense. The importance of words is highlighted by Akinnuoye-Agbaje here, letting the viewer know that words are sometimes not just words and our language can affect those around us in deeply personal ways. The weapon of words and language used by the skinheads and others around Enitan destroys his image of himself. FARMING portrays these particular weapons throughout and drives the story forward with every cut.

There are many elements to FARMING that deserve much deeper analysis and this review barely scratches the surface of this impressive film. Adewale Akinnuoye-Agbaje layers subtly and explicitly violent themes to create an autobiography that is uncomfortable but necessary. An impressive directorial debut that reveals a true talent.