‘Everyday’
Ally Mitchell previews Michael Winterbottom’s latest release, out at The Cornerhouse on Sunday 17th February
The film Everyday has been described as an ‘almost unbearably moving film’ and according to The Evening Standard, ‘it deserves the big screen’. I therefore think it sounds like an understated accomplishment, only screening at The Cornerhouse for a week and definitely an opportunity of which to take full advantage. Many may recognise the film as a recent TV drama starring Shirley Henderson and John Simm – a married couple with four children (all siblings in reality) and their life over five years while the father, Ian (Simm), serves a jail sentence.
Directed by Michael Winterbottom, the film is reminiscent of Ken Loach’s gritty realism with the incorporation of real prisoners and wardens in the prison scenes and the bleak-winter Norfolk landscape as a backdrop. Even more realistically, Winterbottom has chosen to actually film over the story’s five years. Consequently, the children will genuinely age instead of a selection of very different looking, much older children suddenly appearing as time passes. These children also apparently impact this film more than the acclaimed actors, giving the film a poignant emotion and focus on the family’s survival over the period. No particular event is depicted and time change is not defined. This subtlety is key to Winterbottom’s directorial style as his films are snap-shots of life, creating immense emotional impact.
Winterbottom makes beautiful films. The prospect of an ‘unbearably moving film’ is incredibly enticing. Everyday is therefore full to the brim with promise and is definitely worth a trip to The Cornerhouse.
Everyday is out at The Cornerhouse on Sunday 17th February.
More Coverage
An intro to the Manchester film scene
If you’re interested in film or a student looking for the cheapest place to see the latest blockbuster, Film Editor Sophie Potton has you covered
The Last House review: Netflix’s briny flashback to 2020 is five years too late
Sea beasts and silly attempts at a high concept leave The Last House feeling like a messy, overdue dud that misunderstands its own strength
Tony (2026) review: Kitchen chaos, teen angst, and the Cape Cod sea breeze in A24’s heartfelt Anthony Bourdain biopic
“If you’re fond of sand dunes and salty air / Quaint little villages here and there […] If you like the taste of a lobster stew / Served by a window with an ocean view / You’re sure to fall in love with old Cape Cod” – Patti Page, ‘Old Cape Cod’
The End of Oak Street review: A rip-roaring summer throwback
David Robert Mitchell’s The End of Oak Street leaves a bright footprint on the decaying island of dinosaur flicks.







