It is a heart-wrenching situation, with Winterbottom achieving almost documentary like reality and effectiveness, thanks in large measure to the screenplay he wrote with Laurence Coriat and to the veracity of the performances, with John Simm as Ian, the incarcerated man, and Shirley Henderson as Karen, his wife.

There is another remarkable ingredient. Winterbottom filmed the story over a five-year period, and with the children in the family cast with actual siblings. The result is especially impressive use of children in a film. In this case the four youngsters come across as extremely natural, and what’s more, we see them growing over the period in which the filming took place. It is the utmost naturalism, and we are able to relate to their feelings toward their father.

Simm gives an excellent portrait of the prisoner, and when we see him in his cell, just the expression on his face tells us of the loneliness and frustration that he feels. The prison is shown as quite humane, in contrast to some of the other prison environments experienced through films. Ian even gets furloughs to be with his family, which offers a breath of hope, followed by the inevitable sadness when it comes time to return.

Henderson is deeply moving in her quiet way of trying to express how difficult it is for Karen to cope. She has to earn a living while holding the family together and there is the nagging loneliness. When we see her and the children visiting Ian, we get the sense of devotion involved. This is a couple still in love despite the obstacles.

We also see Karen’s need for companionship while her husband is incarcerated. She takes up with a male friend, and one wonders what the children think. When she finally confesses to her husband about the temporary relationship, he is upset and angry, but we can discern that their bond will surmount the issue.