Pandemic-adjacent films continue to crop up every now and again. The year 2020 wasn’t a fantastic year for the world, and you won’t get much disagreement in that discussion. Our calendars now read 2025, and at this point, the COVID-19 lockdown is a time we’d all like to put firmly behind us, but that doesn’t mean the stories that took place during that time have to fade along with it. And what writer/director Eve Leonard-Walsh has to say on the matter is not only a superb film, but a potentially vital one that comes from a place of authenticity.
It’s because of these factors that Because We Are Too Many feels grippingly realistic, all thanks to its real-life inspiration. An extraordinary account from an extraordinary perspective if ever there was one. Leonard-Walsh’s decision to both write, direct, and star alongside her son Ronin is the film’s secret ingredient that really helps consolidate its message. Set during the 2020 pandemic, a mother finds herself teetering on the edge, trying to care for her autistic son, all while having no outside support to turn to amidst the outbreak.
There are moments that feel ripped straight out of an apocalyptic survival film. Danny Boyle’s 28 Days Later comes to mind. Cinematographer Kieran Colquhoun builds a world characterized by muted colors and heavy contrast that allows harsh shadows to creep into his frames, a choice that keeps the visual palette consistently intriguing. Morgan’s (Eve Leonard-Walsh) home is steeped in darkness, while the streets of Glasgow and its surrounding neighborhoods lie barren, with grey buildings towering over empty streets. It’s off-putting, to say the least, in a manner that makes every outing by Morgan and Ronan an inherently uneasy one. We see the mother’s mind wander, stuck somewhere in a past marred by pain. Young Morgan, portrayed here by the talented Eilidh Keane and later by actress Hope Hill, has a troubled home life that is further exacerbated by a tragic incident involving her childhood friend Mo (Henry Hilson-Agbangbe). With her back against the wall, she must overcome turmoil both past and present if she is to stabilize her situation with young Ronan.
Walsh’s film does right by criticizing the lack of resources parents raising special needs children receive, but the film’s scope is a staggering meditation on her entire life journey. The good, the bad, and the in-between—all presented in an uncompromising fashion that could still appeal to mainstream audiences. The filmmaker does an excellent job of weaving her personal experiences into a meaningful narrative, where a dark cloud is constantly looming over her head, threatening to undo the life she’s built for her and her beloved son. The chemistry between Walsh and Ronin is beautiful to see unfold. They rarely speak, yet their body language and close proximity to each other convey so much. Not only is it sweet, it’s deeply symbolic, tying back to the empathy Morgan once showed Mo, whose non-speaking condition led to harsh bullying from a gang of random yob types.
Few pandemic films have felt as powerful as We Are Too Many, and as the world continues to heal, the story behind it has much more to offer those who venture to watch it.
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