How does Arnold use the form of social realism to develop the character of Zoe?

 As soon as the film starts, we are introduced to the tone and formula of the story. The film's exposition begins in media-res, caught in a violent brawl between the main character Zoe and her neighbour. The audience can already gather from these first few seconds that she is perhaps not the best or most conventional parent - she chooses violence to deal with this situation. Although, this shows us the lengths she is willing to go to to defend her children. Her neighbour says Zoe is not fit to look after her children and that she'll call social services. The setting is a run down council estate, much like ones we see in real life - this is an example of how Arnold uses social realism to produce the truth and reality of Zoe's lifestyle. Her baby is lacking clothing and diapers and the rest of the children appear messy, showing the deprivation that her and her family are enduring.                 

 The hand held shots which are used throughout create a more natural perspective from the camera - the audience is drawn into believing they are part of the story themselves. The camera alternates between close ups and extreme closeups focusing on the state of the children and Zoe, presenting to the viewer the situation she is in, as well as what the movie will revolve around. One element of social realism is 'show don't tell', meaning we only have to look at society itself to draw a conclusion as to how Zoe and her children are in this situation. After meeting an old boyfriend, Zoe agrees to go the pub with him. She lies that her children are someone else's, that she is just babysitting them in order accept his offer for a drink. It could be argued that the acting in this scene is over the top, but it is in fact purely naturalistic dialogue, reflecting how Zoe communicates - in a casual way, whilst putting herself in a predicament. Arnold uses the element of naturalistic dialogue to develop Zoe's character. It could also be implied that she is ashamed of her lifestyle as she is hiding her kids from Dave in order to meet him.

The scene at home shows a number of closeups of things such as expired bread in the kitchen and a dirty interior, revealing the level of poverty that Zoe and her family is in. Zoe gives her children a bag of sugar to share out as she has no food, the use of unsteady handheld shots in this scene puts the audience in her shoes, not only creating an unnerving atmosphere but also forcing us to feel the pressure her character is under in such a situation. Once again we are reminded that she and her children are on the breadline, she counts her pennies and realises she doesn't have enough. In these scenes Arnold emphasises the harsh realties of living in poverty and as the audience, we sympathise with Zoe.

The rising action culminates in the pub scene, where Zoe goes to meet Dave but leaves her children outside. The pacing and editing is a vital element of social realism, we bounce from Zoe being in immense pressure in the pub, to her children running around outside.  Arnold presents further character development here as we are presented with a conflict of interest - Zoe is trying to enjoy a night out but is still able to check up on her kids every so often - this also links back to the lengths she is willing to go to for her children. The jumps between each scene indicate that something bad is about to happen. The way the camera is held here makes it difficult for the audience to see what is actually going on which creates tension. When the children scream as a wasp flies into Kai's mouth, Zoe runs out of the car, immediately leaving the intimate situation she was in with Dave. This shows us that Zoe ultimately will prioritise her kids over anything else.