Lollipop ★★★★

Released: 6 June 2025

Director: Daisy May-Hudson

Starring: Posy Sterling, Teri Ann Cousins, Idil Ahmed, Tegan-Mia-Stanley Rhoads, Luke Howitt

Kitchen sink dramas and slice of life films tend to be the preserve of Ken Loach offering that insight into the struggles of working-class communities. Lollipop adopts a similar perspective from East London but is in the hands of debut director Daisy May-Hudson, as it showcases the acting powerhouse that is Posy Sterling. Sterling delivers a heart rending performance, from the rarely explored perspective of a formerly incarcerated woman as she battles to be reunited with her children, following incarceration.

Lollipop may feel familiar with its subject outlining this single mother’s challenges without a fixed abode. Indeed, it is a common situation for many but, Sterling’s Molly takes to living in a tent as she strives to find ways to both fight against the rigidity of the social system rules and equally to comply with the system to achieve her aims. The film rests entirely on Sterling’s shoulders whose authentic performance elevates the film and particularly stands out compared to the robotic delivery of the lines by those playing authoritative figures.

Lollipop blends fiction with documentary style filming as director May-Hudson drew on her own experiences with homelessness to highlight the frustrations of the administrative systems towards those women recently released from prison. All that Molly wishes to do after a four-month prison sentence is to be with her children. Unfortunately as they were placed in care in her absence, the children could only live with her once she has accommodation. But, the dilemma Molly also faces is that her accommodation is not a priority unless she can present herself as a single mother with her children.

For a feature debut, May-Hudson manages this ambitious project effortlessly. Her aims had been to provide a voice to these women caught within two worlds, effectively, in a bid to re-insert themselves within society after losing many possessions whilst being imprisoned. Within the film, there are no excuses made or simple solutions presented for Molly and the film continuously tugs at the heart strings with its genuine portrayal of the futility of Molly’s plight. May-Hudson opts not to dwell on the past with no insight given as to the nature of Molly’s crime. As such, audiences are presented with this woman, Molly, and requested to remain unbiased as the full extent of her desperation unfolds, which results in some questionable choices.

Yet, Lollipop is not all doom and gloom as there are charming performances from Molly’s children, Ava and Leo played by Tegan-Mia-Stanley, with an excellent portrayal in a debut acting role, and Luke Howitt. The presence of Molly’s childhood friend Amina (Idil Ahmed) also provides that sense of hope and encouragement alongside a degree of positivity in witnessing two women support each other against the odds. Plus, UK garage fans will also be rewarded with one fun trip through nostalgia which seems to expose Sterling as a garage head, potentially!

Sterling’s performance throughout Lollipop is a marvel to watch with the kaleidoscope of emotions being delivered despite adversity. Her tour de force, authentic performance captivates during moments that might have seemed too harrowing. Indeed, it is a raw depiction that will resonate with many – in the realisation that we may just be one or two steps away from being similarly destitute – if the support systems are no longer available. May-Hudson’s commitment to providing a degree of realism within the film must be lauded as she employed a family lawyer, who also stars in Lollipop, and consulted with an onsite psychologist.

May-Hudson’s directional choices with hand held cameras add to that overall sensation of claustrophobia and being immersed fully within Molly’s psyche, whose childhood nickname is Lollipop’, as her anguish manifests itself. Equally, May-Hudson’s decision to include first time actors amongst professional actors is an interesting choice which shifts the emotional weight in scenes where there is a lacklustre, dispassionate reaction from characters in contrast to Molly’s highly passionate exploits.

Lollipop is a relevant film as it explores disjointed approaches within bureaucratic processes which may unwittingly deter women from being able to successfully re-assimilate themselves within their home environments after a bout in prison. Hopefully, this moving film will act as that sounding board for improvements in this area, for formerly incarcerated women, with its thought-provoking nature.