Pollard and Forsyth have carved out a quiet corner of the form for films that admit they are films. Their latest release pushes that idea further by parking Faithfull's life inside a made-up government office that sorts, files and argues about the past.
The result, which reached British and Irish screens starting March 20, 2026, is less a straight portrait than a portrait of the portrait-making process.
Quick take:
- The project comes from the same directing duo behind 20,000 Days on Earth.
- A fictional workplace staffed by a supervisor and her team drives the narrative.
- Faithfull's own reactions to old footage carry much of the film's emotional weight.
- A separate panel hosted by Edith Bowman tackles the gender politics of her career.
- A roster of contemporary singers contributes recorded performances to the score.
A frame inside the frame
Rather than hand the camera to a talking head, Pollard and Forsyth build a small bureaucratic world. Inside it, a supervisor and her staff sift through clippings, photographs, studio tracks and personal recollections, openly debating how to turn a life into a film. The conceit lets viewers watch the documentary apparatus in motion, including the awkward decisions and the trade-offs.
Faithfull herself appears throughout, often in tight close-up as she revisits older footage. Those reactions, sometimes wry, sometimes sharp, hold the emotional centre of the picture. The technique echoes the playful approach Pollard and Forsyth took on their Cave project, where the line between performance and everyday life was deliberately fuzzy.
The argument underneath
The film is unusually frank about how Faithfull was treated by the press, particularly during the long stretch when tabloid shorthand reduced her to a famous musician's partner. A roundtable hosted by broadcaster Bowman, with contributions from actors, musicians and thinkers, picks at that history and tries to untangle the public image from the artist. Her late work, including the 2018 record Negative Capability that gives the film its borrowed title, is held up as the case for a different reading.
That last album also supplies the closing performance, captured before Faithfull's death, with Cave and drummer Rob Ellis joining her on "Misunderstanding."
A score built to match the concept
The music is treated as more than backdrop. Rob Ellis and Portishead's Adrian Utley composed an ambient, brain-static score meant to sound like thought moving between neurons. Through that score, cover-style renditions from a slate of contemporary artists surface during the film, each one carrying its own texture.
Our analysis
The "fictional institution" device is a smart choice for a subject with this much existing footage. Faithfull has been covered and re-covered for sixty years, so the directors need a way to make their version feel like an argument rather than a recap. Wrapping the research process in a deadpan office drama lets them show the editorial choices instead of hiding them.
The trade-off is access. Faithfull died before the film reached screens, and her on-camera contributions appear to come from an earlier sitting. Younger viewers arriving cold may need a primer on why her career arc mattered, while older fans may read the roundtable section as preaching to the converted. The film tries to split the difference, and mostly lands on the side of letting the audience draw their own conclusions.
For the documentary niche, the release is also a test. Pollard and Forsyth are now two-for-two in this hybrid style, which raises the question of whether other directors will borrow the structure, or whether it stays a signature of this pair.
What it means for you
Say you are organising a music-film night at a small venue or independent cinema. Broken English is a strong pivot away from a standard concert recording. The score by Ellis and Utley gives a small room something to lean into, and the round-table section can spark a discussion event if you pair the screening with a local panel.
What to watch next
Keep an eye on whether Pollard and Forsyth apply the same institutional-fiction approach to a living subject next time. The format works well for a recently departed figure whose archive is settled; it is a bigger gamble on someone still actively shaping their own story.
Key takeaways
- The film uses a fictional ministry as a self-aware frame for the documentary process.
- It makes a pointed case against the press shorthand that defined Faithfull for years.
- A recorded performance of "Misunderstanding" closes the picture, drawn from her last studio session.
Frequently asked questions
Who made the film?
Jane Pollard and Ian Forsyth, the directors behind 20,000 Days on Earth.
When did it reach cinemas?
The film opened in the UK and Ireland beginning March 20, 2026.
Who is featured in the cast?
Swinton, MacKay, Ashton and Di Martino play the ministry staff.
What does the film cover?
Roughly six decades of Faithfull's recording and performing life, from teen fame to her late albums.
Which artists perform inside the film?
Recorded performances from Orton, Love, Cave and Waterhouse are layered into the score.
Source: timeout.com
