Written, directed by and starring Eve Leonard-Walsh, Because We Are Too Many is the best independent feature I’ve seen for a while. Set in Scotland and grounded in British realism, we follow single mother Morgan (Eve Leonard-Walsh) through the present and past to uncover a rich picture of place and people.
The scene is set amongst markers of social and economic hardship. Morgan is out of work and must care for her disabled son, navigating the benefits system and visits from the community nurse while trying to keep everything afloat. Visits to the job centre are hauntingly reminiscent of scenes from the acclaimed film I, Daniel Blake which is a troubling reminder of how little the socio-economic landscape has changed since 2016. Things have arguably been moving in a negative direction. Since the release of Because We Are Too Many in 2024, the government has announced further changes to benefits entitlements which are forecast to place 250,000 additional people into relative poverty after housing costs.[1]
The depression and difficulty faced by Morgan is mirrored heavily by the creative choices made in colour and aesthetic. The desaturated grading forces viewers into suffering a similar dullness that starts to feel like an oppressive weight. The few splashes of colour stand out against this backdrop and places a greater emphasis on anything that does deviate from the endless grey.
Rather than doubling down on the misery, monotony and hardship Morgan now faces, Leonard-Walsh makes an unexpected turn towards the past. We’re transported to the early 90s, when Morgan was a young child, and stay here long enough to become firmly established in this timeline. Tackling a shift like this is an impressive feat, especially for an independent film, and demonstrates the creative, ambitious scope of Leonard-Walsh. We’re introduced to new talent Eilidh Keane as 9 year old Morgan who carries these sections of the film with impressive stability.
The focus naturally shifts as we align with a child’s perspective, with an emphasis on wonder and exploration. There is a great deal of nostalgia here too, but never strays into the bounds of rose-tinted glasses. The difficulties Morgan faces in adulthood drift back behind closed doors. They once again become vague and amorphous, given shape only by the sound of her parents arguing in the next room. These “adult” problems, which of course affect young Morgan too, are balanced with the more expected childhood issues of getting in trouble at school, going on adventures and getting up to mischief. Neither is given more weight than the other, despite the shift in perspective. The two are continuously placed alongside one another as points of reference. This is a clever structural tactic that allows viewers to consider past and present, childhood and adulthood alongside one another. We are led organically by the film to compare the struggles Morgan’s parents’ faced with the struggles she now faces as a single mother. The childhood she had versus the childhood her son will have.
The temporal shift also gives depth to the relationship between Morgan and her mother (Pauline Campbell). In the present, their relationship is almost non-existent. But the dive into the past gives Morgan’s mother vibrant dimension. She becomes a fully fleshed character – a colourful presence rather than a glimmer of nothingness. Pauline Campbell as Morgan’s mother is phenomenal. The strength of her performance gives greater meaning to the nuance in Leonard-Walsh’s portrayal of Morgan. The generational elements become clear.
The full cast, across the board, carry the story with impeccable strength. The strong foundations provided by the writing and direction are built upon by the cast and brought to their full potential by the cinematography of Kieran Colquhoun and the excellent choice of music for the soundtrack.
Eve Leonard-Walsh is a filmmaker for our times. The echoes of her life and the lives of others that sound throughout her work are loud and clear. Because We Are Too Many is a film of impressive scope and impeccable quality. The film is available to watch for free on Amazon Prime here and watch the trailer below.
[1] UK Parliament: House of Commons Library, Poverty in the UK: statistics, 4th April 2025, https://commonslibrary.parliament.uk/research-briefings/sn07096/