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Sink | Review


There are two types of tower block in the east end of London, architecturally symbolising a polarisation that Mark Gillis proves to be all too aware of in Sink, his feature debut. On one side of the Thames are those sleek, glass bastions of capitalism that make up Canary Wharf; on the other, the concrete block epitomes of sixties social welfare. Naturally – in the tradition of Tony Richardson, Karel Reisz and Ken Loach – the hero of this socially aware, albeit morally ambitious, feature belongs to the latter.

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