7 Miles Out review – Carol Morley’s funny-poignant self-portrait of teenage kicks in Stockport

A daring, rich and funny study of the ordeal of having to invent and reinvent your own teenage sense of self amid confounding changes Carol Morley’s self-portrait of the artist as a young woman is rich, tender and terribly funny and sad: a study in the chaos of being young and a triptych of childhood, girlhood and youth, with some daring touches of Terence Davies.

It is about the ordeal of having to invent and reinvent your own teenage sense of self, even as the things you thought permanent suddenly collapse – including the background stability of your poor old mum and dad.

And it’s also about the untold, unacknowledged story of sadness that lay behind the angry blaze of punk and new wave.

Watching this I thought of something I’d assumed lost for ever: my own feelings, aged 17, on hearing Buzzcocks’ Sixteen: “… I wish I was 16 again / Then things would be such fun / All the things I’d do would be the same / But they’re much more fun / Than when you’re 21.” Could it be, I thought, that I’m already sad about not being 16? 7 Miles Out is based on Morley’s autobiographical novel of the same title , the once-upon-a-time-in-Stockport story of Ann, played with charm and zing by Lucy Halliday, and as a sweetly innocent young girl by Amelie Hughes.

Young Ann pretends to be making a radio programme with her cassette recorder the way so many did in the 1970s, and hero-worships her would-be rock journalist elder brother Scott (Kasper Hilton-Hille) – based on Morley’s brother Paul – who is already plugged into the burgeoning post-punk and new wave scene.

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