As a Canadian, or one who knows and loves the landscape, there’s nothing like it when a Canadian-made film feels truly Canadian.
At its core, Little Lorraine may be based on a true story of drug dealers and tragedy, but in the background, it is a tale about a close-knit town where everyone knows each other, and all are willing to stick up for each other and do what needs to be done to keep the town and its people safe.
Written by Hailey Passmore
Set along the landscape of Cape Breton Island, director Andy Hines invites us into the world of Nova Scotia first and foremost. From its beautiful waters to its local bars and music, this small town has the world to offer. Based on a true story, or based on the song by Adam Baldwin, that is how Hines sets up this world. The viewer only needs to know what is shown to them, and as clues and events are revealed, they build up into a proper, compelling story. Using archival footage from back in the day, the cast and crew are listed for viewers, and setting and context are established as well. Within moments of the film starting, you can tell Little Lorraine is going to be a welcome change of pace for Canadian cinema and a story that will hit your heart.
Cape Breton is a mining town, and being thousands of feet underground comes with its dangers. For Jimmy (Stephen Amell) and his mates, it is what brings the money in for their families. They know the risks, and they keep on going. That is, until one day when the mine collapses and they’re left with lost friends and no work. Time passes, and with Jimmy still without a job, nothing could be better than his Uncle Huey (Stephen McHattie) showing up with just the right opportunity for him. In his past, Jimmy’s Uncle has been known to partake in illegal activities, but promises that this will be completely legit. He even vows to Jimmy’s wife that he will bring Jimmy home safe, unlike the dangers in the mines. Fishing for lobsters, of course, is what’s offered by Huey. Appearing to be legal, the three boys agree and join Huey on his boat out at sea. They begin catching lobsters quite simply and hope for the best, making money for their family.
Where Little Lorraine changes pace from typical retellings or mob/drug-based stories is in the way that it feels more welcoming and homey. There’s a welcome element of family and friendship there. Provided through the landscape and score for sure, you cannot help but remain calm while wondering where Huey will go next. Little Lorraine is pleasing to the eye, and at times it distracts you from the darkness Huey brings with him, but it does not take away from the script when you are slowly following along.
Perhaps you’re one of the few who know the story, but if you’re not, you’re left second-guessing yourself in the most successful way possible for the film. It becomes odd when Huey shows up right when Jimmy needs a job the most. Too prideful at first, Jimmy will not accept the payment from his Uncle, but eventually gets on board. That partnership continues through the three boys discovering the cocaine that Huey is transporting across the border, as he promised that they would be completely safe. Financial and family desperation have made Jake (Steve Lund) and Tommy (Joshua Close) completely hopeless for money, and they follow Huey deeper and deeper. When Interpol arrives, the crew becomes aware that this cocaine transportation might be bigger than they could have believed.
No decision made feels unnecessary. Sometimes, when filmmakers want to show old footage, they recreate it with specific cameras and video effects. Little Lorraine contains none of that; it is footage from the time and fits within the story much better. These archival additions help change pacing within the film and provide a different type of context that might not have been productively received through another method. They know when to push and pull the focus on characters or scenery. The beautiful landscape is remarkably showcased, but specific characters are the focal points at the right moments to show their relevant emotions to where they are in time. Instead of a film with the same visual arrangements, Little Lorraine’s visual aesthetic includes digital, archival footage, and even sequences where police take photos and the audience sees the shot taken freeze on screen for an additional affect.
There might be a little loss in coherency when there are, what feels like, fictionalized additions to create drama for the plot. Though these scenes may be used to establish the connection between townsfolk, it takes away from the investigation, both by the police in the film and the audience, into the drug trafficking. Losing audiences ever so slightly, they can pick it back up again when the primary plot continues.
As soon as it happens, you have opened up to the unknown. The darkest thing occurs, and yet you feel comforted. The characters - through their actor’s portrayal - connect with the viewer, and as they mourn, you mourn with them. Nobody is truly alone in Little Lorraine, apart from maybe Huey. Established fully from the beginning, choosing to invite the audience into this community allowed for the blow to not hit as hard at the end.
A beautiful piece of filmmaking for Canadian cinema. Little Lorraine had its world premiere at the Toronto International Film Festival on Friday, September 5, 2025. When this film eventually finds its way to a release, do be sure to have a watch.
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