Film
Heartlands
A gentle middle-aged man loses everything—his marriage, his darts team, his dignity—and sets off on a motorbike to Blackpool, determined to win back his wife. Part road movie, part character study, it finds comedy and heartbreak in ordinary disappointment. A film that believes in quiet men with big feelings.
If you liked this
Billy Elliot2000
A working-class Yorkshire man discovers his son's gift, and has to choose between shame and love. Like Heartlands, it's funny and sad in the same breath, set in a community where certain paths are expected.
But The dance sequences might feel out of place if you're not prepared for the tonal shift into genuine transcendence.

Calendar Girls2003
Women in a small Yorkshire village strip for charity after loss. Same year, same region, same gift for finding profound human moments in everyday settings without ever becoming sentimental.
But The premise is inherently lighter in register. If you want unrelenting sadness, this finds too much joy.

The Full Monty1997
A group of unemployed men in Sheffield bond over an improbable scheme. It shares Heartlands' warmth toward ordinary men struggling with pride, shame, and connection in a world that's moved on without them.
But It's broader, more obviously comic. Heartlands operates in a quieter register.

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The wildcard
Something you would not have found on your own.
Twin Town1997
Both are working-class British films that use regional comedy to explore how community can simultaneously nurture and suffocate, and how stepping outside the unwritten rules has real consequences.
Two Welsh brothers navigate petty crime, family loyalty, and the narrow world they inhabit. Like Heartlands, it's a regional British film that finds humor in communities where everyone knows everyone—and uses that knowledge as a weapon.
But It's vastly more transgressive. Violence, drug use, and sexual content are woven into the comedy in ways Heartlands would never consider. It's also harder to follow and doesn't offer easy catharsis.

More like this (8)
I, Daniel Blake2016
A working-class man fights an indifferent system and discovers dignity through human connection. Both films trust their audiences to find profound emotion in the details of ordinary humiliation.
But It's angrier and more overtly political. Heartlands finds gentler ground.

The Banshees of Inisherin2022
Two men grapple with the end of a friendship and the violence beneath small-town rituals. Both explore how communities enforce conformity and what happens when someone steps outside the rules.
But It's considerably darker and more absurdist. The tone swings toward tragedy rather than wistful comedy.

About a Boy2002
A man learns that avoiding real connection—with a troubled boy, with a woman—leaves you empty. Similar warmth about human vulnerability masquerading as a comedy.
But Much more London-focused and metropolitan. The comedy lands louder and more frequently.

Mamma Mia!2008
A divorced woman faces her past on a Greek island surrounded by people who love her. Both find their narrative thrust in reconciliation and reckoning with how life diverged from expectation.
But ABBA songs and dancing. Heartlands is rooted in realism and beer gardens, not fantasy and catharsis.

Sideways2004
Two men on a road trip through wine country wrestle with failure, regret, and friendship. Similar structure—the journey as a space for reckoning—and the same gift for making disappointment funny.
But American setting, wine culture, a different class register. Heartlands is much more specifically working-class British.

The Leisure Seeker2018
An aging couple on an RV journey face mortality and the life they've lived. Both are road movies about people trying to hold onto or reclaim something just out of reach.
But Considerably more melancholy. The film sits with despair longer than Heartlands allows itself to.

Tokyo Story1953
Both trust silence and small gestures over exposition. Both believe that a man sitting quietly contains entire stories of loss and adjustment. Both find the heart in observing people coming to terms with the distance between the lives they imagined and the ones they have.
An elderly couple visits their son in Tokyo and discovers that life has moved past them. Ozu finds profound beauty in small conversations and the gaps between what we hope for and what we have. It's the spiritual ancestor of what Heartlands is trying to do.
But It's a 1953 Japanese film. The pacing is deliberate, almost meditative. If you need plot momentum, you'll struggle. Some find it austere; others find it perfect.

Summer of Soul (...Or, When the Revolution Could Not Be Televised)2021
Both are fundamentally about the dignity of ordinary people in their own spaces. Heartlands finds it in a darts team and a motorbike journey; this finds it in a festival no one remembers. Both suggest that what matters most to communities is what the wider world overlooks.
A documentary about the 1969 Harlem Cultural Festival, restored from lost footage. It's a joyful, revelatory film about community and gathering—but its real subject is the ways institutions and history erase the events that matter to ordinary people.
But It's documentary form, not narrative drama. And its joy, while genuine, comes wrapped in an undercurrent of heartbreak about what we lose when we're not looking.

People
Cast
Michael SheenColin
Mark AddyRon
Eric BristowThe Crafty Cockney
Russ BrayDarts Announcer
Jim CarterGeoff
Celia ImrieSonja
Mark StrongIan
Phillipa PeakSarah- Jane RobbinsSandra
Ruth JonesMandy
Paul ShaneZippy
Alan WilliamsDeno
Directing
- Damien O'DonnellDirector
Writing
- Paul FraserIdea
- Andrew KeyteStory
- Paul FraserStory
- Richard JobsonStory
- Paul FraserWriter
Production
- Andrew KeyteAssociate Producer
- Allon ReichExecutive Producer
- Andrew EatonExecutive Producer
- Andrew MacdonaldExecutive Producer
- Duncan KenworthyExecutive Producer
- Michael WinterbottomExecutive Producer
- Teresa MoneoExecutive Producer
- Gina CarterProducer
- Richard JobsonProducer