Lucy the Lion: Single Motherhood and the Proud Children that Come of It

Written by Natalin Avci and directed by Kalman Apple, the 14-minute Lucy the Lion starts out by setting the scene with a recap of the socio-political realities in the US (even if no one is likely to forget it anytime soon, even if they wanted to). The focus is on women workers post-Covid. Specifically, single mothers with rickety childcare options. 

Stage thus set, enter Lucy. A single mother with a six year old daughter, living in a motel. Taking place over the course of the day of an important, potentially life changing interview, the film almost immediately reveals itself to be a blend of Erin Brockovich and 2021’s Maid.   

Lucy (played by Avci, also the executive producer) is largely viewed from Sophie’s (Genesis Clarre) perspective. There is not a lot of privacy to be had, stuck together in a motel as they are. The bed is shared whether wet or dry, the bathroom is barely off-limits. Little and big challenges—the lion plushie needs a name, the big interview is approaching faster than it should—exist side by side. 

When Sophie’s father (John Knight) both turns up late and bails on his promise to take Sophie for the day, the child finds herself in the prime seat to the mother’s bleak life. 

Working class women with fierce potential, a can-do attitude, and a mountain’s worth of odds against them is a familiar portrait in cinema, and with good reason. Lucy the Lion works almost like a summary of these narratives, with the added shift to the child’s perspective. This change is useful; viewing the old frustrations through the fresh eyes of someone so inexperienced with the world that they do not know to control their bladder allows fresh scope for drama. 

When the day comes to its bittersweet close, it leaves Lucy with renewed zest for life. As for Sophie, she has finally found the right name for her lion. 

Watch Lucy the Lion Short Film Trailer