Premiering at this year’s BFI Flare, Madfabulous is a strikingly offbeat British historical drama directed by Celyn Jones and written by Lisa Baker in her feature debut. Produced by Mad as Birds, the film brings a flamboyant slice of aristocratic history to life with an unmistakably modern sensibility.
Set in the late 19th century, the film follows Henry, the 5th Marquess of Anglesey, played by Callum Scott Howells (It’s a Sin), a wildly extravagant aristocrat whose behaviour raises eyebrows within his rigid social circle. Opposite him is Lily, portrayed by Ruby Stokes (Bridgerton), who becomes entangled in Henry’s orbit, while Rupert Everett (Another Coubntry, My Best Friend’s Wedding, The Happy Prince) delivers a scene-stealing turn as Gelert, Henry’s loyal and devoted butler. Supporting roles from Paul Rhys (A Discovery of Witches) and Siobhán McSweeney (Derry Girls) further enrich the ensemble, each adding texture to this peculiar world of privilege and excess.
Jones’s film is about identity and defiance. Henry is presented as a man far ahead of his time. He is flamboyant, expressive and unwilling to conform to the suffocating expectations of Victorian society. The film leans into his alternative nature, portraying him not as a caricature but as a deeply human figure.
Jones directs with an assured lightness of touch, never letting the film buckle under the weight of its own extravagance. Cinematographer Laurie Rose (Free Fire, Journey’s End, Pet Sematary) is an ideal collaborator here — his work has always had a painter’s instinct for shadow and texture, and he brings that same quality to this small, yet perfectly formed biopic.
The cinematography (rich in natural light and sweeping Welsh landscapes) captures both the grandeur and the loneliness of Henry’s existence. Lavish interiors contrast beautifully with the rugged exteriors of Anglesey, reinforcing the character’s internal conflict between confinement and liberation.
However, Madfabulous isn’t without its softer edges. While the pacing occasionally eases in the second act, it allows for a more reflective tone, giving the characters space to breathe. A few supporting roles could have been explored further, yet the strength of the central performances ensures the emotional core remains engaging. These are ultimately small considerations within an otherwise bold, vibrant and thoroughly captivating film.
Ultimately, Madfabulous succeeds because of its commitment to telling an unconventional story in an unconventional way. Anchored by a magnetic central performance from Howells and elevated by Jones’ stylish direction, it’s a refreshing addition to the British period drama landscape—one that dares to be as extravagant and unapologetic as its protagonist.
Madfabulous is in cinemas in June.
