Catch Me Daddy is by no means flawless in this regard. There's an issue of believability at the centre (although Wolfe says it was based on a newspaper story he read), but there's enough questions that the film poses to keep you absorbed. It's potentially a little too long - its improvisational technique with non-professional actors frustrating at times - and its violence-for-violence's sake hasn't the raw terror of, say, Ben Wheatley's lo-fi kitchen sink oddities. The climax is also rather rushed - while psychologically real, in plot terms it's utterly daft. But there's poetry in the filmmaking (Ted Hughes' poem, Heptonstall Old Church, is narrated over the start of proceedings) which marks Wolfe out as the real deal.
Laila and Aaron stroll through rigged scenery smoked-up by fires in the distance in one scene, and the director knows just how to rack up the tension. It's in Catch Me Daddy's small touches, however, that Wolfe most impresses: Laila and Aaron play-fighting while the pursuers drive for miles to reach them; or an extended scene when Laila and Aaron get high and dance crazily to Patti Smith's Horses as if to amplify a calm before an impending storm. Furthermore, this eye-catching British debut is superbly shot by Andrea Arnold's cinematographer Robbie Ryan, who captures the isolation of being lost in the countryside in wonderful 35mm.
The full Glasgow Film Festival 2015 programme, ticketing details and more can be viewed at glasgowfilm.org.