In Other Words, I Love You
starring: EVIE DAY & JOEY JAMES FRENCH
When Alice scores a scholarship to London’s elite Ashford Institute, she clashes with the school’s royal pain, Charles “King” Kenward. But one wild twist lands them under the same roof… and their rivalry? About to turn dangerously romantic.
REVIEW
⭐⭐⭐⭐⭐
This is my favorite vertical ever. I have already watched it twice today. You have probably seen me crying in my previous post cos I needed to explain what it means to me
It has been so hard to keep the faith in verticals this year. We all know why. There are releases this week that are the very worst of verticals
And then this. This should be on the BBC. This should be on the big screen. I think it is better than Maxton Hall. The writing is more nuanced, and we have a complete ending.
It shows a perfect blend of nostalgic England with that bus and stately homes mixed with the gentle humor, and an actually diverse school
Everything @baconhillcreative is magnificent, but this is their best. On my second watch today I checked, there isn't a wasted word. Everything serves a purpose
And the cast. OMG the cast
Firstly @eviedayuk is English. She is English playing American. And she is just so likeable, there is a super moment where she puts her tongue in her cheek when Charles tells her she is heavier than she looks. We never go into histrionics. It is much more powerful when Charles breaks up with her that she knows there is something he isn't telling her, and is in resigned shock. Then she adjusts her posture at the end, so she is confident and assured as a successful writer. So blinking good
And I don't know how @joeyjamesfrench does it. He can do that English drawling aloofness which could put him in any period drama. He can do banter, twinkling eyes, deadpan comments then effortlessly switch to concern, thoughtfulness and resolve. And he breaks my heart when he breaks down on the staircase. For goodness sake someone cast him in horizontals as soon as possible because he really should have all the teens swooning after him.
And everyone is phenomenal, Chanice Herd, Alice Thoma @sheyamcallister @cameronwight5 @tommyhighmore @mnavellou as Alice's mum
Just give people scripts this good and watch what they can do
Everything about the production is perfect, the locations, the music, the lighting.
@haochonger @messyh.z are geniuses. @firsttone_productions always make wonderful verticals, they have the magic touch.
And yes. I love it.
💖 Top swoonworthy moment:
I could write a book.
We get a whole intellectual debate, where both sides have good points. Alice is never weak, she saves herself jumping out the window, and refuses to let the bullying get to her.
Charles is never a jerk, from calling a taxi to immediately going to find Alice when he realises something is wrong.
Then massive things - the fact that Charles knows what Alice really needs is a hug during the thunderstorm. Why aren’t there more hugs in verts? Hugs are the best thing in the world.
The gentle teasing as they get to know each other, and that they still do this even when together.
They manage to make chess romantic.
The understanding that companionship is romantic, just doing things together. The adorable secret relationship at school. Lots of looks and glances.
Then we have Charles’ parents interfering. And then we go up another gear. Because Charles takes everything on himself to protect Alice. And that scene has time, it isn’t the usual 1-2 sentences and we move on.
When we then see Charles crying on the stairs, that is when I start crying. Because you actually see what it has done to him.
And then of course he is constantly looking out for Alice, from the sponsorship to roadside rescue.
Then the ending is perfection.
Alice is this amazing, strong woman. She just glows.
The reunion is understated, and perfectly played as Charles explains he has to wait until he had the power over his own future.
And then we have the wedding, and the most perfect final episode in Paris.
And I think the phrase ‘Don’t Tell Me What I Have To Do’ has to be one of the lines of the year.
🦹🏼♂️ Top villain award:
There is a sense of dread now with the YA verticals, and the bullying which varies from gross out to rage bait violence. And this shows it is just awful writing and there is no excuse for it.
Here things happen that show Evie is being excluded, but we never really see who does them. A note in a book, something left in her locker, getting locked in the school, the water bucket on a door. This is just as effective, if not more so. And best of all Charles goes to the head. He reports it. As a decent male lead should.
Then we have Serena arriving later, perfectly styled in her peals and headband. She is mean but it is never too much, we never descend into a barrage of insults. Because again Charles stops her. She is spoilt and entitled, rather than a monstrosity.
😂 Comedy gold:
We start brilliantly when Charles catches Alice, but then unceremoniously drops her to the floor. Such a good twist on this vert trope. We also have the most useless kidnappers of all time.
But I think the thing I love the most is the kindness. We have gentle ribbing and teasing rather than overwrought verbal sparring. For instance - everything about the Chewbacca outfit, when Alice thinks Charles is trying to buy her body. It never goes too far, and is much more about how people communicate in the UK.
The script even pokes fun at itself, when Alice gets locked in again ‘this is getting old’, and then later on when she teases Charles for quoting himself.
🎺 Unsung hero:
So many things:
Besties Sherry (Chanice Herd) and Lily (Alice Thoma), who stick by Evie. Loved them recounting how the Lord of the Flies conversation turns into an epic feud according to school gossip
Tommy Highmore, Cameron Wright and Alexandra Cook for their brief cameos
The director’s cameo as a reporter
The locations
The ending in Paris
The credits and BTS at the end of the movie (at least on Kalos)
William Golding for getting discussed in detail in a vertical
But mainly Bacon Hill Creative for writing the most perfect script
✍🏼 DETAILS
Director: Hui Zhang and Zhizi Hao | 2025
Available on Kalos, Minishorts and Dramabox
