Only You is a 2018 British romantic drama film written and directed by Harry Wootliff, and starring Laia Costa and Josh O'Connor as two strangers who meet on New Year's Eve, fighting over a taxi.

They meet again, and consumed by infatuation, they spend day and night together, missing work, and talking into the early hours.

Elena insists the age difference is a problem - her parents' divorce has given her a fundamental mistrust of relationships.

A casual trip to the GP to check things are okay leads to tests at the hospital and a tense appointment during which Elena also reveals she had an abortion as a teenager, they are told that there is nothing wrong with either of them, but because they have been trying for over six months and Elena is over 35 years of age, they should put themselves on the list for an IVF date in another six months’ time.

After time apart, Elena attends her best friends wedding and when she returns home that evening she gathers Jake's remaining belongings and texts him suggesting they meet so she can deliver them to him.

I think it’s more acceptable to talk about miscarriage than not being able to bear a child.” Wootliff was interested in subverting stereotypes, “I loved that he’s the one who’s open and she’s less into wearing her heart on her sleeve...

I wasn’t pedaling this notion of a deranged woman pushed by her hormones to meet a man and have a baby.”[8] Wootliff is interested in the subtlety of female experience, as opposed to two-dimensional representations, “I sometimes think it’s all about showing women to be very strong.

We have qualities that are deemed as less admirable – perhaps because we are in a male-dominated society – so why shouldn’t we see them?”[9] Shot in Finnieston, Glasgow, over 25 days.

Other music used in the film included songs by, among others, Elvis Costello, Bronski Beat and Lhasa de Sela.

Mark Kermode made note of the soundtrack more broadly: "Musically, the piano and cello themes of Emilie Levienaise-Farrouch's sparse score are counterposed against an eclectic jukebox selection of tracks, most notably the anguished vocals of Elvis Costello's 'I Want You' – one of the most emotionally astute deployments of a pop song in a movie since Barry Jenkins's killer use of Barbara Lewis's 'Hello Stranger' in Moonlight.

The site's critical consensus reads, "Beautifully filmed and powerfully acted, Only You traces the arc of a relationship with refreshing honesty -- and marks Harry Wootliff as a writer-director to watch.

"[12] Ian Freer of Empire magazine noted the film's heartfelt, indie-romance aspirations, describing Only You as "that rare effort that could go toe-to-toe with its American counterpart, a passionate, moving love story told with nuance and heart".

[13] Similarly Peter Bradshaw described it as "a poignant and compelling Venn diagram of passion and heartache".

[14] Phil de Semlyen in Time Out called Only You a "compassionate, complex relationship drama will get you right in the feels",[15] while in Sight & Sound Pamela Hutchinson reflected Wootliff's storytelling ability, 'a beautifully written screenplay, with a subtly symmetrical structure signposted by two spins of the mournful, urgent I Want You by Elvis Costello, but primarily driven by two recognisably familiar, fully realised characters'[16] In The Observer, Mark Kermode felt Only You was 'a perfectly realised story of love and longing' and 'a terrifically engrossing drama about two wholly believable characters, made with the kind of wit, honesty and raw emotional intimacy that pierces right to the heart of their relationship'.

[17] In the Evening Standard, Charlotte O'Sullivan was quick to point out the original take on the subject matter, 'O’Connor has argued that Only You is "as important as I, Daniel Blake".