Georgie believes that she is working her way through the stages of grief, but Ali, noting that she refuses to let her home change in any way from how her mother left it, says she isn't.

Jason attempts to reach out to Georgie by helping her scrape the serial number off a stolen bike she is respraying, but any trust between them is lost that night when she steals his phone and goes through his photographs, and he responds in anger.

That night, Georgie sleeps in the padlocked room, where she pictures a huge tower made of scrap metal stretching up into the sky.

Regan said that the Limes Farm housing estate in Chigwell was chosen for because of the "sense of community, where all the balconies look out on to where the kids play."

"[4] Actor Harris Dickinson had previously worked with writer and director Regan and producer Barrowclough on the 2019 short film Oats & Barley.

[8] Scrapper premiered at the 2023 Sundance Film Festival, where it won the Grand Jury Prize for the World Cinema Dramatic Competition.

The website's consensus reads: "Like a cold treat on a hot day, Scrapper delivers two scoops of a sweet father-daughter dramedy best consumed when in need of a hug.

"[13] Metacritic, which uses a weighted average, assigned the film a score of 74 out of 100, based on 25 critics, indicating "generally favorable" reviews.

Adding: "It's also good to see a kitchen-sink drama that doesn't take itself overly seriously, but the downside of that is that Scrapper sometimes seems a little flippant, given that, smart as she is, our plucky heroine is still a vulnerable child, all alone in the world.

Still, it's early days in Regan's career, and it will be interesting to see what other kinds of stories and genres she has in her offbeat sights".

[16] Variety writer Guy Lodge highlighted the pastel coloured palette of the film, which "offers a sunnier take on familiar kitchen-sink territory, but is occasionally a touch too cute".

He described the work of director of photography Molly Manning Walker as "vibrant, stock-shifting lensing" which "deftly negotiates the film's toggling impulses between social and magic realism".

Production designer Elena Muntoni is said to strike "a clever balance between mundanely escapist decorative flourishes — like the cotton-candy clouds painted on a bedroom wall — and Georgie's actual flights of fantasy, like the scrap-metal tower she builds to the sky in a locked spare room.