The release of the second Enola Holmes film sees Millie Bobby Brown and Louis Partridge return to the screen as the titular detective and her brother’s friend, Lord Tewksbury. As the franchise continues to carve its niche in the landscape of British cinema, the actors offer reflections on the interplay of family, fame, and the industrial apparatus supporting their craft.
Brown, who rose to global prominence through the supernatural series Stranger Things, has transitioned into a producing role alongside her acting duties. The 20-year-old describes how the Enola Holmes franchise allows her to channel her understanding of familial dynamics. The Holmes siblings, navigating their mother’s disappearance while attempting to forge their own identities, mirror the complexities of real-world sibling relationships of which Brown has personal experience. "There is a balance between independence and reliance that I recognise from my own life," she states. "Enola is fiercely independent but she also needs her brother Mycroft, and she forms a bond with Tewksbury. That is the truth of family."
Partridge, in contrast, offers a perspective on fame that is more measured, perhaps a result of his later introduction to the industry. "The attention is surreal at times," he admits. "But acting is about the work, not the noise." He credits the support of his family for keeping him grounded, a sentiment that echoes the thematic core of the film itself.
Both actors highlight the distinct identity of British cinema in an era increasingly dominated by international co-productions and streaming services. Brown, who grew up in the United States but maintains strong ties to the United Kingdom, observed that "British films have a specific texture. They are often more character-driven, less reliant on spectacle." The Enola Holmes films, produced by Netflix, straddle this boundary: they contain the visual grandeur of a mainstream release but centre on character interactions and period detail.
Partridge adds an economic dimension: "British cinema has always been about resourcefulness. We learn to do more with less, which forces creativity. The costume design, the set construction, the lighting: all of it has to work within constraints, and that creates a unique aesthetic." This resourcefulness, he argues, is embedded in the national cinematic tradition from Hammer Horror to Mike Leigh.
The discussion of British cinema inevitably leads to concerns about its survival amid globalisation. Both actors, however, express optimism. Brown points to the recent success of films like The Banshees of Inisherin and All Quiet on the Western Front as evidence that British and European stories continue to find international audiences. "There is a hunger for authenticity," she says. "If the story is well told, it will travel."
Looking ahead, the Enola Holmes franchise appears poised for further expansion. Brown has hinted at potential storylines involving new characters and settings within the Holmesian universe. For Partridge, the opportunity to develop Tewksbury beyond the initial romantic interest is a draw. "Every actor wants depth in their character," he explains. "I hope we get to explore his personal journey more."
As the interview concludes, the conversation returns to the notion of family not merely as a plot device but as the foundation of their professional lives. Brown speaks warmly of the ensemble cast, describing them as a professional family. Partridge agrees, noting the collaborative spirit on set. It is this sense of mutual support, combined with technical skill, that they believe defines British cinema at its best: a collective endeavour, made by families on screen and off.
