Quirky

This town’s market is over 900 years old and has a breath-taking high street filled with historic buildings, family-run businesses and lots of independent shops you cannot get anywhere else.

While many people splash out on pricey holidays this summer, you can have an equally magical experience right here in the UK. With a wealth of stunning destinations to discover, there are countless charming towns ideal for a short break but this gem, nestled in the West Midlands, deserves to be at the very top of your list.

This historic market town is brimming with character and as you stroll through its centre you’ll uncover a breath-taking blend of medieval, Tudor and Georgian architecture. It has been named by The Guardian among Britain’s 10 “best independent high streets”, not for its looks alone, but for being “full of cool independents rather than the usual chains”.

They said: “Ludlow has long been known as a gastro-hub, with specialist producers dotted along the high street and market place. Visit the Mousetrap Cheese Shop, Harp Lane Deli and the Chocolate Gourmet for festive eats, or browse around Bodenhams, which sells clothes in a quirky, 600-year-old building.”

Why visit Ludlow?

There are so many one-of-a-kind businesses to explore when you arrive in Ludlow, but your first port of call should be the traditional marketplace sitting right at the heart of the town square.

Having been trading for over 900 years, it boasts all manner of stalls ranging from flea markets to artisan crafts, ensuring there is something to suit every pocket.

Ludlow Market is a treasure trove of finds, and is also well regarded for its monthly specialist events, including the Food and Craft Market, the Local to Ludlow Producers’ Market, and an Antique Market.

Once you’ve had a good rummage through the local shops, your suitcase will be packed to the brim with gifts to take home, thanks to a wealth of family-run businesses such as Bensons, which stocks jewellery, and Florabunda, a florist.

If you work up an appetite, head to the Ludlow Farmshop, selling locally sourced meats, cheeses, baked goods and other regional delicacies you won’t find anywhere else.

What else is there to do in Ludlow?

Ludlow has built a reputation for championing independent businesses, but should you tire of shopping and eating, there is plenty more to discover. Perhaps the most unmissable attraction is Ludlow Castle, a stunning 11th-century ruin built by the Normans that boasts breathtaking views across the surrounding countryside.

It is also well worth taking a leisurely stroll along the River Teme to admire Ludford Bridge, which not only looks spectacular but also dates back to medieval times.

Just a short drive away lies Mortimer Forest, offering miles of gorgeous scenery, whether you fancy a gentle woodland walk or fancy tackling the climb up to High Vinnalls, the loftiest point within the forest.

Ludlow ticks every box for those seeking a quintessential English town getaway, boasting historic streets, charming independent shops, mouth-watering local cuisine and stunning countryside right on its doorstep — making it an ideal destination for anyone in search of a laid-back summer staycation.

‘We are over 100 businesses strong’

Jodie Deakin, who owns local independent business, Eclectica, and is chair of Ludlow Chamber of Trade and Commerce, which members pay £50 a year to join, told a visiting journalist earlier this year: “We are over 100 businesses strong and have everything from retail businesses like mine to professional services like solicitors.”

Of the market, she said: “These are permanent market stores, so they’re here seven days a week. It’s owned by our town council, so it’s the revenue stream for them and they run the market most days, but also lease it. Ludlow Local Produce Market is one of the leased markets. To be a vendor, you have to produce everything within a 30-mile radius.”

Manager Tish Dockerty said of Ludlow Local Produce Market at the same time: “Everything that’s sold is either made by the person on the stall or the person that’s selling it, so they can tell you how it’s made.”

Japanese filmmaker Chie Hayakawa isn’t afraid to look death in the eye. The writer-director’s 2022 feature debut, “Plan 75,” imagined an unsettling future in which the elderly are offered a subsidy by the government to be euthanized. For her follow-up, she travels into her own past, drawing from memories of her father’s battle with cancer.

But while “Renoir” features no sci-fi elements, the nearness of oblivion remains just as prominent. Shorn of sentimentality, this gentle drama follows a quietly observant fifth-grader who feels the grim shadow of mortality all around her. How the character will absorb that realization is anyone’s guess — including Hayakawa’s.

Newcomer Yui Suzuki stars as Fuki, who lives in a nondescript Tokyo suburb in 1987. Her soft-spoken dad, Keiji (Lily Franky), is suffering with terminal cancer in its final stages, the emaciated man spending as much time in the hospital as he does at home. Fuki’s mother, Utako (Hikari Ishida), doesn’t seem very despondent, though: One senses an emotional exhaustion that comes from preparing so long for the inevitable that she’s now mostly numb, her anticipatory grief having given way to frayed nerves.

Fuki’s pre-mourning process is equally complicated. Outwardly, she shows no signs of being devastated by her dad’s imminent passing, happily playing with him, almost in denial of his fate. But “Renoir” subtly suggests the impressionable girl is more aware than she lets on, surrounding her with random reminders of death. Local news breathlessly reports on random domestic murders. Even when Fuki gets away from the city, the camera lingers on her watching a campfire’s dying embers. The film derives its title from the girl’s interest in “Little Irène,” a painting by influential French impressionist Pierre-Auguste Renoir. She asks if Renoir is still alive. No, he’s dead too.

Hayakawa pulls from her childhood in multiple ways for her sophomore feature, which premiered in competition at Cannes last year. “Renoir” takes place in 1987 specifically because that’s the year she turned 11, and, like her protagonist, she was infatuated with “Little Irène.” But there’s a refreshing absence of nostalgia in Hayakawa’s conception of Fuki and her quizzical processing of her father’s fatal illness.

For school, Fuki writes an essay about her wish to be an orphan. She becomes obsessed with hypnotism and mind-reading, an unorthodox strategy to create a sense of control. And, occasionally, she wanders into daydreams that Hayakawa presents so matter-of-factly that viewers may sometimes be unsure if what they’re seeing is actually happening. In “Renoir,” Fuki’s flights of fancy are as naturalistic as her everyday life — a sharp reminder that, for children, imagination and reality are often indistinguishable.

If death has been integral to Hayakawa’s two features, it’s society’s callous reaction to aging that is her primary focus. “Plan 75” eschewed dystopian-thriller conventions to ponder how Japan might one day treat its senior citizens, viewing them as little more than a drain on resources. “Renoir” makes a similar point within a memory piece. Keiji is the one dying, but it’s telling that Hayakawa centers the story on Fuki and Utako, who each, in their own way, seem more concerned about their own personal dramas.

As Keiji’s situation grows more dire, Utako enters the orbit of Toru (Ayumu Nakajima), a workplace advisor with whom she’s instantly smitten, pondering pursuing him romantically. Ironically, Toru preaches the importance of good communication skills in the office, a lesson the film’s guarded family would be wise to heed. While Utako hides her feelings for Toru, Fuki begins a secret odyssey in which she impulsively joins a phone dating service, engaging in conversations with a creepy college student (Ryota Bando) who pushes her to meet in person. This potentially traumatic subplot is the closest “Renoir” gets to traditional suspense, but even here Hayakawa adopts a muted approach, sidestepping shock value for bittersweet commentary about young people’s confusion around love. Both Utako and Fuki chase after human connections fraught with danger, each trying to insulate themselves from the tragedy waiting at home.

“Renoir” may be a delicate wisp of a film, but it’s flecked with thoughtful questioning about whether childhood’s sorrows leave permanent scars on us as adults. Suzuki exudes the fragility and buoyancy of adolescence, playing Fuki as someone constantly imbibing the world, rarely revealing what she’s doing with that stimulus. The simplest moments resonate the strongest, such as when the moody 11-year-old holds a balloon over the balcony of her family’s high-rise apartment, casually releasing her grip so that it tumbles to the ground far below. Does it speak to a desire to jump herself? “Renoir” won’t say, but the character is so poised you feel confident she’ll survive her father’s death. Who knows: Maybe years from now, she’ll even make a touching, emotionally astute movie about it.