WHAT would you do if the hard-right took over Westminster? If someone like, say Paul Nuttall or, heaven forbid, Jair Bolsonaro, became PM?

In Super November, the debut feature film by comedian Josie Long and Glasgow-based director Douglas King, a rightist coup has wrestled power from a recently elected socialist government.

Glasgow, like elsewhere in Scotland and the UK, is subject to a night-time curfew. Citizens are encouraged to return to their “designated regions” and to report behaviour which may endanger them and their families.

Even the status of Long’s protagonist, a lovelorn librarian working in Clydebank under earthy boss Donna (Janey Godley), is questioned – shouldn’t she better go back to England? This will all blow over soon, surely.

Coming home late at night from the library (now an immigration processing unit), Josie finds herself out after curfew. As the authorities close in, she crouches behind a street bin plastered with bill posters declaring “We are The 45”.

It feels very different to the early part of the film, set six months previously, when Josie is smitten by Mikey (Sean Biggerstaff), a guy she swoons about to her flatmate Darren (Darren Osborne) and unlikely pal Roddy (James Kirk). Things were fine then – just a little unstable.

“I don’t think people would instantly be heroes if something like this happened,” says Long. “I don’t think people would instantly stop being concerned about other things. Even when awful things are going on politically, you are still a person. Your concerns on a personal level might seem quite small compared to what’s happening around you.”

Later in Super November, Hannah, a worker at Darren’s office who has been hiding out there for days, attempts to reassure the gang of friends as they leave the city for the safety of the western isles.

“After this, there will have to be indyref2,” she says. Moments later she is singled out by a government officer for the colour of her skin.

Merging relatable romance and the comedy of everyday life with credible, near-future politics, Long’s script was primarily a response to popular passivity; a prevalent sense that terrible things just couldn’t happen here.

“The whole idea for this film was a response to seeing a lot of people’s complacency in the face of the refugee crisis,” Long says. “That complacency, and the aggression of some towards people trying to get to safety here in this country and other European countries.

“I wanted to talk about how people assume there’s a degree of safety in this country that would never ever change, and make a fantasy where that was no longer the case.”

A regular on Radio Four, Long has been a fixture at the Edinburgh Fringe and on the UK circuit since the mid-2000s, winning fans with her likeable charm and ambitious commitment to DIY ethics. Shows with titles such as Trying Is Good, Be Honourable, Romance and Adventure come with hand-drawn fanzines to take home; often they depict cartoons of historical figures she admires.

One, trade unionist Jimmy Reid, is name checked in the film by Godley’s character, one of a handful of Scots comics to feature in the film alongside Kirk and Chris Forbes.

“Chris Forbes was just a-maz-ing,” emphasises Long, in between speaking to her baby daughter, a recent arrival for her and fellow comedian Jonny Donahoe, one half of Ukip-baiting musical duo Jonny And The Baptists.

Godley’s part, Long explains, was written specifically for her. Ashley Storrie, the champion Trump-botherer’s comedian daughter, also appears later as an island barmaid dispensing beer and comfort to refugees from the mainland. The part of Roddy, a lad who hides his kind heart beneath contrary bravado, was initially written for Iain Stirling, the Scottish funnyman and voice of Love Island.

“It turned out he couldn’t do it,” says Long of Stirling. "But he said, ‘James Kirk is the funniest man I’ve ever, ever worked with’, so we asked him. Now I can’t imagine not having him in it.”

Long says she hopes a future project with King will feature the 24/Gary: Tank Commander actor alongside some of Super November’s other stars.

It won’t be another anxiety-ridden dystopia, she says. Perhaps highlighting the legacy of the likes of Reid and Red Clydeside leader John Maclean has given the Corbyn-supporter cause for cheer.

“I do feel quite positive at the moment,” she says, noting that she’s been reading up on Glasgow’s radical history in recent years. Also mentioned in the film is the battle of George Square.

“It’s an astonishing fact that in 1919, there was nearly a socialist revolution in Scotland,” Long says. “I thought it would be a good thing to have in the background, and have the story lean into it. There’s parallels with the story in terms of this radical left-wing government being elected and then this right-wing coup overthrowing it. A lot of the history of Clydebank and Glasgow is obviously built on these things.”

Practicality as well as relevance and genuine affection led to Long and King to film Super November entirely in Scotland. The film also features a soundtrack by Pictish Trail aka Isle of Mull resident and Lost Map Records boss Johnny Lynch, a friend of Long’s for around a decade.

“Doug and I have been making films together for coming up on seven years, and they’ve always been in Glasgow,” she says. “I think that’s the only place I would make films. Doug and I said that if we had filmed it in London, all of our budget would have been on parking. There are fewer cool locations. I love Glasgow, it’s the best city, and it’s an excuse to spend time in there too, which I always need.”

Tomorrow, Dunoon Film Festival; Nov 26 Glasgow Film Theatre; Nov 27 Filmhouse, Edinburgh; Nov 28, Eden Court, Inverness; Nov 29, Dundee Contemporary Arts, Nov 30, Macrobert Arts Centre, Stirling.

Long and King will be at all the dates except Dunoon. www.supernovemberfilm.com