Christine Bottomley - Photographs of a host of stars as they arrived for the Moet British Independent Film Awards which were held at the Old Billingsgate in London, United Kingdom - Sunday 7th December 2014
Charlotte is a proud career woman living in finely placed, plush city apartment with very defined ambitions and the confidence to achieve them. Unfortunately, the media agency she works for sees her future a little differently, and she is cut off from the scheme she's worked so hard for. Angrily, she comes home and bumps into her cleaner with whom she has a violent argument. The row escalates, and Charlotte fatally injures her by accident. Panic-stricken, she dumps the body just in time for the arrival of her sister Sarah and her niece. Remembering the CCTV, she attempts to get hold of the taped evidence and meets security official Roger, who watches the tapes for himself and witnesses everything. However, this is a man with very few scruples and he has no intention of going to the police with his findings. Instead, he invites himself into her life, shamelessly seduces Sarah, and sets out to make Charlotte's life a living hell.
Continue: Keeping Rosy Trailer
Sleek and tightly constructed, this low-key British horror thriller worms its way under the skin to put us in what feels like an impossible situation. We may not be able to identify with everything the central character does, or each decision she makes, but we squirm at the thought of being in her shoes. And by keeping everything so understated and suggestive, filmmaker Steve Reeves manages to deliver several terrific jolts.
In London, corporate executive Charlotte (Maxine Peake) is having a seriously terrible day. After giving up her personal life for her job, she's bypassed for a big promotion that goes instead to Tom (Sam Hoare), whose wife (Tori Hart) has just had the baby Charlotte has always longed for. After drowning her frustration in alcohol, she goes home to find her surly cleaner Maya (Elisa Lasowski) smoking in her flat and trying to steal a bottle of champagne. But their confrontation takes a dark turn when Charlotte accidentally kills Maya. In a panic, she hides the body. But this only begins a series of major decisions Charlotte must make. She reaches out to her sister Sarah (Christine Bottomley) for help, but things begin to feel a lot more precarious when the smiley Roger (Blake Harrison) turns up.
The title refers to one of Charlotte's most important choices, which is something better discovered in the context of the story. Indeed, the entire movie seems to exist behind Peake's expressive eyes and stony face. She gives Charlotte an uncanny inner life, thinking through the ramifications of every startling twist as if it was part of a major corporate project. It's easy to see why she is so good at her job, although her intelligence also makes some of what she does feel rather contrived. But Peake's considerable screen presence makes it clear that Charlotte is the kind of woman who doesn't accept help from anyone and would rather do even the dirtiest work herself.
Continue reading: Keeping Rosy Review
Gillian (Madeley) is running away from home when she gets the idea to work picking strawberries, pretending to be "Tammy" from Scarborough. Her new boss is Kev (Elliott), a lusty man with a mysterious past who takes an interest in her. Then her sister Emily (Bottomley) storms onto the farm. Clearly, the deeply unstable Emily has been controlling Gillian's life for a long time, and now that their mother has died, Gillian wants to do her own thing. But can she escape Emily's manipulative grasp?
Continue reading: Strawberry Fields Review
Andrea Dunbar wrote her first play, The Arbor, at age 15. Named after the street where she grew up in Bradford's rough Buttershaw Estate, it was a national sensation, leading to her second play Rita, Sue and Bob Too, which was adapted into an Alan Clarke film. But Andrea's life didn't get much better, with a string of rocky relationships, three children from three men and a terrible alcohol problem. And her snappy, astute writing came to an end at only age 29 when she died of an embolism.
Continue reading: The Arbor Review
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