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Ginger And Rosa Review


An extraordinary cast lifts this grim British drama into something watchable, even if the script ultimately gives up trying to make any sense. The main problem is that the story is very badly fragmented, but it still captures a vivid sense of how it felt to grow up in 1962 Britain. And the actors give performances that bring the characters to life even in scenes that are somewhat melodramatic.

Ginger and Rosa (Fanning and Englert) are inseparable 16-year-olds who were born in the same hospital on the same day. As they both ponder the horrific possibilities of the Cold War, their reactions begin to diverge, perhaps their first disagreement ever. Ginger's parents (Hendricks and Nivola) are liberal-minded and about to separate yet again, so she takes a militant approach to stopping nuclear annihilation. Rosa lives with her deeply religious single mother (May) and believes that the only thing to do is pray about it. But the thing that drives a real wedge between the girls is Ginger's suspicion that her dad might be having an affair with Rosa.

In the early scenes, Potter establishes the girls as imaginative friends with free spirits who do everything together. Then the plot begins to take increasingly dark twists and turns, leading to a series of awkward or downright horrible confrontations that are freaky and emotional but also thoroughly mawkish. There's a lot of glowering and weeping on display from everyone on-screen. Fortunately Fanning and newcomer Englert maintain a loose honesty in their performances that helps carry us through the difficult moments. And the starry supporting cast is terrific.

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56th BFI London Film Festival: Ginger And Rosa - Official Screening Held At The Odeon West End - Arrivals

Christopher Sheppard and Andrew Litvin - Producer Christopher Sheppard and Producer Andrew Litvin Saturday 13th October 2012 56th BFI London Film Festival: Ginger And Rosa - Official screening held at the Odeon West End - Arrivals

Christopher Sheppard and Andrew Litvin

Yes Review

Rambling monologues featuring rhyming dialogue. Lead characters named "He" and "She." Camerawork aching to be lauded in Film Comment. A maid serving as a philosophical voice of reason. It's all there in Yes, Sally Potter's endless, numbing cinematic essay on... on... something.

"She" (Joan Allen) is a London-based scientist (born in Belfast, raised in America) whose open marriage to her stoic, stuffy husband (Sam Neill) is dying a slow, painful death. "He" (Simon Abkarian) is a cook from Beirut, who meets her at a party, beginning a torrid affair that puts both on a physical and emotional trek taking them to Beirut, Belfast, New York, and a groovy Cuba.

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The Man Who Cried Review

Even the title smacks of pretense, reminiscent of The Flower that Drank the Moon, that fictional bit of art house tripe overheard in Ghost World. But from Sally Potter, who proved so very self-obsessed in The Tango Lesson, returns again to her roots, this time studying her fascination with Russian and girls who sing. Christina Ricci takes center stage as the virtually silent Suzie, a Russian Jew sent to England and then Paris on the eve of WWII, but her brooding inactivity may simply be of too little interest to all but the most devoted fans of her, Johnny Depp (equally silent when not crying), and classic opera -- which plays throughout the movie.

The Tango Lesson Review

Sally Potter (Orlando) wrote, directed, and starred (in almost every scene) in this film about how she decided to take a tango lesson, fell for the instructor, and the decided to make a movie about taking a tango lesson and falling for the instructor. Autobiographical to the point of boredom, self-referential to the point of the bizarre, and self-inflated to the point of bursting, I'll just say that you better like watching people dance the tango over and over and over again if you want to watch this film.
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