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The film was shot in script order, with the cast living on location for the duration of the shoot. See more »
It is not really what you do, it's more the intensity by what you do it. By the conviction of the reality you believe in, you make others believe it. You can not make it up, really. And then people get convinced, even yourself gets convinced, whatever that is. It is not a hidden track that is there waiting for you. You got to step into it, whatever that is. That is like painting, you do all the things that are not right but they all contribute to the thing that will be right in the end. It's ...
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This is not so much a review as an observation that might be listed under 'trivia' 'continuity' or 'deep structure analysis'.
At one heart stopping moment in the action (!) Edward gets close enough to Rosie to pin a poppy onto her breast. As poppies grow around November - the eleventh hour of the eleventh day of the eleventh month ( or just 11/11) and the family holiday we're sharing is apparently in the spring or summer - do we have just a big boob or a clue to something much deeper?
This is a film in which (I suspect) there are no accidents. To get the whole picture we have to begin with the missing picture on the wall. And as we watch this space - and watch it we must as we are offered no other frame of reference, we begin to see, like an emerging after image - the ghost of two absent fathers.
This film is not only worth seeing - it is worth going to see and worth looking at every single bit of thinking inside the frame and especially your own thinking outside the box.
Never have I seen a film scream 'art for art's sake, a kiss and cuddle for god's sake' more hysterically. But not everyone will love its raving simplicity.
BTW No national myths or stereotypes were harmed in the making of this movie.
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