Mike Figgis continues to move in his own inimitable fashion creating films that require concentration, patience, and some indulgences from the viewer, but films that in the end are like wonderful paintings to hang in a gallery for repeated exposure and admiration. Figgis wrote, directed, composed the musical score, edited, and performed the cinematography for this puzzling work: it works very well if your mind is sharpened and up to a challenge.
Socialite Martin (Sebastian Koch) is an accomplished writer of cinema and theatre who now teaches his trade to film school students. Fifteen years ago his wife disappeared after an argument, has not been seen or heard from since, and Martin has been left to singly raise his daughter Sarah (Rebecca Night) who aspires to be an actress like her mother. At her 25th birthday party, Martin encounters the mysterious Angelique (Lotte Verbeek) who is found dead the next morning. An investigation by the police leads to Martin being the prime suspect and with the arrival of Angelique's twin sister Therese, who comes to London regarding her sister's death, and with whom Martin has a fascination, comes even more questions concerning their brief fling. The are subplots galore: the entire film is being written as we see it and the director of Martin's film (Eoin Macken) is obsessed with Martin's daughter Sarah who also becomes physically involved with Therese. If all this sounds confusing it is meant to be: Martin's creative ploy is the concept that the character is the plot – and while it is puzzling at times, the manner in which it plays out is absolutely masterful.
Other actors in the supporting cast include Julian Sands, Lachlan Nieboer, Frances de la Tour and Kenneth Cranham. Every aspect of this film is creative – split screens, naming of scenes, strange photographic images, and interplaying story lines that somehow connect. This is a tough film but deserves the attention of those who love art films. The only problem is the level of sound of the spoken lines – it needs subtitles despite being n English, but none are available.
Grady Harp
Socialite Martin (Sebastian Koch) is an accomplished writer of cinema and theatre who now teaches his trade to film school students. Fifteen years ago his wife disappeared after an argument, has not been seen or heard from since, and Martin has been left to singly raise his daughter Sarah (Rebecca Night) who aspires to be an actress like her mother. At her 25th birthday party, Martin encounters the mysterious Angelique (Lotte Verbeek) who is found dead the next morning. An investigation by the police leads to Martin being the prime suspect and with the arrival of Angelique's twin sister Therese, who comes to London regarding her sister's death, and with whom Martin has a fascination, comes even more questions concerning their brief fling. The are subplots galore: the entire film is being written as we see it and the director of Martin's film (Eoin Macken) is obsessed with Martin's daughter Sarah who also becomes physically involved with Therese. If all this sounds confusing it is meant to be: Martin's creative ploy is the concept that the character is the plot – and while it is puzzling at times, the manner in which it plays out is absolutely masterful.
Other actors in the supporting cast include Julian Sands, Lachlan Nieboer, Frances de la Tour and Kenneth Cranham. Every aspect of this film is creative – split screens, naming of scenes, strange photographic images, and interplaying story lines that somehow connect. This is a tough film but deserves the attention of those who love art films. The only problem is the level of sound of the spoken lines – it needs subtitles despite being n English, but none are available.
Grady Harp