A middle-aged London factory worker (Blethyn) is shocked when the mixed-race daughter she gave up at birth decides to track her down. Becue-Renard brings his own brutality to the topic of PTSD, by putting us at odds with feeling his subjects' pain, or only studying it.
Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common.
Kada njezina posvojiteljica umre, Hortense, 27-godisnja crnkinja, odluci pronaci svoju biolosku majku.
Cynthia se ubrzo uvjeri da je Hortense ona za koju se predstavlja te vrlo brzo izgrade prijateljstvo iz kojeg ce Cynthia crpiti novu emocionalnu snagu.
It is well known that he imagines characters and a situation, casts actors to play the characters, joins with them in workshops where the dialogue and the plot take shape, and only then writes the screenplay.
You will receive a weekly newsletter full of movie-related tidbits, articles, trailers, even the occasional streamable movie. Neudana je, ne nada se ljubavi i obavlja besperspektivan posao u tvornici kartonske ambalaze. In between, he worked constantly for television and the theater but couldn't get a film financed because the backers wanted to see a script, and of course he didn't have one.
The payoff for his method comes in scenes like the film's two very long and unbroken takes, when he calls on his actors to use the disciplines of the stage as well as the screen. When I saw "Bleak Moments," I knew I was watching a masterpiece by a great director and wrote a long review for the Sun-Times. Jednog dana Cynthia primi telefonski poziv od zene imenom Hortense, koja tvrdi da je njezina kci koju je prije mnogo godina dala na posvajanje.

Cynthijina prva reakcija je panika, ali pristane susresti se s Hortense te se iznenadi kad otkrije da je ona uspješna i ljubazna lijecnica - oftalmolog te da je crnkinja.
That's true of Brenda Blethyn's performance in "Secrets & Lies" as Cynthia Purley, a factory worker who rattles discontentedly around the little rowhouse she was born in and regards Roxanne, her 20-year-old daughter, with despair. Cynthia seems an anthology of raw sadness and worry, but she will be transformed when her worst nightmare comes true.This happens when she receives a phone call from Hortense Cumberbatch, who Cynthia bore out of wedlock at 16 and gave up for adoption without ever seeing her. After the death of her mother, she decides to seek her birth mother, and the long-held secret of Cynthia's first child is threatened.
This secret has been guarded not only by Cynthia but by her younger brother, Maurice (Timothy Spall), and his wife, Monica (Phyllis Logan).Cynthia breaks into tears and hangs up on Hortense.
They're acting in real time, creating a new relationship on the spot, Cynthia feeling the first inner stirrings of this daughter who is an optometrist, when her layabout Roxanne is a street sweeper.Scenes of the two women, together and apart, are intercut with scenes of Maurice and Monica, childless, with a coldness between them.
An unusual amount of screen time is devoted to the photographs Maurice takes in his portrait studio. They're interesting in themselves; a woman whose face was scarred in a traffic crash says she wants to look "as bad as possible" for insurance purposes. They lay the foundations for Maurice's outburst near the end, beginning with "I've spent my life trying to make people happy."Maurice and Monica, who live in a spacious new house, hardly ever see his sister and her daughter.
Cynthia, who brought up Maurice as her "little brother," hates Monica, and the feeling is returned.
Paul (Lee Ross), the boyfriend, had only a little mumbled dialogue, but watch him closely: He is terrified, his hands clenching, his chin twitching, as he bolts his food.
What is interesting is that there is no sign of racial prejudice; the fact that Roxanne is learning that she has a half-sister is quite enough.

The shock of the announcement spreads through the room, jarring loose other family secrets and lies.Observe this scene as an illustration of what I mean by Mike Leigh's delicate precision.
Every camera setup, every closeup, the size and timing of every closeup, the editing of the whole, works to unfold the scene powerfully. Material enough for a season of soap opera is handled in several minutes and never seems forced or arbitrary.The tricky thing with many Leigh films is to process the comedy. In his more upbeat films like "Life Is Sweet" (1991) and "Topsy-Turvy" (1999), the comedy is evident. In his darker films, like this one, "Bleak Moments," "High Hopes" (1988) and of course, "Vera Drake" (2004), the humor is there, but often repressed and insidious, the kind of humor that in a social situation tempts you to laugh when it's inappropriate. One of Leigh's favorite devices is to contrive some sort of party, dinner or gathering in which all the story strands emerge, sometimes with great inconvenience."Bleak Moments" is now finally available on DVD, as is Leigh's celebrated BBC film "Abigail's Party" (1977). Consider an extended scene in "Bleak Moments" when the heroine, a beautiful, severe, reserved woman (Ann Raitt), goes on a first date with a painfully shy teacher (Eric Allen). In their paralysis in a Chinese restaurant, and in their confrontation with a waiter, you can sense all of Leigh's career lying in wait.In my review of "Bleak Moments," I wrote that the film "is not entertaining in any conventional way.
The kind of fascination Mike Leigh generates is unlike almost anything else in the cinema, because it takes such chances, goes so deeply, explores the human comedy for its tears.All of Leigh's features are reviewed on this site.

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