Everyday tells the story of four children separated from their father, and a wife separated from her husband. The father, Ian (John Simm), is in prison. The mother, Karen, (Shirley Henderson) has to bring up a family of four children by herself. Filmed over a period of five years, Everyday uses the repetitions and rhythms of everyday life to explore how a family can survive a prolonged period apart. –TIFF
Acclaimed British filmmaker Michael Winterbottom is known for making intense, passionate films that explore the demands of human relationships and emotional commitment. He first earned recognition with Butterfly Kisses (1995), a somewhat controversial revision of the buddy/road genre that told the story of a pair of lesbians (Saskia Reeves and Amanda Plummer) who go on a killing spree across Great Britain.
Born in Blackburn, Lancashire, on March 29, 1961, Winterbottom earned a degree at Oxford and received film training in Bristol and London. After beginning his professional career as a film editor for Thames Television, he directed two documentaries about Ingmar Bergman and a few television series, most notably the acclaimed BBC drama Family (1994).
The same year that Butterfly Kiss was released, Winterbottom presented audiences with a film of an entirely different sort. Go Now, a romantic drama starring Robert Carlyle as a man whose… read more
The idea of casting real life siblings in this, and filming it over 5 years was interesting. It worked in that you got natural reactions from the kids, and it emphasized how much time their dad was away from them but other than that I think it all fell a bit flat. I found it hard to really connect with anyone. I didn't care for either parent & although I liked the kids it didn't go into that much depth with them.
Condensing five-years of footage into a two-hour narrative doesn't give the story enough room to breathe. I never felt any connection to what was happening, and although I understood why it was necessary to emphasise this feeling of fragmented repetition - the 'everyday' struggle, etc - it just didn't feel very compelling. That said, Shirley Henderson was great, and the continual punctuation of beautiful landscape footage (scored by Michael Nyman) worked in contrast against the monotonous back and forth observations of prison life and the turmoil of the home, creating an onscreen representation of that longed-for feeling of escape.