Joe, a rootless young drifter, finds work on a barge travelling between Glasgow and Edinburgh, owned by Les and his wife Ella. One afternoon they discover the corpse of a young woman floating in the water. Accident? Suicide? Murder? As the police investigate and suspect is arrested, we discover that Joe knows more than he is letting on. Gradually we learn of Joe’s past relationship with the dead woman. Meanwhile an unspoken attraction develops between Joe and Ella, heightening the claustrophobic tensions in the confined space of the barge. —IMDb
Born and raised in Scotland, David Mackenzie started his film career making short films. He first won an award for California Sunshine (1997), a 20-minute film about a pair of small-time drug dealers that starred his younger brother, actor Alastair Mackenzie. In 1999 he won an Audience Award at the Brest European Short Film Festival for Marcie’s Dowry (1999), then in 2000, he placed second for Best Short Film at the Dresden Film Festival for Somersault (1999).
Having completed nine shorts and a documentary, Mackenzie’s first feature length film was the small budget The Last Great Wilderness (2002), which he co-wrote with his brother and Michael Tait (Alastair also starred). But David didn’t gain international attention until he wrote and directed Young Adam (2004), based on the 1954 novel by Alexander Trocchi. Starring Ewan McGregor and Tilda Swinton, the film won the Best New British Feature award at the 2003 Edinburgh International… read more
An incredibly slow morality drama, held up by two brilliant performances from Ewan McGregor and Tilda Swinton. But Mackenzie's pace is just too languid for the film to mean much, and David Byrne's score is unfortunately a little disappointing. On the plus (or minus, whichever you prefer) side, you get to see Ewan, Tilda, and Emily Mortimer naked.
Great score by David Byrne. I think their decision to leave out McGregor's narration was a poor one, judging from the few excertps they give as extras on the DVD. It sounded very lyrical and like it would have given us more to latch onto than the sparseness of the film.
What I love about this new poster for Luca Guadagnino’s I Am Love (Io sono l'amore) is not just its gorgeous typography, but also how it celebrates