The feature debut from writer-director Andrea Arnold (with help in the characterisation department from Lone Scherfig) remains, IMO, her best work so far. Kate Dickie gives a powerful lead performance, ably supported by Tony Curran and Martin Compston, among others, in this tale of CCTV, grief, and vengeance.
At its suspenseful, unsettling, and voyeuristic core, Red Road is about the boundaries that separate us from others, simultaneously giving us power over them while making us fear them. The movie is at its best when staging this dialectics of intimacy/invasion and distance, staging the thrill, desire, and ultimately the necessity of breaking past the boundaries we've grown accustomed to.
Andread Arnold's debut is a voyeuristic brink-of-dystopian Orwellian nightmare about some of the worst misuses of state power but also the best aspects of human nature. Distant, stuttered observations are useful at painting stories but can lack context and details that might be vital to understanding the whole picture. Jackie picks away the outer surface with physical, intimate interaction before her final judgement.
Empty through unresolved grief on the inside and looking at others' lives from the outside. Beautifully lit.But Arnold is a mistress of creative tension which I feel resolves a little too neatly.Grief that deep demands introspection&understanding-one simply does not have the energy for retribution that xtreme in the blurred edges of moral societal dysfunction.The study is too shallow,the stars are for the photography
Wow! At first I thought it was Von Trier directing In The Cut in a Taggart style..but then it became something else, something cathartic and healing. The sex scene was something else, I felt about twelve different emotions all at the same time (approx the same as our heroine would, I wager)
Intriguing urban landscapes, savvy economy lighting, oppressive atmosphere verging on thriller, sober & somber performances conveying deep obsession rooted in sadness. But despite all the good omens, Red Road is full of direction desperately looking for an end, and that is when Arnold sinks, unable to reach satisfying closure but an arguably anticlimatic end, one that should have exploited the boundries of morality.
To those who incredulously arch their eyebrows and keep asking me why on earth I can't stand Glasgow - well this is it. To the tiniest detail, this film shows its essence. The film's so honest, so straightforward and realistic - can't help but love it. Nothing is retouched, nothing covered up by empty pompous, pink slogans. Andrea Arnold is a genius. She finds humanness in the most desolate of places..
It's like they thought, how can we make Glasgae look really fucking depressing and create a film which makes people really miserable? Really, fuckin' miserable. And don't worry, there's nae redemption. They tried tae put a bit in at the end but it's just contrived. I didn't know whether to be more sad about the utter drudgery of her job in a long-dead city or the multiple tragedies. Anyway, I'm now very, very sad.
Película con una historia cruda y sincera, narrada sin apuros y dosificando inteligentemente información que retiene nuestra atención. El punto de vista de la protagonista es compartido con el espectador de manera creativa a través de monitores de seguridad que la mantienen oculta de la realidad; estas pantallas le revelan a un personaje catalizador que motivará su salida del encierro y el emotivo desenlace.