A truly brilliant modern classic of British cinema - about an attractive older woman on holiday with a friend's family who flirts with her friend's adult son (around 20 or so). An extremely well-nuanced script in its exposition of complex emotional scenarios - particularly around power dynamics of inclusion/exclusion and the fine line between these. Subtle visuals too - great use of frame and offscreen space.
i was not really happy with the "vicky christina barcelona"-like ending, with the woman redescending into the comfort zone of a creaky relationship, but overall the film is no less than great. i liked the way it presented the incipient, evanescent stages of a feeling, its quick diappearance, a burgeoning evasive and slippery like a dream. nothing happened, yet so much. if i were to choose a color palette best to suit
Low key but quietly rewarding debut feature from director Joanna Hogg. While there may not be much meat on the bone story wise some solid performances cover up such downfalls especially the lead turn by Kathryn Worth.
Extremely strong stuff. This is a neophyte director who has a particular vision and an uncommon ability to conduct a loose outfit loosely toward pinpoint revelations. A downer movie that produces uplift, based in how it is crafted, based on where it arrives, and based on the fact that is speaks to something in all of us. There is a scene of underwear shopping as heartbreaking as any scene I have seen in some time.
Older woman & young man; might sound like Claire's Knee with gender inverted (interesting to see what this does to the comic element in the original) except in this intensely British film, all the drama is wrung out (mostly with grace) of the faux pas of not knowing one's 'place' (as part of, here, a romantic couple or a family, where, elsewhere, class would've made the whole) CONTD in comments
For her first feature Hogg began as she's gone on: documenting -- "dissecting" may be a better word, given these films' clinically invasive quality -- the English upper-middle class, awkwardly beached on the shore of its own excruciating leisure-time in an unconsoling simulation of conviviality that only sharpens the contours of its emptiness. Much of Unrelated is very fine: too bad its central secret is so lame.
Excruciatingly familiar if you're a Brit from similar social strata. I was cringing, nodding, and laughing all the way through. Beautiful natural dialogue washes over you, and I loved the stolen moments under the fabric of this holiday system, such as the catering staff laying out the food and peering through the crack in the door at the piano player.