| Photos (See all 19 | slideshow) | Videos (see all 2) |
| Ian Parsons | ... | Little Sweet William | |
| Peter MacNeill | ... | Whiskey Mac | |
| Troy Veinotte | ... | Teen Sweet William | |
| Kerry Fox | ... | Rosemary | |
| Mark Austin | ... | Preacher | |
| Joel S. Keller | ... | Fletcher | |
| Heather Rankin | ... | Black-Eyed Susan | |
| Christine Dunsworth | ... | Violet | |
| Seana McKenna | ... | Iris | |
| Joan Orenstein | ... | Grace | |
| Chris Leavins | ... | Sweet William | |
| Ashley MacIsaac | ... | Basil--Fiddler | |
| Jocelyn Cunningham | ... | Laurel | |
| Jim Faraday | ... | Mr. MacDougal | |
| Sarah Polley | ... | Teen Rosemary | |
| Renee Penney | ... | Grace the Nun | |
| Martha Irving | ... | Dusty Miller | |
| Annabelle Dexter | ... | Bud (as Annabelle Raine Dexter) | |
| Michael Weir | ... | Police Officer | |
| Tom Chambers | ... | Police Officer | |
| rest of cast listed alphabetically: | |||
| Lucy Decoutere | ... | Bridesmaid (uncredited) | |
| Francine Deschepper | ... | Bridesmaid (uncredited) | |
| Thom Fitzgerald | ... | Preacher (voice) (uncredited) | |
| Jaime Robertson | ... | Best Man (uncredited) | |
Directed by | |||
| Thom Fitzgerald | |||
Writing credits(in alphabetical order) | ||
| Thom Fitzgerald | ||
Produced by | |||
| Gilles Bélanger | .... | line producer | |
| Thom Fitzgerald | .... | producer | |
| Louise Garfield | .... | producer | |
| Arnie Gelbart | .... | producer | |
| Mark Hammond | .... | associate producer | |
Original Music by | |||
| John Roby | |||
Cinematography by | |||
| Daniel Jobin | (director of photography) | ||
Film Editing by | |||
| Susan Shanks | |||
Production Design by | |||
| Taavo Soodor | |||
Art Direction by | |||
| Charlotte Harper | |||
Set Decoration by | |||
| Darlene Shiels | |||
Costume Design by | |||
| James A. Worthen | |||
Makeup Department | |||
| Paulette Cable | .... | key hair stylist | |
| Rose Klatt | .... | key makeup artist | |
| Colleen Ryan | .... | assistant hair stylist | |
Production Management | |||
| Ian Whitehead | .... | post-production supervisor | |
Second Unit Director or Assistant Director | |||
| Barbara Badessi | .... | second third assistant director | |
| Shandi Mitchell | .... | first assistant director (as Shandi Mitchell-Macleod) | |
| Barry Nichols | .... | second assistant director | |
| Pierrette Pretty | .... | third assistant director | |
Art Department | |||
| Marsha Cameron | .... | set dresser | |
| Gary Allen Ferguson | .... | property master | |
| Richard Fraser | .... | construction manager | |
| Randy Hardy | .... | key scenic | |
| Dylan McDonald | .... | assistant property master (as Dylan MacDonald) | |
Sound Department | |||
| Eric Apps | .... | adr engineer | |
| Richard Betanzos | .... | supervising sound editor | |
| Scott Donald | .... | dialog editor | |
| Philippe Espantoso | .... | sound re-recording mixer | |
| Steven Gurman | .... | supervising sound editor | |
| Georges Hannan | .... | sound | |
| Peter Harper | .... | sound re-recording mixer | |
| Paul Hubert | .... | foley artist | |
| Janice Ierulli | .... | adr supervisor | |
| Phil Reznick | .... | sound editor | |
| Cory Rizos | .... | sound effects editor | |
| Greg Shim | .... | adr engineer | |
| Glenn Tussman | .... | supervising sound editor | |
| André Vincelli | .... | dialogue editor | |
Visual Effects by | |||
| François Aubry | .... | visual effects | |
Stunts | |||
| Michel Leblanc | .... | stunts chief rigger | |
| Lawrence Willett | .... | stunts effects rigger | |
Camera and Electrical Department | |||
| Dan Callis | .... | still photographer | |
| Bob Chiasson | .... | grip | |
| Andrea Dorfman | .... | second assistant camera | |
| Darryl Duzak | .... | electrician | |
| Jacques Girard | .... | gaffer (as Jacques 'Jackson' Girard) | |
| Kevin MacNeil | .... | key grip | |
| Christopher Reardon | .... | still photographer (as Chris Reardon) | |
| Conrad Roy | .... | best boy | |
| Robert Zimmerman | .... | assistant camera | |
Casting Department | |||
| Marsha Chesley | .... | casting director: Toronto | |
| John Dunsworth | .... | casting director: Halifax | |
Costume and Wardrobe Department | |||
| Jeanie Kimber | .... | wardrobe buyer | |
| Sian Morris Ross | .... | wardrobe supervisor | |
Editorial Department | |||
| Claudine Blain | .... | negative cutter | |
| Vladimir Zabransky | .... | color timer | |
Music Department | |||
| Richard Betanzos | .... | music editor | |
| Mike Jones | .... | music engineer | |
| Ron Proulx | .... | music supervisor | |
| Jane Siberry | .... | musician | |
Transportation Department | |||
| Jack Niven | .... | transportation coordinator | |
Other crew | |||
| Mark Austin | .... | location manager | |
| Jean Brien | .... | production accountant | |
| Danielle Depeyre | .... | script supervisor | |
| Derek Filiatrault | .... | pre-production coordinator | |
| John Frizzell | .... | script consultant | |
| André Lacroix | .... | location assistant | |
| Karla Morash | .... | production coordinator | |
| Michael Weller | .... | script consultant | |
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| My Own Private Idaho | Head On | Brokeback Mountain | C.R.A.Z.Y. | I Vitelloni |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb UK section |
I'd seen portions of this film on TV when I was about 12, and it frightened me -- I thought it a perversely arousing horror film. Watching it now, I see that it's actually a pretty smartly made literary piece about a family (I could only remember the disturbing images indicated by the film's title). It does have its share of comedy -- there's a lightness in tone that comes mainly from the profuse swearing of the Maritime newlywed (Kerry Fox) who takes part in one of the more awkward marriage processions in recent memory (which also features Ashley MacIsaac on fiddle), and whose marriage instigates the return of her ten-years-gone brother, William. The telling of the film is centered around three tenses of William's life -- his childhood memories, his fat teenage years, and his current appearance -- which are cut up, rearranged, and presented to us, though the unique thing is that Fitzgerald chooses also to surreally intersperse them together into the present one: our current William sees his young self using food as a comfort, and he sees his teen self leave behind his obese body in favor of his current slim frame.
I liked the way that Fitzgerald chose to tackle the mind's abstract identity in this very literal way and I think it makes the film more interesting than its abusive-father/thoughtful-mother family drama otherwise would be. There are some nice touches in the film, like William's apparent young sister who he seems to have swapped gender roles with, and there are some really clever scenes like the one where the current William rushes to help his father -- and his father seeing that his grown son has been playing dress-up; or the scene where his mother has to listen to her son's first sexual experience with a woman. The performances are uniformly good for the film's intent, but Sarah Polley stands out as doing something beyond what's merely required. 8/10