In this film, told almost entirely in iambic pentameter, She is a scientist in a loveless marriage to Anthony, a devious politician. He is a Lebanese doctor in self-imposed exile, working ... See full summary »
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In this film, told almost entirely in iambic pentameter, She is a scientist in a loveless marriage to Anthony, a devious politician. He is a Lebanese doctor in self-imposed exile, working as a chef in a London restaurant. They meet at a banquet and fall into a carefree, passionate relationship. But the contempt He perceives as a Muslim immigrant to the UK causes him to break up with She, offering little in the way of explanation, and return to his homeland. She drags his reasons out of him little by little and tries to sympathize. Keenly feeling the loss of his love, She flies to Havana to sort things out on the beach and in the cabarets. She sends him a ticket, but harbors no illusions that He will join her in this Carribean melting pot... Written by
The whole of the film's dialog is spoken in verse. See more »
As "He" is chopping celery and talking to his crew, the knife in his hands changes from shot to shot. One shot has pieces of celery stuck to the knife while the other shows a clean blade. See more »
If and when I die, I want to see you cry. I want to see you tear your hair, your howls of anguish fill the air. I want to see you beat your breast and rent your clothes and all the rest. And, sobbing, fall upon my bed I want to know that I am dead.
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Not since Shakespeare's day have playwrights written entire screenplays in iambic pentameter, but writer/director Sally Potter might single-handedly start the trend again. However, it took me over a half hour to realize that the whole film was one epic poem before then all I thought was, "This dialogue is horrible! People don't actually speak like this!" But that's the point. Poetry is not meant to imitate average speech. That's why it's poetry.
Joan Allen plays a lonely wife (whose name is never mentioned) trapped in a loveless marriage who has a fiercely passionate affair with a Muslim man from Lebanon. Because she was born in Northern Ireland (but raised, however, in America), she thinks she understands her lover's pain and suffering as an Arab man living in London. These two lovers fight about race, class, religion, politics, stereotypes, and identity, and with the recent bombings on the London Underground, this film is unsettlingly too relevant. Yes is a superb love poem that speaks volumes about what we, as a society, are afraid to mention in our post-9/11 world. But unfortunately, sitting through this film feels more like homework than pleasure.
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