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Gypo (2005) More at IMDbPro »

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Gypo -- Open-ended Trailer from Wolfe Video


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Release Date:
20 October 2006 (UK) See more »
There are three sides to every story
It charts the breakdown of a working class family when the teenage daughter befriends a refugee girl... See more » | Add synopsis »
Plot Keywords:
4 wins & 2 nominations See more »
(4 articles)
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User Reviews:
Some films just make you really proud of UK film-making . . . See more (9 total) »


  (in credits order)
Pauline McLynn ... Helen

Chloe Sirene ... Tasha

Paul McGann ... Paul
Rula Lenska ... Irina
Tamzin Dunstone ... Kelly
Barry Latchford ... Jimmy

Freddie Connor ... Tasha's Husband
Tom Stuart ... Darren

Olegar Fedoro ... Tasha's Father
Sean Wilton ... Art Tutor
Angelica O'Reilly ... Prostitute
Rebecca Clow ... Terminal Hostess
Majid Iqbal ... Illegal Worker
Ashley McGuire ... Penny
rest of cast listed alphabetically:

Josef Altin ... Michael
Claire Angus ... Irina's Neighbour
James Blanchard ... Tall Bully
Clara Clow ... Baby Jordan
Charlotte Edmundson ... Katy
Liane Grant ... Girl Bully (as Leane Grant)
Milo Hertz ... Nicky's Baby
Jonathan Howlett ... Kev
Stuart Jarvis ... Security Man 2
Mark Keefe ... Security Man 1
Ruby McLynn ... Kylie
Christiane Bjørg Nielsen ... Singer
Lisa Payne ... Tamara
Santa ... Santa
Natalie Sewell ... Jane
Oliver Tatt ... Short Bully
James Thomas ... Hotelier
Carys Nia Williams ... Nicky

Directed by
Jan Dunn (uncredited)
Writing credits
(in alphabetical order)
Jan Dunn 

Produced by
Barry Bassett .... co-producer
Jan Dunn .... executive producer
Mark Foligno .... co-producer
Steve Milne .... co-producer
James O'Donnell .... associate producer
Tamara Syer .... producer
James Thomas .... associate producer
Elaine Wickham .... executive producer
Elaine Wickham .... producer
Original Music by
Christiane Bjørg Nielsen 
Cinematography by
Jacob Kusk (director of photography)
Film Editing by
Emma Collins 
Casting by
Alex Johnson 
Production Management
Clare Beale .... post-production supervisor
Second Unit Director or Assistant Director
James Davidson .... third assistant director
Tom Dunbar .... first assistant director
Ashley McGuire .... second assistant director
Art Department
Jolene Farmer .... set coordinator
Jolene Farmer .... set dresser
Sean Kisch .... props
Sean Kisch .... set coordinator
Sound Department
Gavin Bush .... sound assistant: second unit
Michelle Mascol .... sound editor (as Michelle Mascoll)
Michelle Mascol .... sound mixer (as Michelle Mascoll)
Adrienne Taylor .... boom operator
Juliette Cheveley .... stunt double
Neil Finnighan .... stunt coordinator
James O'Donnell .... stunt performer
Camera and Electrical Department
Christopher Bonnor .... first assistant camera
Jean-Phillippe Default .... still photographer
Ken Kwek .... assistant camera
Ken Kwek .... third camera operator
Iago López Rodríguez .... assistant camera
John Martin White .... second camera operator
Editorial Department
Rhys Llewellyn .... on-line editor
Des Murray .... on-line editor
Other crew
Alex Breadman .... runner
Tony Edwards .... runner
Leanne Grant .... production assistant
Iago López Rodríguez .... video (as Iago Lopez)
Liz Metcalfe .... script supervisor
Cate Muller .... publicist
Kieran Nicholas .... production assistant
David Nielsen .... advisor
Nathan Shepherd .... runner
Jake Slack .... runner
Bryan Webb .... caterer

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
UK:98 min

Did You Know?

First British feature to be registered as Dogme film.See more »


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20 out of 22 people found the following review useful.
Some films just make you really proud of UK film-making . . ., 24 August 2005
Author: Chris_Docker from United Kingdom

Gypo (offensive slang for 'Gypsy') is a film that connects with the audience on the issue of racial tensions in a way that few films can. It does so by use of great British talent but more controversially using the 'Dogme' stylistic method of film-making. It explodes myths about refugees and exposes attitudes that need to be dealt with. It tells three sides to the same story, each with an equal intensity, and makes us care.

The Dogme experiment was invented as a backlash tool against the formulaic approach of Hollywood movies where anything can be 'made' to look real given enough money and special effects to trick the audience. Dogme tries to go back to the basics of art in film by a self-imposed discipline of ten 'rules' known as the Vow of Chastity. These include no added effects (such as added music, sudden time and location shifts, superficial action such as murders) and using only hand held cameras and basic lighting. The point is to force the attention onto the abilities of the actors especially and not let the director off the hook with quick-fix technical solutions or dazzlements. (For the complete 'Vow', go here: Working under that sort of pressure, very many Dogme attempts have been failures, but the successes have been very noticeable. The sense of 'reality' is so acute that a relatively minor plot development can have immense impact.

At one point as I watched the film, an understated emotion just hit me hard in the chest and brought tears to my eyes: one of the characters (Helen) has become friends with some Romany refugees who are being subjected to racial abuse. Making light of it ("They were going cheap in Asda"), she gives one of them a phone as a present, playing it down so as not to seem overprotective. I thought: I don't care if this is fiction or reality, that is a very real, poignant, caring, loving emotion she has just expressed. The film had connected with me in a way that went beyond suspension of disbelief, and it was worthwhile and uplifting to experience. A similar reaction happened as the plot explored more intense passions.

Helen is in marriage to Paul that could be described a long-term but loveless, "Don't wake the baby up," he says to her gently as he takes his conjugal rights on her - against her will. Helen feels used. Paul is at his wits end from poverty in spite of hard work. He blames refugees for taking people's jobs (even though he doesn't think it below him to use them when he sees fit). Helen feels she just clears up the mess for everyone else, including her unmarried daughter and granddaughter. Her life has no point.

Tasha, an attractive Romany Czeck refugee who wants to better herself, comes into their life, hoping to get a passport, citizenship and freedom – things everyone else takes for granted. She is also in mortal fear of her Czeck husband and brothers who might come looking for her.

I watched Gypo at the UK Premiere and so was very fortunate to be able to speak to the cast and crew briefly. I asked one of the actors if working under Dogme had been different. There was an intensity in his voice as he recalled it – he said, you can't fake anything! Normally there is a point in the script where it might say, 'you killed someone' but of course everyone knows it's not real because people don't actually get killed in films. With Dogme, if you really can't do it, it isn't done. The effect is the audience buys in to what is being presented with a lot more trust. (All of the script in Gypo is improvised, although this is not a requirement of Dogme technique.) I asked Paul McGann (who plays Paul) further what advice he would give an actor planning to make a Dogme movie. He replied, "Get plenty of sleep!" then added on a more thoughtful note, "and have an open mind." Dogme looks pretty weird, but with results like Gypo it is hard to knock it, so have an open mind till you've seen it.

Gypo produces a remarkably convincing look at a dysfunctional working class British family, with its goodness and badness, and it made me feel proud to be in a country that is producing such high quality, riveting cinema (and on such an incredibly tiny budget!) It unites art, gripping entertainment and responsible social comment in a way that few films aspire to and many less achieve. Director Jan Dunn cares about making movies in a way that shows integrity to the medium, responsibility within society, and a duty to give the audience every penny's worth of its ticket money. Her enthusiasm and skill provide a role model for aspiring filmmakers to emulate. For all its subject matter, Gypo is one of the most moving and joyous films I've seen recently and probably the best British film I've seen this year.

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Discuss this movie with other users on IMDb message board for Gypo (2005)
Recent Posts (updated daily)User
Good film but very poor research on refugees and passports humphrey-2
does anyone have subtitles for this movie? roxist
what do you think? Tindra456
is this a good film ?!??! jjf171
Chloe Sirene is the hottest newcomer in years graham3k
dialogue... silkyshy2006
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