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Red Road (2006)
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Overview
User Rating:
Release Date:
27 October 2006 (UK) morePlot:
Jackie works as a CCTV operator. Each day she watches over a small part of the world, protecting the people living their lives under her gaze. One day a man appears on her monitor, a man she thought she would never see again, a man she never wanted to see again. Now she has no choice, she is compelled to confront him. | add synopsisAwards:
21 wins & 7 nominations moreNewsDesk:
(26 articles)
Toronto International Film Festival announces first titles, all North American premiers (From QuietEarth. 23 June 2009, 12:40 PM, PDT)
Cannes 2009: The Wrap-Up
(From ioncinema. 25 May 2009)
User Comments:
Bleakly Optimistic moreCast
(Cast overview, first billed only)| Kate Dickie | ... | Jackie | |
| Tony Curran | ... | Clyde Henderson | |
| Martin Compston | ... | Stevie | |
| Natalie Press | ... | April | |
| Paul Higgins | ... | Avery | |
| Andrew Armour | ... | Alfred | |
| Carolyn Calder | ... | Cleaner | |
| John Comerford | ... | Man With Dog | |
| Jessica Angus | ... | Brownyn | |
| Martin McCardie | ... | Angus | |
| Martin O'Neill | ... | Frank | |
| Cora Bisset | ... | Jo | |
| Charles Brown | ... | Broomfield Barman | |
| Annie Bain | ... | Aunt Kath | |
| Frances Kelly | ... | Woman in Denim Skirt |
Additional Details
Parents Guide:
View content advisory for parentsRuntime:
France:113 min (Cannes Film Festival) | USA:113 minLanguage:
EnglishColor:
ColorAspect Ratio:
1.85 : 1 moreSound Mix:
Dolby DigitalCertification:
UK:18 | Ireland:18 | Netherlands:12 | Italy:VM14 | USA:Unrated | Australia:R | Portugal:M/16 | Singapore:R21 (cut) | France:U (with warning) | New Zealand:R18Filming Locations:
Barmulloch, Glasgow, Strathclyde, Scotland, UKFun Stuff
Trivia:
Andrea Arnold conducted the casting with Morag McKinnon and Mikkel Nørgaard as all the actors would be reused in their films. moreGoofs:
Revealing mistakes: The video screens in the surveillance centre do not show the date and time, which would severely limit their usefulness as filmed evidence in real life. The date and time have clearly been disabled to avoid continuity errors in filming. The 'shadow' of the numbers is however visible. moreQuotes:
Clyde: [seeing Jackie for the first time] Have we met?Jackie: Yeah, I saw you at a cafe.
Clyde: Right. At a cafe.
[Clyde takes Jackie's hand and they both start to dance]
more
Soundtrack:
Morning Glory moreFAQ
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- A female cctv operative discovers in the course of her work that a criminal has been released from jail early for good behaviour. She takes a very personal interest in him..-
That rare thing. A superb British movie. Set in an unremittingly bleak Glasgow focused on a multi-storey housing estate in the East End of that city, this is NOT the usual kitchen-sink or slice-of-life telly-style drama that nearly always make a disheartening prospect for cinema-going. This is a complex character-driven piece, beautifully shot and edited. Scenes are allowed space and time to breathe in their own life. It never tells the audience what to think, how to feel, or even what's going on. Yet ultimately the movie tells of a struggle against loss and grief and there is a redemptive quality which is hard-won by the director. The surveillance aspect is brilliantly handled by mixing in low-res grainy footage of surveyed scenes scanning and zooming in on actual streets (and some of the locals) and allowing the audience to figure out what is going on along with the operative. It suggested a knee-jerk parallel with Haneke's Cache (Hidden), but this a completely different take more closely paralleling Coppola's 'The Conversation' and suggesting that the effects of surveillance may be more acutely felt by the observer than the observed. The acting by the entire cast is pitch-perfect. The highly explicit sex scene is, for once, completely warranted and the sexual tension in the relationship is reminiscent of Roeg's 'Bad Timing'. But this is a film which gains a lot of power by being deeply-rooted in its time and place and doesn't need to look back. Utterly assured and contemporary, like 'Morvern Callar', it is very much what is happening NOW. And whenever the journalistic blah about a boom in Scottish film inevitably subsides, the country will be left with something more potent than bloody 'Gregory's Girl' as a benchmark for what can be achieved with a small-scale budget and Scottish/Scotland-based directors.