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Patrick J. Adams,
On a trip to Paris Sally meets Pablo, a tango dancer. He starts teaching her to dance then she returns to London to work on some "projects". She visits Buenos Aires and learns more from ... See full summary »
There's a tricky decision the you have to make when you choose to do a film examining the controversial elements of an industry.
You have to choose whether to fix the film in a place and time, and discuss real historical events, or to allow the film to examine broader topics through fictional constructs, thus freeing the movie to be timeless.
Both choices can be fraught with peril, and Sally Potter braves those waters with Rage, choosing to create a fictional context for examining the class disparity, sweatshops, and unrealistic beauty standards that are at the heart of most of the Fashion Industry's major controversies.
Potter uses a bare-bones film technique, fixing a camera at a green screen, and shooting a series of documentary-style still-camera interviews with actors playing fashion industry archetypes.
There is a fundamental premise, and a story arc complete with acceptably dramatic events of a shocking nature, but these are neither compelling, nor believable in any context. The story here is secondary, and is a means to an end.
This film is, essentially, an acting exercise. It is an opportunity for Sally Potter and her actors to explore a character's arc in the broader context of a (largely silly and contrived) fashion industry disaster.
The film never answers any of the poignant questions it asks, and it never really allows any one character to follow a satisfying arc (with the possible exception of Jude Law's character, the high point).
For the most part, theatre and film geeks will enjoy the effort, if not the execution, but mainstream film-goers will be bored to tears inside of five minutes.
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