Adele's life is changed when she meets Emma, a young woman with blue hair, who will allow her to discover desire, to assert herself as a woman and as an adult. In front of others, Adele grows, seeks herself, loses herself and ultimately finds herself through love and loss.
A teacher lives a lonely life, all the while struggling over his son's custody. His life slowly gets better as he finds love and receives good news from his son, but his new luck is about to be brutally shattered by an innocent little lie.
Thomas Bo Larsen,
While on a plane ride back to Toronto from a writing assignment, Margot meets Daniel, a handsome stranger. An immediate attraction is formed and Margot is able to open up and discuss some of her fears and longings. A taxi ride back home causes Daniel and Margot to realize that they are neighbours and Margot admits she's married. The summer-time heat and her increasing fascination with the handsome artist who lives across the street starts getting to her, and Margot is no longer sure if she's happy in her marriage or if she'd be happier with her fantasies with Daniel. Written by
In 2009, the script was listed in The Black List. The Black List is an annual publication that names the best unproduced screenplays of the year it is published. See more »
I've been thinking about that airport fear of yours, of being in between things. I think I kinda hate it too. I know it's kind of the nature of being alive, but I'd like to avoid it wherever possible. I don't think I wanna be in between things
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Take This Waltz
Written by Leonard Cohen and Federico García Lorca (as Federico Garcia-Lorca)
Performed by Leonard Cohen
Publishing Courtesy of Stranger Music (BMI)
Administered by SONY/ATV Publishing Canada (SOCAN) All Rights Reserved
Used by Permission of EMI Blackwood Music Inc. (BMI)
Master Courtesy of Sony Music Entertainment Canada Inc. See more »
When you just need to get Leonard Cohen stuck in your head
This film shouldn't work nearly as well as it does. Take This Waltz centres around a two-suitors plot that was tired a century ago, takes place in a hipster-utopia version of Toronto, has multiple comedic actors who've worn out their welcome doing Serious Roles, and its characters are either selfish or dull. But Take This Waltz also has a kind of magic that can wash over the most jaded cinema viewer and make you forget that you've seen it all before.
Maybe it's Sarah Polley's direction, or maybe it's the brilliant performance of Michelle Williams that makes her character likable against all odds. Maybe the thematic statement about the perils of looking for adventure and the need for constant romance is something that we need affirmed more often against the tide of romcoms and gooey melodramas. Maybe it's just that I really want to live in hipster- utopia-Toronto. But this film stuck with me for days afterwards, its scenes playing over and over in my mind, blotting out all the rest of the disposable entertainment. There are so many indelible images here: a public shower scene which plays pranks on the male gaze, that goofy but somehow powerful 360-degree-rotation montage, and of course the final scene, a coda that grants its central character and us along with her a moment of unmediated joy. And it's that joy that the film understands as being something we maybe have to pursue no matter what its cost. Michelle Williams' abashed smile gives us a taste of that adventure, and like the rest of the movie, it's damn hard to resist.
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