A look at the lives of two teenage girls - inseparable friends Ginger and Rosa -- growing up in 1960s London as the Cuban Missile Crisis looms, and the pivotal event that comes to redefine their relationship.
London, 1962. Two teenage girls - Ginger and Rosa -- are inseparable; they play truant together, discuss religion, politics and hairstyles, and dream of lives bigger than their mothers' frustrated domesticity. But, as the Cold War meets the sexual revolution, and the threat of nuclear holocaust escalates, the lifelong friendship of the two girls is shattered - by the clash of desire and the determination to survive. Written by
The acronym YCND stood for the "Youth Campaign for Nuclear Disarmament". See more »
Ginger and Rosa supposedly ride upon a whirling children's roundabout, and yet their hair isn't blown about by the wind. See more »
I think Rosa's a bad influence.
Meaning what, exactly?
Anoushka worries about her. She says she's disturbed.
So would you be if you'd been told you were a failure when you were 11 years old!
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A well-told tale of teenage rebellion and anguish in 1962, but it could be NOW!
Ginger & Rosa is a deceptive title because this slight tale is intensely about Ginger (Elle Fanning), whose life is affected by Rosa (Alice Englert), but still defined by her own sense of herself and her notions of right and wrong.
A minimalist treatment of seventeen-year old Ginger as she faces crises personal and global, this portrait captures her emergence from happy childhood, certified by a perpetual smile, into a thoughtful young woman whose demeanor reflects her growing cynicism about the world and the people she loves.
Her London and the world in 1962 are awash in nuclear fear, crystallized in the Cuban Missile Crisis; Ginger is deeply concerned about the potential of the end of that world, so much so that she attends a rally for nuclear disarmament. Her father, Roland, is a free thinker who has influenced her autonomous thinking but whose own libertarian ways threaten Ginger's sense of the right balance as she sees it.
Leaving her mother to stay with her father in effect untethers her from maternal protection and throws her into a world where even her best friend, Rosa can no longer provide her a sense of security. As Ginger loses faith in her father, her best friend also threatens to blast her sense of proportion in a growingly hostile world.
The common antidote for this cynicism is forgiveness, as the world both macro and micro, is rife with disappointment. The minimalism doesn't always work in the film's favor, for the development of the plot, begging a full resolution of Ginger's relationship to the world, her family, and her friend, leaves me needing another ninety minutes.
Ginger and Rosa, better than any other films of its kind in recent memory, carries the angst of the '60's in to 2013, and while obsession with the bomb has faded, the disappointments of young teenage girls over the imperfect world are constant and their optimism still intact: "Despite the horror and sorrow, I love our world." (Ginger)
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