Kevin's mother struggles to love her strange child, despite the increasingly dangerous things he says and does as he grows up. But Kevin is just getting started, and his final act will be beyond anything anyone imagined.
It's the Christmas season. With her mom's help, Lynne, a girl of perhaps eight, dresses up; her younger brother Steven plays with a toy car. The children leave with their dad, who's ... See full summary »
Lynne Ramsay Jr.,
A traumatized veteran, unafraid of violence, tracks down missing girls for a living. When a job spins out of control, Joe's nightmares overtake him as a conspiracy is uncovered leading to what may be his death trip or his awakening.
Following her boyfriend's suicide, supermarket clerk Morvern Callar passes off his unpublished novel as her own. With the money her boyfriend left for his funeral, she leaves Scotland for Ibiza where she travels with her closest friend. The journey prompts a series of internal and external transformations for Morvern-- ones which bring to light her experiences of grief, memory, freedom, and desire.Written by
Morvern Callar was the debut novel by Scottish author Alan Warner, first published in 1995. See more »
When Morvern drags Lanna out of the hotel room and into the cab with the loud music and the decorated dashboard, the shots of the driver show that the dials on the dashboard of the car are not operating, suggesting that the car is, in fact, being towed for filming purposes. See more »
Fuck work Lana, we can go anywhere you like.
I'm happy here.
Yeah, everyone I know is here. There's nothing wrong with here. It's the same crapness everywhere, so stop dreaming.
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For me, the most notable thing about this film was the scarcity of dialogue. It is a brave move on the director's part for sure, but for a film that tells a story of personal awakening (of sorts), the infrequent speech means we can never be sure of what Morvern is thinking or feeling. We don't get much help from the camera either - the film is exquisitely shot, but many of the scenes have a confrontational, tense and opaque sense of aesthetics - there is not enough variation in feel to tell the story of someone who changes their life completely.
My reading of Morvern Callar (as a film and a character) is of a woman who escapes from a humdrum, ugly life. Through personal awakening, art and good fortune, she comes to embrace a more bohemian and expansive existence. In short, she learns to live.
It's a big story and a big theme - yet we never really understand how and why Morvern comes to change her entire outlook on life. Neither do we hear enough from her to mitigate the more unpleasant sides of her character - her frequent (and occasionally sociopathic) lack of emotional response, her selfish excess, her deliberate mistreating of her friend. I suspect she is supposed to be a hero of sorts, but she could equally be an anti-hero or even something in between. We just never find out enough about her - in her words, anyone else's words or the director's shooting of her.
I'm glad that the film has made me consider questions like this, and as an intellectual exercise it's therefore quite enjoyable. As entertainment, as statement or as spectacle however, it's quite badly flawed.
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