6.8/10
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48 user 68 critic

Yes (2004)

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In this film, told almost entirely in iambic pentameter, She is a scientist in a loveless marriage to Anthony, a devious politician. He is a Lebanese doctor in self-imposed exile, working ... See full summary »

Director:

Sally Potter

Writer:

Sally Potter
2 wins & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Shirley Henderson ... Cleaner
Joan Allen ... She
Sam Neill ... Anthony
Simon Abkarian ... He
Wil Johnson ... Virgil
Gary Lewis ... Billy
Raymond Waring ... Whizzer
Stephanie Leonidas ... Grace
Barbara Oxley Barbara Oxley ... Cleaner in Swimming Pool
Samantha Bond ... Kate
Kev Orkian Kev Orkian ... Waiter
George Antoni George Antoni ... Kitchen Boss (as George Yiasoumi)
Beryl Scott Beryl Scott ... Cleaner in Laboratory
Sheila Hancock ... Aunt
Lol Coxhill Lol Coxhill ... Father Christmas
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Storyline

In this film, told almost entirely in iambic pentameter, She is a scientist in a loveless marriage to Anthony, a devious politician. He is a Lebanese doctor in self-imposed exile, working as a chef in a London restaurant. They meet at a banquet and fall into a carefree, passionate relationship. But the contempt He perceives as a Muslim immigrant to the UK causes him to break up with She, offering little in the way of explanation, and return to his homeland. She drags his reasons out of him little by little and tries to sympathize. Keenly feeling the loss of his love, She flies to Havana to sort things out on the beach and in the cabarets. She sends him a ticket, but harbors no illusions that He will join her in this Carribean melting pot... Written by Joe Jurca

Plot Summary | Add Synopsis

Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated R for language and some sexual content | See all certifications »
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Details

Official Sites:

Sony Pictures

Country:

UK | USA

Language:

English

Release Date:

5 August 2005 (UK) See more »

Also Known As:

Да See more »

Filming Locations:

Cuba See more »

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Box Office

Budget:

£1,000,000 (estimated)

Opening Weekend USA:

$28,451, 26 June 2005, Limited Release

Gross USA:

$396,035, 25 September 2005
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

|

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

£450,000 of the approximately £1 million budget came from the UK Film Council. See more »

Goofs

As "He" is chopping celery and talking to his crew, the knife in his hands changes from shot to shot. One shot has pieces of celery stuck to the knife while the other shows a clean blade. See more »

Quotes

Cleaner: And, in the end, it simply isn't worth / Your while to try and clean your life away. / You can't. For, everything you do or say / Is there, forever. It leaves evidence. / In fact it's really only common sense; / There's no such thing as nothing, not at all. / It may be really very, very small / But it's still there. In fact I think I'd guess / That "no" does not exist. There's only "yes".
See more »

Soundtracks

Iguazu
Composed and Performed by Gustavo Santaolalla
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User Reviews

 
Austin Movie Show review
31 July 2005 | by leilapostgradSee all my reviews

Not since Shakespeare's day have playwrights written entire screenplays in iambic pentameter, but writer/director Sally Potter might single-handedly start the trend again. However, it took me over a half hour to realize that the whole film was one epic poem – before then all I thought was, "This dialogue is horrible! People don't actually speak like this!" But that's the point. Poetry is not meant to imitate average speech. That's why it's poetry.

Joan Allen plays a lonely wife (whose name is never mentioned) trapped in a loveless marriage who has a fiercely passionate affair with a Muslim man from Lebanon. Because she was born in Northern Ireland (but raised, however, in America), she thinks she understands her lover's pain and suffering as an Arab man living in London. These two lovers fight about race, class, religion, politics, stereotypes, and identity, and with the recent bombings on the London Underground, this film is unsettlingly too relevant. Yes is a superb love poem that speaks volumes about what we, as a society, are afraid to mention in our post-9/11 world. But unfortunately, sitting through this film feels more like homework than pleasure.


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