Steve Coogan has been asked by The Observer to tour the country's finest restaurants, but after his girlfriend backs out on him he must take his best friend and source of eternal aggravation, Rob Brydon.
There's little wonder in the working-class lives of Bill, Eileen, and their three grown daughters. They're lonely Londoners. Nadia, a cafe waitress, places personal ads, looking for love; ... See full summary »
In February 2002 in the Shamshatoo Refugee Camp in the North West Frontier Province in Pakistan, there are 53,000 refugees living in sub-human conditions since 1979 with the Soviet Union ... See full summary »
Rosie and Vincent know each other for ten years, and are married for five. She doesn't like her job, he isn't too pleased working with her dad. They're trying to have a baby. One morning ... See full summary »
A man moves his two daughters to Italy after their mother dies in a car accident, in order to revitalize their lives. Genova changes all three of them as the youngest daughter starts to see the ghost of her mother, while the older one discovers her sexuality.
Two actors, as their make up is applied, talk about the size of their parts. Then into the film: Laurence Sterne's unfilmable novel, Tristram Shandy, a fictive autobiography wherein the narrator, interrupted constantly, takes the entire story to be born. The film tracks between "Shandy" and behind the scenes. Size matters: parts, egos, shoes, noses. The lead's girlfriend, with their infant son, is up from London for the night, wanting sex; interruptions are constant. Scenes are shot, re-shot, and discarded. The purpose of the project is elusive. Fathers and sons; men and women; cocks and bulls. Life is amorphous, too full and too rich to be captured in one narrative.Written by
The film also features several pieces of music used by Stanley Kubrick in similar situations in Barry Lyndon (namely the Sarabande by Georg Fridrich Händel and traditional British Grenadiers), a film set in about the same location and period. See more »
[Steve is hanging upside down in the model womb]
How about filming the other way around, the right way up, and then just flip the image?
Well, maybe, but I'd have to have a word with Mark about that. I mean, I think he wanted the realism.
He wants realism?
Yeah, I'm a grown man, talking to the camera, in a fucking womb!
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Opening credits have (intentional) spacing issues, and mismatched fonts. See more »
Just as with "In This World," the British DVD features a 1.78:1 transfer of the film. Although the film was shot for release in theaters at 2.35:1, because it was made on DV, the total space of the filmed image was 1.78. The film was masked for theatrical release, as the director intended. However, for DVD release, the film was transferred open matte. Again, like "In This World," only the American DVD respects the theatrical aspect ratio of 2.35:1. See more »
One of the funniest and strangest films about the film-making process, this is less an adaptation of the novel, more a focused and hilarious deconstruction on Winterbottom's working methods. Coogan and Brydon are fantastic. The scene with Coogan and a hot chestnut down his trousers is worth the price of admission alone! Although the film may not be to everyone's taste - it darts around and has little respect for narrative logic or continuity (as does the book), it is a freeform little gem that really does cement Winterbottom's reputation as the most exciting British director out there. Any person who can make In This World, Code 46, 9 Songs and then this in a row is worthy of respect.
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