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Puffball: The Devil's Eyeball (2007)

Puffball (original title)
Powerful supernatural forces are unleashed when a young architect (Kelly Reilly) becomes pregnant after moving to an isolated and mysterious valley to build a house. And when the ... See full summary »

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Cast

Credited cast:
... Liffey
... Mabs Tucker
... Molly
Oscar Pearce ... Richard
... Tucker
... Lars
... Audrey
... Carol
... Dr.Holmes
Rest of cast listed alphabetically:
Mark Byatt ... Polish Laborour
Caoimhe Gilsenan ... Becky
Laoise Gilsenan ... Juliet
Elaine Gormley ... Nurse
Julie Kinsella ... Radiologist
Suzanne McAuley ... Radiologist
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Storyline

Powerful supernatural forces are unleashed when a young architect (Kelly Reilly) becomes pregnant after moving to an isolated and mysterious valley to build a house. And when the neighbouring farmers take against the unborn child, it's her very survival that is threatened. Written by Wild Bunch Distribution

Plot Summary | Add Synopsis


Motion Picture Rating (MPAA)

Rated R for strong sexual content, language and some violent/bloody images | See all certifications »

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Details

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Release Date:

28 October 2007 (Canada)  »

Also Known As:

Puffball: The Devil's Eyeball  »

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Box Office

Budget:

£2,600,000 (estimated)
See more on IMDbPro »

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Technical Specs

Runtime:

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Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Samantha Morton was originally cast as Liffey. See more »

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User Reviews

 
A passable cover of an excellent book
8 January 2008 | by See all my reviews

I watched Puffball last night, as a huge Fay Weldon fan who read the book quite a few years ago. I was surprised to discover it was a 2007 film, as the subject matter, and the atmosphere of the pic, would have suggested something many years older.

Still, I thought it was quite faithful to the intent of the book, and is, despite some comments, very much a women's film. It deals with elemental forces, and the complexity of women's nature and women's power. The men are little more than sperm donors, penile life support systems to be acted on by women's emotions and a separate women's nature, almost echoing, (or prefiguring, more likely) some of Jane Campion's observations in The Piano, among others.

This has always been the heart of Fay Weldon's work, a poke in the eye of naivité, of the "Eyes Wide Shut" variety, about the nature of women. The film doesn't really add to this narrative, but it doesn't diminish it either, which is saying something for a film adaptation of a novel, made by an auteur to boot.


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