While on a plane ride back to Toronto from a writing assignment, Margot meets Daniel, a handsome stranger. An immediate attraction is formed and Margot is able to open up and discuss some of her fears and longings. A taxi ride back home causes Daniel and Margot to realize that they are neighbours and Margot admits she's married. The summer-time heat and her increasing fascination with the handsome artist who lives across the street starts getting to her, and Margot is no longer sure if she's happy in her marriage or if she'd be happier with her fantasies with Daniel.Written by
Writer and Director Sarah Polley chose to use the song Video Killed the Radio Star in key scenes, because it was her brother's favorite song. See more »
Margot makes a date for 2 PM Eastern Standard Time in August, when it must be Eastern Daylight Time. See more »
I'd like to make a date to kiss you.
Well... my schedule's fairly flexible.
Is it flexible in 30 years?
I'd like to see you at the lighthouse in Louisbourg. I'd like to meet you there. I'll be 58, I don't know how old you'll be...
I'll be 59.
I'd like to see you there, on this date, at... 2PM. Eastern Standard time. August 5th, 2040, I'd like to kiss you. Until then, I'm married. But after 35 years of being faithful to my husband I think I'll have earned one kiss from you.
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Written by Rup & Q
Performed by JoSH
Publishing Courtesy of Josh Entertainment
c/o Awesome Productions & Management
Master Courtesy of EMI Music Canada o/b/o
Awesome Productions & Management See more »
Greetings again from the darkness. We have watched Sarah Polley grow up on screen. She began as a 6 year old child actress and evolved into an indie film favorite. Now, she is finding her true voice as a film director ... and what a unique voice it is. In Away from Her (2009), she told the heartbreaking story of a husband's struggle with losing his beloved wife to Alzheimer's Disease. Now we get the story of Margot, who just can't seem to find happiness or fulfillment within the stability of marriage.
Margot is played exceedingly well by Michelle Williams. I would say that without the casting of Ms. Williams, this film would probably not have worked. There is something about her that prevents us from turning on her character when she veers from her loyal, if a bit lacking in passion, husband Lou (played by Seth Rogen). Williams and Rogen have the little things that a marriage needs ... a language until itself and the comfort of consistency. What Margot misses is the magic. She thinks she finds that in her neighbor Daniel, a rickshaw driver played by Luke Kirby. Daniel is the kind of guy that every guy inherently knows not to trust, yet women somehow fall for. He is a subtle and slow seducer. The kind that make it seem like everything is innocent ... right up until it isn't.
Margot has that most annoying of spousal traits: she expects everyday to be Disneyland. The best scene in the movie occurs when Lou's sister (a terrific Sarah Silverman) confronts Margot and tells her that life has a gap and that you will go crazy trying to fill it. It's a wonderfully insightful line from writer/director Polley. Of course, we understand that this is Margot's nature and she learns that sometimes broken things can't be fixed.
Another great scene occurs in the women's locker room after water aerobics. There is a juxtaposition between generations of older women and younger ones. We see the differences not only in physical bodies, but in the wisdom that comes with age. More brilliance from the script. The one scene that I thought crossed the line was the "martini" scene. I found it tasteless, vulgar and far more extreme than what was called for at the time. But that's a small complaint for an otherwise stellar script.
As terrific as Ms. Williams and Ms. Silverman are, I found Seth Rogen to be miscast and quite unbelievable as a focused cookbook writing guy who has pretty simple, yet quietly deep thoughts about how a marriage should work. Again, this didn't ruin the film for me, but I did find him distracting and quite an odd choice.
It's filmmakers like Sarah Polley that keep the movie business evolving. Her viewpoint and thoughts are unique and inspirational, and should lead to a long career as a meaningful writer/director. Oh, and the use of Leonard Cohen's "Take this Waltz" song fit right in over the credits.
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