It's the least well off that suffer the most, most often due to circumstance beyond their control. A film set in Ireland about injustice and the vanishing safety net that free-falls the vulnerable into chaos and despair. The performances, especially that of Sarah Greene, are superb; the story increasingly common; the solution - as distant as it has ever been.
30 Reviews
A film every Irish person should see
Bertaut25 October 2018
Tackling the current homeless crisis in Ireland, specifically in the capital city of Dublin, Rosie is as relevant and timely a film as you're ever likely to see. Directed by Paddy Breathnach, and written by Roddy Doyle, the film is an intimate character drama rather than an angry piece of protest cinema. Not concerned with pointing fingers at who may be responsible for this situation, examining why it is getting worse rather than better, engaging with the economic complexities, or analysing the wider socio-political implications, Doyle is instead more interested in imparting to the audience that homelessness could happen to almost anyone. Rather than evoke ire, he wants to evoke empathy, something that is, sadly, often lacking in our inured social media-obsessed society. For whatever reason, Irish society in general, and Dublin in particular, has become one of great bitterness, void of empathy for those struggling on the margins, and this film tries to go some way to addressing that. Unfortunately, the lack of major stars, the almost non-existent advertising campaign, and the grim subject matter will hamper its commercial prospects, and whilst I'd love to say this is going to be the Irish Cathy Come Home (1966), enacting change on a grand scale, the chances are it will pass from cinema screens without much of an impact.
Set on Dublin's Northside over the course of roughly 36 hours, the film tells the story of the Davis family; mother Rosie (Sarah Greene), father John Paul (Moe Dunford), and four children - thirteen-year-old Kayleigh (Ellie O'Halloran), eight-year-old Millie (Ruby Dunne), six-year-old Alfie (Darragh Mckenzie), and four-year-old Madison (Molly McCann). Several days previously, the family were forced to leave their rented private home of seven years when the landlord decided to sell the property, and they are now effectively living out of their car. As John Paul works every hour he can washing dishes in an up-market organic restaurant, Rosie spends the day looking after the kids and trying to arrange temporary alternative accommodation by calling the numbers provided to her by Housing Welfare. However it soon becomes apparent that finding somewhere in the stretched-to-bursting system is not going to be an easy task.
Doyle began writing Rosie two years ago after listening to an interview with a woman who explained that although her husband worked full-time, the family were living out of their car, finding themselves with literally nowhere to go after being evicted from their rented accommodation. The woman emphasised that she never imagined such a situation for herself or her family, explaining that ordinary people don't realise how easily this can happen to them. And this is precisely the theme Doyle emphasises in the film. The Davis family are a completely normal working-class family, meeting none of the commonly held (mis)conceptions about the homeless, and the film challenges at every turn the stereotypical images we have of such people. In this sense, the film explores the extent to which the housing crisis has begun to cross class borders.
Rosie is a piece of social realist drama in the tradition of Ken Loach or Jean-Pierre Dardenne and Luc Dardenne. However, it is much less concerned with constructing a left-wing world-view than the French brothers, and far less melodramatic than recent Loach output. As with all social realist cinema, Rosie speaks to the privations of the working class, and voices a critique of prevailing social structures. However, the nature and target of that critique is less conspicuous than we often find in the work of Loach, Mike Leigh, or Antonia Bird, with the film placing more emphasis on private character beats than synecdochical situations.
One of the strengths of Doyle's script is that he has been able to transmute emotionless news headlines and dry statistics concerning the rising tide of homelessness into a deeply effective and emotional story which does, by all means, work as a call-to-action, but which is much more forcefully a call-to-care. Doyle is not interested in sermonising about the failings of the State, concerning himself much more with what the housing crisis means to real people in practical terms. Avoiding overarching socio-political protest, he focuses on eliciting empathy and compassion for a situation about which the majority of people simply don't care. In exploring this issue, his script is remarkable for its sense of restraint, avoiding condescension, cliché, predictability, and melodrama. Rather than the characters speechifying about their plight and the state of the country, they devote all their energies to simply getting through the day, dealing with each on-the-spot challenge as it arises.
However, this is not to say that the film avoids looking at how this kind of situation can exist in such a relatively wealthy country. For example, when John Paul attends an open-viewing for a house he and Rosie are thinking of buying, he finds the house crawling with people obviously more wealthy than himself, John Paul asks the real estate agent to put his name down, only to be told the house "isn't really suitable for a family." The real meaning behind this remark is left unsaid, but the critique of gentrification is unmistakable. An extremely important scene in this respect is when Rosie visits her brother-in-law and his wife. When he refers to the family being homeless, she quickly chastises him, telling him "don't use that word", which speaks volumes as to cultural stigma and social labelling.
From an aesthetic point of view, Breathnach's direction is utilitarian, wisely avoiding any kind of directorial gymnastics which would draw attention away from the story. Which is not, however, to say that the film is visually uninteresting. One particularly well-blocked scene sees Rosie talking to a school principal, with the sequence shot in such a way that the two-shot is demarcated by a computer monitor, literally cutting Rosie off from the well-to-do world represented by the principal. The scenes in the family's car (which comprise a sizable portion of the film) are suitably cramped and claustrophobic, with a palpable sense of unrest growing ever more prominent as the film continues. In contrast, however, many of the exterior scenes are shot in such a way as to feel disconcertingly empty, with Rosie and her family often dwarfed within the frame, creating a real sense of hopelessness and swimming-against-the-tide. Additionally, almost the entire film is shot with handheld cameras, with a lot of the exteriors consisting of long single-take Steadicam shots which create a sense of urgency, as well as depriving the characters of any sense of the control with which they could be imbued by editing. Much of this works to enhance the film's prevailing aesthetic style, which is a kind of pseudo-cinéma vérité documentarian approach, with the on-screen milieu feeling completely authentic.
One especially well managed aspect of the film is how it deals with the task of ringing around the various hotels trying to find a room, going through the exact same conversation over and over and over again. Before we see any images, we hear a radio report talking about the homeless crisis, followed by Rosie ringing the first number on her list. Then the image fades in. This conversation becomes a refrain, and is continued throughout the film.
As for the performances, Greene is outstanding as Rosie, carrying the bulk of the film, and most of the emotional weight (a good 70-80% has her front and centre). Her attempts to remain calm in front of the kids, never losing her temper or chastising them for being frustrated with their situation, and her sorrow and regret on the few occasions when she does, are utterly heart-breaking. Her brave face slips a couple of times, and when it does, there is no sense of catharsis, no feeling of pressure being released. There is just sadness, and acknowledgement of her suffering. It's an extraordinarily subtle and layered performance of just a few emotional registers, but it's completely effective and rings completely true. The ever-reliable Moe Dunford is also excellent in the slightly under-written role of John Paul, imbuing the character with a warmth and fragility, especially noticeable in a heart-breaking scene in which he reveals to Rosie his shame at not being able to adequately provide for or protect his family.
Although Rosie is about a national crisis, it is also intensely personal. Doyle may not be outwardly concerned with the politics, but his sense of anger is unmistakable as he attempts to show that the ordinary and decent people of this country are being humiliated and degraded on a daily basis. In this sense, Rosie should make audiences angry. And it probably will. The problem is that it will have a very small audience. This is not Cathy Come Home being watched by 12 million people on the BBC. This is a small independent film playing on a few screens across the country, a film of which the vast majority of the cinema-going public have never heard. In the end, despite the fact that it's exceptionally well made, deeply affecting, and flawlessly acted, Rosie won't make much of a difference or have much of an impact. And that's a crying shame.
Set on Dublin's Northside over the course of roughly 36 hours, the film tells the story of the Davis family; mother Rosie (Sarah Greene), father John Paul (Moe Dunford), and four children - thirteen-year-old Kayleigh (Ellie O'Halloran), eight-year-old Millie (Ruby Dunne), six-year-old Alfie (Darragh Mckenzie), and four-year-old Madison (Molly McCann). Several days previously, the family were forced to leave their rented private home of seven years when the landlord decided to sell the property, and they are now effectively living out of their car. As John Paul works every hour he can washing dishes in an up-market organic restaurant, Rosie spends the day looking after the kids and trying to arrange temporary alternative accommodation by calling the numbers provided to her by Housing Welfare. However it soon becomes apparent that finding somewhere in the stretched-to-bursting system is not going to be an easy task.
Doyle began writing Rosie two years ago after listening to an interview with a woman who explained that although her husband worked full-time, the family were living out of their car, finding themselves with literally nowhere to go after being evicted from their rented accommodation. The woman emphasised that she never imagined such a situation for herself or her family, explaining that ordinary people don't realise how easily this can happen to them. And this is precisely the theme Doyle emphasises in the film. The Davis family are a completely normal working-class family, meeting none of the commonly held (mis)conceptions about the homeless, and the film challenges at every turn the stereotypical images we have of such people. In this sense, the film explores the extent to which the housing crisis has begun to cross class borders.
Rosie is a piece of social realist drama in the tradition of Ken Loach or Jean-Pierre Dardenne and Luc Dardenne. However, it is much less concerned with constructing a left-wing world-view than the French brothers, and far less melodramatic than recent Loach output. As with all social realist cinema, Rosie speaks to the privations of the working class, and voices a critique of prevailing social structures. However, the nature and target of that critique is less conspicuous than we often find in the work of Loach, Mike Leigh, or Antonia Bird, with the film placing more emphasis on private character beats than synecdochical situations.
One of the strengths of Doyle's script is that he has been able to transmute emotionless news headlines and dry statistics concerning the rising tide of homelessness into a deeply effective and emotional story which does, by all means, work as a call-to-action, but which is much more forcefully a call-to-care. Doyle is not interested in sermonising about the failings of the State, concerning himself much more with what the housing crisis means to real people in practical terms. Avoiding overarching socio-political protest, he focuses on eliciting empathy and compassion for a situation about which the majority of people simply don't care. In exploring this issue, his script is remarkable for its sense of restraint, avoiding condescension, cliché, predictability, and melodrama. Rather than the characters speechifying about their plight and the state of the country, they devote all their energies to simply getting through the day, dealing with each on-the-spot challenge as it arises.
However, this is not to say that the film avoids looking at how this kind of situation can exist in such a relatively wealthy country. For example, when John Paul attends an open-viewing for a house he and Rosie are thinking of buying, he finds the house crawling with people obviously more wealthy than himself, John Paul asks the real estate agent to put his name down, only to be told the house "isn't really suitable for a family." The real meaning behind this remark is left unsaid, but the critique of gentrification is unmistakable. An extremely important scene in this respect is when Rosie visits her brother-in-law and his wife. When he refers to the family being homeless, she quickly chastises him, telling him "don't use that word", which speaks volumes as to cultural stigma and social labelling.
From an aesthetic point of view, Breathnach's direction is utilitarian, wisely avoiding any kind of directorial gymnastics which would draw attention away from the story. Which is not, however, to say that the film is visually uninteresting. One particularly well-blocked scene sees Rosie talking to a school principal, with the sequence shot in such a way that the two-shot is demarcated by a computer monitor, literally cutting Rosie off from the well-to-do world represented by the principal. The scenes in the family's car (which comprise a sizable portion of the film) are suitably cramped and claustrophobic, with a palpable sense of unrest growing ever more prominent as the film continues. In contrast, however, many of the exterior scenes are shot in such a way as to feel disconcertingly empty, with Rosie and her family often dwarfed within the frame, creating a real sense of hopelessness and swimming-against-the-tide. Additionally, almost the entire film is shot with handheld cameras, with a lot of the exteriors consisting of long single-take Steadicam shots which create a sense of urgency, as well as depriving the characters of any sense of the control with which they could be imbued by editing. Much of this works to enhance the film's prevailing aesthetic style, which is a kind of pseudo-cinéma vérité documentarian approach, with the on-screen milieu feeling completely authentic.
One especially well managed aspect of the film is how it deals with the task of ringing around the various hotels trying to find a room, going through the exact same conversation over and over and over again. Before we see any images, we hear a radio report talking about the homeless crisis, followed by Rosie ringing the first number on her list. Then the image fades in. This conversation becomes a refrain, and is continued throughout the film.
As for the performances, Greene is outstanding as Rosie, carrying the bulk of the film, and most of the emotional weight (a good 70-80% has her front and centre). Her attempts to remain calm in front of the kids, never losing her temper or chastising them for being frustrated with their situation, and her sorrow and regret on the few occasions when she does, are utterly heart-breaking. Her brave face slips a couple of times, and when it does, there is no sense of catharsis, no feeling of pressure being released. There is just sadness, and acknowledgement of her suffering. It's an extraordinarily subtle and layered performance of just a few emotional registers, but it's completely effective and rings completely true. The ever-reliable Moe Dunford is also excellent in the slightly under-written role of John Paul, imbuing the character with a warmth and fragility, especially noticeable in a heart-breaking scene in which he reveals to Rosie his shame at not being able to adequately provide for or protect his family.
Although Rosie is about a national crisis, it is also intensely personal. Doyle may not be outwardly concerned with the politics, but his sense of anger is unmistakable as he attempts to show that the ordinary and decent people of this country are being humiliated and degraded on a daily basis. In this sense, Rosie should make audiences angry. And it probably will. The problem is that it will have a very small audience. This is not Cathy Come Home being watched by 12 million people on the BBC. This is a small independent film playing on a few screens across the country, a film of which the vast majority of the cinema-going public have never heard. In the end, despite the fact that it's exceptionally well made, deeply affecting, and flawlessly acted, Rosie won't make much of a difference or have much of an impact. And that's a crying shame.
The emotions are real
pilotkhalil-6248023 February 2020
Some people have complained about the slowness of this movie, but that is part of it. The director let's you live with Rosie the small details allowing you to get the raw emotions that are meant to be felt throughout the film. A truly brilliant movie with excellent acting by Sarah Greene.
Sharp and blistering indictment of social and economic inequality: desperate times in Dublin
paul-allaer3 August 2019
"Rosie" (2018 release from Ireland; 86 min.) brings the story of Rosie and her family: 4 kids ages 3 to 13, and her partner John Paul. As the movie opens, we hear in voice-over TV clips about the shortage of affordable living in Dublin, with lease rates skyrocketing. We then see Rosie and her 4 kids in a car, as Rosie calls around to various cheap hotels for a room, but to no avail. Meanwhile, Jean Paul is working as a dish washer. Just as the situation looks to be really bleak, Rosie manages to find a hotel room for one night. The whole family crashes in the hotel room, and from the looks of the hotel, they are not the only family staying there... At this point we are 10 min. into the movie but to tell you of the plot more would spoil your viewing experience, you'll just have to see for yourself how it all plays out.
Couple of comments: this movie is directed by Irish director Paddy Breathnach. Here he brings the story of one fictional family whose lease was terminated by a landlord looking to sell and cash in on the red hot real estate market in Dublin. With a shortage of affordable housing, Rosie and her family are unable to find another place to rent, and now rely on government assistance to stay in cheap hotels, assuming they can find a vacancy. This is truly a family that is barely, but just barely, hanging on by the skin of their teeth. Along the way the family encounters social issues, such as the kids that go to school, where it is quickly noticed that something isn't quite right. At one point the school's head mistress asks Rosie point blank: "Are you living in your car?", to which Rosie with indignity responds "we are not homeless! we're just lost for a bit". As much of the film plays out in the car, Breathnach does a great job giving us a sense how difficult and cramped everything is. Sarah Greene as Rosie is nothing short of masterful as she conveys the frustration, anger, shame and love for her family. Please note that the acting performances are in full-blown Irish accents, and there were a number of conversational exchanges that went completely over my head.
"Rosie" premiered to great acclaim at last year's Toronto International Film Festival, yes almost a year ago. The movie popped up out of the blue at my local art-house theater here in Cincinnati, and I couldn't wait to see it. The Friday early evening performance turned out to be a private screening: I was literally the only one in the theater. Given the bleak nature of this movie (there is, literally and figuratively, not a ray of sunshine in this movie), I cannot imagine this can last more than a week in the theater. That said, there is a reason why this movie is currently rated 97% certified fresh on Rotten Tomatoes. I found it a challenging movie, in the best possible way, and about as far away as possible from this summer's never-ending wave of super-hero movie, sequel, prequels, Disney re-imaginations, and on and on. "Rosie" is HIGHLY RECOMMENDED.
Couple of comments: this movie is directed by Irish director Paddy Breathnach. Here he brings the story of one fictional family whose lease was terminated by a landlord looking to sell and cash in on the red hot real estate market in Dublin. With a shortage of affordable housing, Rosie and her family are unable to find another place to rent, and now rely on government assistance to stay in cheap hotels, assuming they can find a vacancy. This is truly a family that is barely, but just barely, hanging on by the skin of their teeth. Along the way the family encounters social issues, such as the kids that go to school, where it is quickly noticed that something isn't quite right. At one point the school's head mistress asks Rosie point blank: "Are you living in your car?", to which Rosie with indignity responds "we are not homeless! we're just lost for a bit". As much of the film plays out in the car, Breathnach does a great job giving us a sense how difficult and cramped everything is. Sarah Greene as Rosie is nothing short of masterful as she conveys the frustration, anger, shame and love for her family. Please note that the acting performances are in full-blown Irish accents, and there were a number of conversational exchanges that went completely over my head.
"Rosie" premiered to great acclaim at last year's Toronto International Film Festival, yes almost a year ago. The movie popped up out of the blue at my local art-house theater here in Cincinnati, and I couldn't wait to see it. The Friday early evening performance turned out to be a private screening: I was literally the only one in the theater. Given the bleak nature of this movie (there is, literally and figuratively, not a ray of sunshine in this movie), I cannot imagine this can last more than a week in the theater. That said, there is a reason why this movie is currently rated 97% certified fresh on Rotten Tomatoes. I found it a challenging movie, in the best possible way, and about as far away as possible from this summer's never-ending wave of super-hero movie, sequel, prequels, Disney re-imaginations, and on and on. "Rosie" is HIGHLY RECOMMENDED.
Perhaps the most depressing film I've ever watched
TheDome8130 March 2023
Warning: Spoilers
First off I must say that the acting was very good. The woman who played Rosie was tremendous. She was under incredible pressure to no only find a place for her family to spend the night, it was up to her to hold the family together. And she did a phenomenal job doing that. She had four kids in tow, and yet she manages to keep it together.
However, movie certainly takes its toll on you after a while. It's basically a series of phone calls, with her trying to find a place for her family to spend the night. It's pretty depressing when she gets rejection after rejection. And in the end, while she doesn't give up, the family is reduced to spending the night in the car. Wow. It doesn't get any worse than that.
Watch this one if you want to see some great acting, and get thoroughly depressed. No happy ending here.
However, movie certainly takes its toll on you after a while. It's basically a series of phone calls, with her trying to find a place for her family to spend the night. It's pretty depressing when she gets rejection after rejection. And in the end, while she doesn't give up, the family is reduced to spending the night in the car. Wow. It doesn't get any worse than that.
Watch this one if you want to see some great acting, and get thoroughly depressed. No happy ending here.
Not Bad.
TriptaaBhatnagar22 June 2020
this should be compulsary learning for every sosiology student in the world
ops-5253530 April 2019
Oh, my god, what a wonderful, depressing movie, that really hurt every inch of my body to watch. it is neo social realism from ireland this time at top level. its about a family of 6, having been evicted from their rented home, and we follow them for a few days in their frantic search to get a roof over their heads. you shouldnt believe that this happens in these days in this part of our modern world.but after curious searching, i have come to know that in ireland only there are about 10000- 25000 people that are categorized as family that are somehow homeless or without a fixed adress. this number excludes single people,addicts,alcoholics,hobo's and whatever, its pure families, mum, dad, and children without the warmth and safety of home dear home.....
there are factors in the story, such as shame,angst to seek help from velfare offices in case the children being taken away, lots of pride, and most of all the need to feel like a normal average succesfull human being. they could have used family for help, but bad realations are here a hinder for a solution like that....nevertheless, its a major problem, and they must never be forgotten. i am not rich and have striven financially when kids were small, but weve been careful, and sober on what weve spent money on, and i learnt to hammer an 3 inch nail in a plank of wood when i was 23, because i had to. the big shame for ireland is the vast amount of ghost residencies ,empty houses and apartment that are not used . they can expropriate milions of hectars for road development,making car parks,or building paths for bikes and pedestrians, why not expropriate houses and apartments as well.??extreme,but i ask??? the saying'' living in a box'' has got a new explonaion for me, namely living in a aluminum box with 4 round rubber wheels under....
acting....extremely well done both the adults and all the children. i just wanda what deadly said stories were told to make them children look so supersad and depressed.the dialouges and symmetry and dynamics of the acting a trully brilliant, i can only wish that this should be the candiate from the irish film board for the next academy awards 2020.
the grumpy old man are nearly exploding of mixed emotion after watching such a darn well made movie, and should have shared so much more, but the language barriere are to big and mjy fingertips are qiute numb at the moment, so have a look at this flick yourself,and please forget your besserwisser part of yourself and place yourself under the excact same emotional way the characters does.. its tough and it is an eyeopener en masse'..highly reccomended.
there are factors in the story, such as shame,angst to seek help from velfare offices in case the children being taken away, lots of pride, and most of all the need to feel like a normal average succesfull human being. they could have used family for help, but bad realations are here a hinder for a solution like that....nevertheless, its a major problem, and they must never be forgotten. i am not rich and have striven financially when kids were small, but weve been careful, and sober on what weve spent money on, and i learnt to hammer an 3 inch nail in a plank of wood when i was 23, because i had to. the big shame for ireland is the vast amount of ghost residencies ,empty houses and apartment that are not used . they can expropriate milions of hectars for road development,making car parks,or building paths for bikes and pedestrians, why not expropriate houses and apartments as well.??extreme,but i ask??? the saying'' living in a box'' has got a new explonaion for me, namely living in a aluminum box with 4 round rubber wheels under....
acting....extremely well done both the adults and all the children. i just wanda what deadly said stories were told to make them children look so supersad and depressed.the dialouges and symmetry and dynamics of the acting a trully brilliant, i can only wish that this should be the candiate from the irish film board for the next academy awards 2020.
the grumpy old man are nearly exploding of mixed emotion after watching such a darn well made movie, and should have shared so much more, but the language barriere are to big and mjy fingertips are qiute numb at the moment, so have a look at this flick yourself,and please forget your besserwisser part of yourself and place yourself under the excact same emotional way the characters does.. its tough and it is an eyeopener en masse'..highly reccomended.
Nicely acted if sorrowful drama.
debbiemorry14 November 2022
Warning: Spoilers
The desperation of homelessness with a young family to keep safe is portrayed well. I think it needed a happier ending, as the film left me feeling hopeless about their situation. If it had gone on for 15 minutes more they could have shown them finding a moderate property and the joy of the kids running around enjoying their new home.
That said, it was worth watching and I was engrossed enough to watch fully to the end. The couple were very realistic and I found myself hoping (against hope) that they would find something immediately and all stay together as a family without the children being split from their parents, which is a very real worry if you don't have a permanent home.
Maybe a sequel film, could keep the same characters and depict their struggle finally coming to an end and show them safe again.
That said, it was worth watching and I was engrossed enough to watch fully to the end. The couple were very realistic and I found myself hoping (against hope) that they would find something immediately and all stay together as a family without the children being split from their parents, which is a very real worry if you don't have a permanent home.
Maybe a sequel film, could keep the same characters and depict their struggle finally coming to an end and show them safe again.
Could Happen To You
svader4 July 2021
I enjoyed this film. The story was sad and could happen to any one of us anywhere, not just in Ireland.
I was shocked by some of the comments here. Obviously some reviewers had not watched the film, had no compassion or are just dense. One reviewer has moaned that Rosie is on her phone all the time? She's trying to find emergency housing for her family! Another reviewer has said people should not have kids unless they have somewhere for them to live. The children in the movie were 13 down to say 4 years old. Also Rosie and J Paul lived in the last house for 7 years until the greedy landlord threw them out prior to selling. Please watch the movie and listen also prior to reviewing. That's common sense.
I was shocked by some of the comments here. Obviously some reviewers had not watched the film, had no compassion or are just dense. One reviewer has moaned that Rosie is on her phone all the time? She's trying to find emergency housing for her family! Another reviewer has said people should not have kids unless they have somewhere for them to live. The children in the movie were 13 down to say 4 years old. Also Rosie and J Paul lived in the last house for 7 years until the greedy landlord threw them out prior to selling. Please watch the movie and listen also prior to reviewing. That's common sense.
Very realistic, the daily life of raising children in isolation, the nomadic routine of a broken family.
noshouse2 September 2023
Putting aside the judgment based on income levels, you can really feel Rosie's helplessness, yet she has to strive for a more stable and secure living environment because of her child. To be honest, for those at the bottom without any notable skills or opportunities to leverage, having a salary and a place to stay are the essential elements for maintaining a healthy life. I believe the director isn't trying to morally pressure the audience, but after watching this film, I gained a deeper sense of empathy. The more we face people in vulnerable situations, the more willing we should be to listen to their difficulties.
A slow burning day in the life of a homeless Irish family
Le_Nausea9 July 2020
Great performances, and a very realistic story. Just a day in the life of family who are temporarily homeless. I'm from NZ and it could have happened pretty much exactly the same way here, down to the ridiculous bureaucratic phone call after another, after another with the Mother having to explain her situation to a different person on the other end every single time. That scene just gnawed away at me. The rentable house that only wanted yopros. I won't spoil it any further, just to say that it reminded me of a Ken Loach film and left me with an ache inside that stayed even after it had finished.
Parents are too proud to get help
joannadziedz26 May 2022
The film is OK and I felt very sorry for the kids but the adults... Not sure.... They were too proud to get help which was there. I don't understand why the mother did not let her kids stay with their grandmother or why would they prefer the night in a car instead of the place for homeless people. Also, the scene with throwing the fries at themselves - why would you do that in a car where you would later sleep? Wouldn't you be worry about the smell later on? Also, is there really no part-time job in Ireland which would allow the mother to contribute to the income and look after the kids? Did the landlord give them just a day notice so they weren't able to arrange some place earlier? So many questions.... I certainly do not blame homeless people for being homeless because I understand that wrong circumstances could lead to such a disaster but in this case I cannot help but think that this is more a choice not a circumstances....
HOMELESSNESS IS A VAST PROBLEM BOTH IN AMERICA AND ACROSS THE POND
anitalansing-40-58191530 October 2019
This movie was very well acted. The storyline was harsh, painful and grim. Not having enough food or money is bad enough, but not having somewhere to lay your head down at night is heart-breaking. Much of the homelessness in America can be traced back to greed and the inequity of wealth that is rampant throughout America. It appears that those who own the apartments and housing complexes want more and more money for them. This leave less and less housing for the poor. The government can only do so much with what's available. As to the movie, it reflected the painful reality of life as the homeless must deal with. The actors in the movie were to be applauded.
A Harsh Reality That Needs Immediate Attention.
zogarreal2 May 2019
Warning: Spoilers
One brilliant film, heartbreaking and enduring, you get so angry and down watching it but keep going because you want them to be safe and find a home. It exposes the hell thousands of people are going through everyday thanks to this heartless, elitist, fascist government that only pander to the greedy landlords creating this homeless crisis. The only gripe is that a couple of he kids have Dublin 4 yuppie accents, it doesn't make sense given the the the family are from the North side, it takes you out of the harsh reality of it a bit. But the film is so good you over look it. Well done Roddy Doyle, everyone should see this film.
Tough Watch
funkatron-399493 October 2018
A tough watch which is the exact point. The end is a bit sudden. More could have been done, after sitting through the film, potentially exlporing other outcomes. But that's a minor criticism. Great acting even though the script is rather slow at times.
Obviously haven't suffered enough yet
eyeintrees21 March 2021
Warning: Spoilers
Here's the thing: in a time of genuine crises, it is not the appropriate time to stand up for a long-past principle involving a dead father who it's hinted used to abuse you. This is not the time to try and deal with the children's grandmother's issues of deep, dark denial about it.
Put the kids with grannie, who no longer has an abuser in the house, go find a proper home like good parents do, who have a working father, and then later, when all is well, go get your kids and never go back to granny's house if need be.
This is the type of stupidity that families love to indulge in, high drama and misery and mixed pain and suffering. Parents can deal with their own issues another day. Immediate need is just that.
This was a stupid, annoying, long winded watch which I expected to actually be about real homeless people who would never throw so much as ONE chip away, let alone have a 'light relief' food fight. Not a real rendition of suffering. Just one of pride and over breeding.
Usually Irish movies are excellent. This was not.
Well told story, well acted
philfeeley8 September 2019
They told a tough, tough story of a mother trying to cope with homelessness. Kudos to the Irish for telling this harrowing tale - a tale of the unintended consequences of capitalism: some people become homeless. Few government agencies or charities exist to help them, as the story so vividly tells.
Well done.
Well done.
Brilliant
mr_thewizard15 February 2020
If you have emotions you will love this
anankit-777565 June 2020
I'm not gonna say much just watch the movie and feel it
Reduced 2 rating because i feel like movie is a little bit short and they could have gone for some ending either bad ending or good ending both fit on this movie
And yeah STAY AWAY from negative and illogical reviews like phone bill must be massive, Car phone rain and saying movie is slow. They are none other than bunch of Emotion-Less person.
A slow movie always give you feel and emotions of the circumstances but some people can't understand that
car, phone, rain, phone, car, rain, chips, phone, car, rain, rain, mum, night, rain
dwuksta21 August 2019
I like the reviewer that said "she must have a huge phone bill", very accurate. I caught it about 15mins in, and that's all I really saw, her on the phone asking if they had anywhere to stay. It was a bit like watching a film fishing, you see him get all his gear ready for 30 min, sit on a pier and not catch anything for 120mins. Probably a lot less emotive, but same amount of substance. My wife loves these types of films, I like anything that's a good story, whether it be homelessness, or space exploration, or crime based, doesn't matter, I like it all, but you must have a story to tell, an angle, a personality, unresolved issue with characters etc etc. And remember editing!...when there's a scene where the mother walks across an oval to find her daughter, we dont need to see her traverse the 'entire length' of the sports oval, it didn't build the drama, it was annoying, just an excuse which added to the length of the bloody thing. They defintely captured the boredom and repetitivness off being homeless, but if that's all you have, then make a documentary, there was no story here, just a homeless family living in their car.
Highly recommended
dakjets18 October 2019
Warning: Spoilers
Rosie is a strong social drama about a family in crisis. Despite an eerie and desperate life situation, the protagonist tries to keep the family together. They have become homeless. Mother, father and four children. It's tough to see how tough this is and how they strive to get out of a hopeless situation. The film is engaging and touching. The casting is great too. This is probably why I, the viewer, also ask questions about what they could have done differently, to avoid the crisis. The questions I wonder are, for example, what did they do in the months before they became homeless? Is it the pride that makes them not try to find a solution through their own network? Family and friends are present, but not really involved in helping out. Is there a lack of insight into how difficult and hopeless things really are? Is the solution really (as the protagonists) not to be honest with others around them, when in a life crisis? Hard to answer, but in this movie, the family stands so alone and is so lost. It hurts to witness. Something else that makes this film stand out is the story that poverty, like being homeless, also affects people we don't naturally think of as being in this category. That way the film challenges us. I liked it very much, but should have seen more of the solutions, rather than just the hopelessness.
It's heart wrenching raw reality in today's society.
shezza7224 November 2021
I found it so sad to watch and you just want to help them in some way. Myself, my ex and our 3 kids went through a very similar situation in sept1991 we went from hotel to hotel for weeks then getting emergency temporary accommodation for 8 months before finally getting a housing association property in June 92. It was soul destroying not knowing where your next meal will be or somewhere to lay your head is going to be. Our society needs to accommodate it's OWN people first, not intake economic migrants and benefit tourists then put them up in 5 star hotels. It's shameful and this story with its raw natural talent highlights many issues where social injustice is so very present in today's society, when a help in hand would go along way like if Rosie had a social worker as an advocate to help with those on the phone who treat them with ignorant contempt and like a number that doesn't matter. Wonderful acting by Rosie. It's definitely a story that's gonna stick with me as it rings so many bells from a dark time in my past.
Landlord's speculation and power are a scourge and consequences well portrayed here.
jkambert11 December 2022
Landlord's speculation and power are a scourge. Rents should be capped and fair. Renters should have security of tenure and priority otherwise they (we) are subject to fear and stress. I though covid would end with riots if landlords didn't take a hit and start evictions. Society forces many (most) to financially live on precipice. Buy to Let is scandalous !!!!! If you don't need it or intend to live in it then don't greedily block those that want a secure family home. If you reckon you are a business man then be an entrepreneur and creative, not a parasite.
I now watch those landlord eviction programs and have no sympathy with those looking for a sitting duck investment and have no sympathy that they are given a hard time. Lesson learnt, you are not your tenants friend but their overlord and they try to tolerate your selfishness.
I now watch those landlord eviction programs and have no sympathy with those looking for a sitting duck investment and have no sympathy that they are given a hard time. Lesson learnt, you are not your tenants friend but their overlord and they try to tolerate your selfishness.
Sad But Bad
Astaroth229 December 2020
Acting is decent and the subject matter is terribly real. However, this is not a "good" movie. It just isn't. Some seem to be rating it based on the issue itself. Apparently not wanting to appear heartless, they obviously inflate the score then knock down the sincere & honest reviews. Sorry, but while that might make you feel better about yourself, that's not doing anything to help with the actual real life situation. Perhaps volunteer or donate - but being disingenuous here, sad to say, serves no real purpose.
Forgotten
littlemissajax12 December 2022
Warning: Spoilers
The forgotten people of the world.
Shows the heart of a mum and dad, despite life living in a car, still show their kids love and family.
From a toddler to a teenager, losing the only home they've ever known, and their parents trying to live a normal life. School, work and even family laughs.
Some may find it hard to understand why she doesn't just move in with her mother (grandmother), but others will agree totally.
A family of six against all odds.
I found the movie was able to share a hidden part or life many will see, but will never recognise.
Makes you realise that there's people worse off.
Shows the heart of a mum and dad, despite life living in a car, still show their kids love and family.
From a toddler to a teenager, losing the only home they've ever known, and their parents trying to live a normal life. School, work and even family laughs.
Some may find it hard to understand why she doesn't just move in with her mother (grandmother), but others will agree totally.
A family of six against all odds.
I found the movie was able to share a hidden part or life many will see, but will never recognise.
Makes you realise that there's people worse off.
See also
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