Rachel Getting Married (2008)

“I think families are weird and insane…

They are the best source material.”

Jenny Lumet Interview with L.A. Times

I can’t agree with Lumet more… well, maybe not the insane part.  As screenwriter (daughter of director Sydney Lumet), she must have pondered the facts that the family is the first point of social contact a newborn is introduced to, the hotbed of human relationships from jealousy to rivalry, and the school of harsh lessons, learning to love amidst hate, forgive despite hurt.  That is the scenario in her script Rachel Getting Married.

And usually it’s at weddings that the raw emotions are exposed and where conflicting sentiments are so intense that they become unmanageable, hence, the source materials for many of our films…

It was full house again at The Calgary International Film Festival’s screening of Rachel Getting Married. First time screenwriter Jenny Lumet has crafted a realistic family portrait.  Director Jonathan Demme (of The Silence of the Lambs fame) uses roving camera work to effectively capture the naturalistic look, giving me the impression that I’m watching the home-made video of another family.  This film is definitely not for those with weak stomach or who are easily nauseated.

The movie is about Kym (Anne Hathaway) returning home for her sister Rachel’s (Rosemarie DeWitt) wedding.  Kym has been in rehab for some years, trying to deal with substance abuse.  Coming home is bitter sweet for all. First, Kym’s father has remarried and a wedding means the re-appearance of Kym’s mother (Debra Winger), and the re-opening of old wounds.  Further, the jealousy and sibling rivalries are still intense, albeit hidden within a facade of good will most of the time. As the story unfolds, we see the tragic past of the family, its emotional residue still spilling out to the present.

Shot in a naturalistic style (Robert Altman is acknowledged in the end credits), with a hand-held camera jolting its way through family gatherings, punctuated with non-script-like casual and spontaneous talks, the film makes us feel like we’re secretly prying into another family’s affairs.  But herein lies the merit of such an incisive look.  The truth is, if we get the chance to peep behind the curtains into other people’s homes, we would probably find how similar they are with our own.   We may not have to deal with a substance abuser, or have gone through similar tragedies, but we have to live with the common human emotions of hurt and disappointment, rivalries and anger.  We are encouraged when we see how others find redemption, and from the pit of negativism, rise up and go forward.

Anne Hathaway has shown that she can act outside of the sweet and charming feminine roles as in The Devil Wears Prada (2006) and Becoming Jane (2007).  Here in Rachel Getting Married, she has effectively delivered an excellent performance as a messed up substance abuser struggling to redeem herself.  The film could well lead her to other more character-driven roles in the future, or maybe even an acting nomination.

As for the film itself, the roving camera work is not for everybody.  With its almost 2 hours running time, seems like it needs a bit more work on editing and pacing to make it more appealing.  Do we need so many musical numbers?  Overlooking the melodramatic parts, the film is still effective in delivering a very human story.

~ ~ ~ Ripples

Update December 11:  Anne Hathaway has just been nominated for a Best Actress Award at the 2009 Golden Globes for her role in Rachel Getting Married.

*****

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Arti of Ripple Effects is the writer of the above original review, posted on September 30, 2008, here at https://rippleeffects.wordpress.com   ALL RIGHTS RESERVED.

If you see this article on some other blogs or websites (as I have) without acknowledgment, citing, or linking back to Ripple Effects, then you know it has been copied without permission from the author.

Mamma Mia! (2008) Movie Reivew

If beach reads is to superficial page-turners, then summer movies is to mindless, senseless, jovial entertainment.  If you allow yourself to devour less than literature under the summer sun, you can have your fill by indulging in Mamma Mia!  Why not, what other times of the year can we immerse ourselves in superficiality, if not in the name of summer fun.

Like the recent re-emergence of past heroes such as Indiana Jones, Rocky Balboa, and the like, I suspect making Mamma Mia! is the mid-life fix for its actors and actresses.  And for stars like Meryl Streep, where else can you, as a 59 year-old, sing and dance like a rock diva, jump up and down on your mattress like it’s a trampoline, dance to you heart’s content on a Greek Island with the whole village backing you, and make a splash, literally, to end a wild number.  Looks like Streep has the time of her life making this movie.  What more, she’s got Pierce Brosnan, Colin Firth, and Stellan Skarsgard swinging and jiving with her.

On the eve of her daughter’s wedding, Donna (Streep) finds herself faced with three of her past lovers who have shown up upon receiving invitation from the bride to be, Sophie (Amanda Seyfried).  Before getting married to her sweetheart Sky (Dominic Cooper), Sophie feels the urgency to find her real father and have him walk her down the isle. Director Phyllida Lloyd did a passable job churning out a simplistic but fun-filled movie adaptation of her Tony Award winning musical.  What captures the audience is not so much the story but the popular songs written by ABBA’s Benny Andersson and Bjorn Ulvaeus.  Titles like “Mamma Mia”, “Take A Chance On Me”, “Dancing Queen”, “Knowing Me, Knowing You”, “The Winner Takes It All”, “SOS”, and “I Have A Dream”… supply the bulk of the movie goers their mid-life fix.

So who cares if it’s a silly, senseless, mindless escape.  At least, it works… well, more or less.  As I sat in the packed theatre, where families had to sit separately to find seats, where teenage boys came with their mothers, where I heard middle-age men laughing out loud, and where I caught myself watching the movie with a smile on my face and tapping my toes to the tunes, it sure worked as a great escape.  Don’t expect in-depth characterization, complexity in plot structures, insightful dialogues, and please don’t mind the miscast (Bond in song?)… it’s summer after all.

Adapted from the successful musical showcasing the songs of the sensational Swedish group ABBA, Mamma Mia! the movie features authentic singing from the movie stars themselves.  Yes, there are LOL moments listening to them singing in their amateurish voices.  Don’t expect professional vocal performance… from Pierce Brosnan?  The fun is hearing him seriously belt out “SOS”, now that’s entertainment.  And all ye fans of Colin Firth, he has definitely smashed the Darcy image, if it still lingers in your Janenite mind.  Here you can see him play the guitar, sing, hang loose, and dance like a rock star.

There seems to be no middle ground in our summer movies this year:  Mamma Mia! is as light and giggly as The Dark Knight is dark and gloomy.  If you can overlook the subliminal implications seeping through Mamma Mia:  The celebration of promiscuity and the appeal of the stereotypical senseless female, then this movie adaptation is a sure escape.  But if you’re expecting more, I’m sure there are other offerings under the lazy summer sun.

Photo Source:  Seattle Times and Universal Pictures


~ ~ ½ Ripples

Update December 11:  Mamma Mia! has just been nominated for a Best Picture Award (Comedy or Musical) at the 2009 Golden Globes, and Meryl Streep nominated for the Best Actress (Comedy 0r Musical) category.

In Praise of Austen: Emma Thompson’s Acceptance Speech

I’ve a video tape of Sense and Sensibility (1995) for a long time.  A few days ago I bought the DVD of the movie, and was pleasantly surprised to see the ‘Extra Features’ includes Emma Thompson’s acceptance speech at her Golden Globe win for Best Screenplay.

And for all these years I’ve missed this one!

That the Taiwanese director Ang Lee would take on such a project is evidence of the universal appeal of Austen’s work.  But it is Emma Thompson who stands out as the well-deserved winner of both an Oscar and a Golden Globe for her writing of the adapted screenplay of Sense and Sensibility (1995).

Here’s Emma Thompson’s acceptance speech at the 1996 Golden Globes Awards ceremony.  It is an ingenious and imaginary rendition of what Jane Austen would have written about that night.  A speech of true Austenian style, a must-see for all Janeites and Emma Thompson fans.  Of course, those who own the DVD must have seen it numerous times, I’m just twelve years too late:

 

Congratulations Julie Christie!

Julie Christie

Update Jan. 28: Julie Christie has just won the Screen Actors Guild Award for Best Actress for her role in Away From Her last night in L.A.  Congratulations again!  

Update Jan. 22: Julie Christie has just been nominated for a Best Actress Oscar for her role in Away From Her, and Sarah Polley for Best Adapted Screenplay.  Sarah:  Dreams do come true! For a full list of Oscar Nominees, click here.

A glamourless Globe for Best Actress (Drama) went to Julie Christie, how fitting!  A no-nonsense recognition for some no-nonsense acting for her role as Alzheimer sufferer Fiona in Sarah Polley’s Away From Her.

Once described by Al Pacino as “the most poetic of all actresses” Julie Christie’s movies have been cinematic icons of an era: Darling (1965), Doctor Zhivago (1966), Fahrenheit 451 (1966), Far from the Madding Crowd (1967), The Go-Between (1970)…Yet, at 66, she has downplayed her achievement and shunned the attraction of fame and celebrity.

Christie has long avoided the glitz and glamour of stardom, appearing in only a selectively few films, evading the limelight that could have been hers.  In an interview with the New York Times last year at the release of Away From Her, she was asked about her name as a legend. Christie responded:  “I have no connection with that person at all…that person has gone.”

The British actress could have it all, if she had embraced such a life, but she chose to devote her time and passion to social activism and political causes.  Living almost reclusively away from the public eye for the past decades, Julie Christie just might not show up at the Golden Globe ceremony even if there were one. 

…but then, she probably would though, for her young Canadian friend Sarah Polley.  Christie wouldn’t want to miss the chance of bringing honor to Polley’s directorial debut, having met her while filming No Such Thing (2000) together.

Polley wrote the screenplay Away From Her, based on Alice Munro’s short story “The Bear Came Over the Mountain”.  As she was writing, she had in mind Julie Christie and Canadian veteran actor Gordon Pinsent playing Fiona and Grant.  At first, expectedly, Christie turned her down. But finally, Polley’s persistence over the years paid off.  At 28, Polley was inspired enough to pull together two veterans in their 60’s and 70’s to make a film about old age, love, loss, and Alzheimer.

 

Sarah Polley 

 

Sarah Polley once said about Away From Her in an interview:

“I don’t’ think that there’s any chance that I would get nominated. I mean I really hope that the actors have a shot at it …it would be such a dream come true if they were acknowledged…”

In a recent interview with The Toronto Globe and Mail, Polley felt ‘strange’ and ‘surreal’ about the recognition the $4.5 million production has received.

Of course she was delighted with Christie’s win, she also added:

“If there’s any note of reluctance on my part – of not enjoying all of this fully – is that Gordon’s performance is also stunning … and I just don’t want his work in the film to be undervalued.”

Ooh…it’s satisfying seeing the humble exalted…To both Julie Christie and Sarah Polley, Congratulations! I hope to see more nominations and awards coming your way at the Oscars.  

The Kite Runner: Book Into Film

The Book

Kite runner

I read The Kite Runner last summer, and it has remained one of my favorite books. It might as well be called Atonement, because that’s exactly what it’s about.  But this time, the character, Amir, has to deal with the sin of omission.  Just the same, failure to act can lead to devastating consequences, and Amir, just like Briony in Ian McEwan’s Atonement, has to live with his guilt throughout his life.  Unlike Briony, Amir has a chance to redeem himself.   As Amir’s mentor Rahim Khan says: ‘There’s a way to be good again’, despite the tragedies that have already taken place.
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Highly acclaimed as the first Afghan novel written in English, The Kite Runner became an international bestseller, publishing in 40 countries.  Author Khaled Hosseini was born in Kabul, son of a diplomat. His family sought and received political asylum in the United States as the Soviet invaded Afghanistan, settling in California in 1980 when he was 15.  Hosseini later studied medicine and became an internist practicing until 2004, when he began to devote his time fully to writing.
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The book is neatly divided into three sections, the first narrates the childhood of the socially privileged Amir growing up in Kabul.  His best friend is Hassan, the son of their servant Ali.  The two boys grow up together, freely roaming the streets of Kabul almost as brothers.  Hassan is totally dedicated to Amir.  He has been Amir’s kite runner, retrieving downed rival kites, and defended him from bullies.  During one horrific incident, Amir betrays Hassan.  Deeply troubled by guilt, Amir devises a plan to ultimately rid himself of the source of his torments, indirectly driving Ali and Hassan out of their household.
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Upon the Soviet invasion of Afghanistan in 1979, Amir flees to America with his father.  The second part of the book chronicles Amir as an adult, his once fragile relationship with his father is forged stronger as the two strive for their new life in a distant land.  Before his father’s death from illness, Amir gets married and realizes his dream as a writer.  The third part of the book depicts Amir’s journey back to the now Taliban controlled Afghanistan to fulfill a mission that would ultimately lead to his personal redemption.
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I was moved as I read the author’s poignant first-person narratives.  This is the power of words in the hand of a sensitive and talented writer, articulating the deepest feelings otherwise hidden beyond reach.  I enjoyed the first part the most.  Through vivid description and deceptively simple language Hosseini depicts poignantly the friendship of Amir and Hassan, the loyalty of Hassan and the betrayal by Amir, and ultimately the separation of the two childhood friends.
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The political upheavals are used as a backdrop, adding texture to the story.  The book is not about the Soviets or the Taliban.  It’s about a father-son relationship, family, friendship, love, and loss.  Above all, it chronicles the life-long haunting consequences of one’s action or inaction, the atonement of wrong done, and the necessary journey in search of redemption.
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And for the kite soaring high in the sky, it may well be a metaphor for freedom and victory, not just politically, but internally, being set free from burden, from guilt.  Despite a relatively weaker second section, overall The Kite Runner is beautifully written, an engrossing and satisfying read.

~ ~ ~ Ripples

The Movie

The Kite Runner Movie

Update Jan. 22:  The Kite Runner has just been nominated for an Oscar for Best Original Score.

First off, I must state that I’m evaluating the film according to its own genre, as a film.  And to be fair, the movie follows the story quite closely, almost dividing the script into three sections like the book, and telling the story adequately.  Ironically, such direct transfer does not fare well with the film medium.  The transition of scenes are sometimes quite abrupt and choppy.  The same dialogues are there, but the mood is missing. The eagerness of storytelling seems to have overshadowed the artistry of movie making. As a result, the film lacks the power to engage.

I must say though, there are merits that I should acknowledge.  Kudos to Ahmad Khan Mahmidzada for portraying young Hassan so movingly.  He’s probably the most affable and natural actor in the whole movie.  His presence is the appeal of the film, and he well deserves the Critics Choice Award nomination for Best Young Actor.  Unfortunately his role only appears in the first part.

Transferring the story to screen, director Marc Forster (Stranger Than Fiction, 2006) has taken advantage of the visual element, bringing to life the excitement of the sport of kite combat.  To North American audiences, such scenes may well be a spectacular eye-opener.  The original score by Alberto Iglesias (Volver, 2006, Constant Gardener, 2005) plays an essential part in the movie, imparting the intended effects where other film elements may be lacking. His composition earns him a nod from the Golden Globes for a Best Original Score nomination.

The movie attempts to present the cultural sights and sounds of Afghan life, albeit on a very small scale. My main disappointment though was to find out, as the end credits rolled, that the Afghan scenes were all shot in Xinjiang and Beijing, China.  Was I too naive to think that a movie about Afghanistan should be shot in Afghanistan?

As I was watching the movie I felt something was missing, but couldn’t pinpoint what.  I felt the acting by the main character, the adult Amir, played by Khalid Abdalla (United 93, 2006) and his wife Soraya (Atossa Leoni), to be distant and detached.  Maybe due to their lack of acting experience, their performance seem to be less intense and expressive than what the story demands.

Now that I’ve given it some thoughts, I think the lack of the intimacy which the book so successfully delivers can be compensated on screen by a narrative voice-over.  The personal narrative of the book is what makes the story poignant and moving.  The film could benefit from a first person narrative to draw viewers closer and to convey more effectively the hidden turmoils that can’t be expressed cinematically, or technically.  A well written narrative voice-over could impact the audience in a more haunting way as the book has achieved.

Overall, the movie is an adequate adaptation of the book, but it only offers a glimpse of what the book entails. As a nominee for the Best Foreign Language Film category at the Golden Globes this year, hopefully, it can draw viewers’ interest to dig deeper into the profound story by reading the source material first hand.

~ ~ 1/2 Ripples

Globe Without Glamour

So the Hollywood Foreign Press Association has officially cancelled the 65th annual Golden Globe Award ceremony on January 13.  Instead, there will be a press conference at the same time (6 pm pst) to announce the winners of the 2008 Golden Globes.  Click here for the official announcement from HFPA.

To maintain solidarity with striking Hollywood writers, the Screen Actors Guild indicated earlier that all the 72 nominees would not show up for the 65th Golden Globe Award. Click here for more details.

For a change, good movies and TV shows are announced without all the glitz and glamour, no fashion statements, no red carpet photo ops… just no-nonsense recognition of some no-nonsense movie making and TV production. 

With all due respect to the writers, and the HFPA’s financial loss in the cancellation, and all the nominees who deserve recognition, I say…a nice change.  

Atonement: Book Into Film


The Book

Imagine my surprise as I finished Austen’s Northanger Abbey and opened up Ian McEwan’s Atonement to find this epigraph in the beginning of the book:

“Dear Miss Morland, consider the dreadful nature of the suspicions you have entertained.  What have you been judging from?  Remember the country and the age in which we live.  Remember that we are English: that we are Christians.  Consult your own understanding, you own sense of the probable, your own observation of what is passing around you.  Does our education prepare us for such atrocities?  Do our laws connive at them?  Could they be perpetrated without being known in a country like this, where social and literary intercourse is on such a footing, where every man is surrounded by a neighbourhood of voluntary spies, and where roads, and newspapers lay everything open?  Dearest Miss Morland, what ideas have you been admitting?”

They had reached the end of the gallery; and with tears of shame she ran off to her own room.

Jane Austen, Northanger Abbey

Henry Tilney’s somber words to Catherine Morland in Northanger Abbey sets the stage for the story in Atonement.  Not only that, these words prove to be the most tragic irony as the plot unfolds, turning Austen’s satirical parody into heart wrenching reality.

The story starts off in the 1930’s, on a hot summer day in the idyllic country estate of the upper-class Tallis family.  The misinterpretation of a couple of incidents by imaginative 13 year-old Briony sets off the events that ultimately rip the whole family apart.  Later in the evening, Briony witnesses a crime but falsely accuses the wrong man, who happens to be her older sister Cecilia’s secret lover Robbie, the housekeeper’s son.  Is it merely the misunderstanding of a young girl that drives her to bear false witness? Or is it jealousy…or even revenge?  Maybe even Briony herself, as she recollects at 77, is baffled by her own motive. The heart is indeed an unsearchable deep to fathom.

Regardless of the cause, it is the consequences of her misdeed that has tormented her all her life: the breakdown of family relationships, the innocent sent to jail, and later to a horrific war zone, and a pair of lovers torn apart.  As she cannot undo the past, Briony re-creates in the sanctuary of her own novel writing an alternative ending to a tragic story. Fantasy or realism?  As she reaches old age and dementia sets in, the line between the two has also blurred, and yet her inner torments stay as sharp as ever.

Through Briony’s story, McEwan has poignantly shown that remaining unforgiven is probably the harshest punishment of sin.  No matter how hard one works to be redeemed, the act of forgiveness lies with the one who has been wronged.  In the latter part of the story, we see Briony’s painful strive for peace and atonement, and her realization that redemption comes only when sin is pardoned.  Without the forgiveness of sin, there is no end to guilt.

But the story is not only about Briony’s desparate attempt to come to terms with her past, it is also a love epic.  It is the heart-wrenching chronicle of the perseverance and loyalty between two lovers, Cecilia and Robbie, who, sustained by love, are able to withstand the searing pain of separation and atrocities. It is about the absurdity of war, that in the chaos of a war zone, everyone is guilty, and yet, everyone is a victim. It is also about the essence of a family and the fragility of relationships.  The multi-layered structure of the plot and characterization give rise to the complexity and depth of the story.

Booker Prize winner Ian McEwan has written 11 novels and won numerous literary awards.  The novel Atonement has garnered four since its publication in 2001.  McEwan has shown himself to be a master of descriptive and incisive writing.  His story is riveting.  At times I have to read slowly, going back to re-read a passage several times, in order to capture all the details and savour the intricacies of the description and characterization.  At times I read it quickly to capture the flow of the plot, eager to find out where it would lead me.  The author has my emotions in his grasp.  I have to admit, this is one of the rare occasions that I highlight as I read a novel.  Overall, a very engrossing and satisfying read.

~ ~ ~ Ripples

The Film

Atonement the movie

Update February 11:  Atonement just won Best Picture and Best Production Design at the BAFTA (British Academy for Film and Television Arts) Awards in London yesterday.

Update January 22:  Atonement is nominated for 7 Oscars at the 2008 Academy Awards, including Best Picture, Best Supporting Actress, Best Adapted Screenplay, Best Cinematography, Best Art Direction, Best Costume Design, and Best Original Score.

Update on January 14:  Atonement won the 2008 Golden Globe Best Picture (Drama) and Best Original Score Awards announced at the HFPA News Conference last night.

With such a masterpiece in their hands, the screenwriter, director, actors …the whole lot, have a tall order to fill in turning the book into film.  I must say they have done an extraordinary job in this adaptation.  The film is nominated for 7 Golden Globe, including Best Picture (Drama), Best Actress and Actor, Best Supporting Actress, Best Director, Best Screenplay, and Best Original Score.

Unlike many movies based on literary work, this is one of the rare ones that truly depicts the essence of the book and keeps the integrity of its plot.  Screenwriter Christopher Hampton (Oscar winner for his screenplay of Dangerous Liaison, 1988 ) has gleaned the pivotal episodes and remained loyal to the work, keeping the epic span intact; although the war section can be dealt with more details and depth as the novel has rendered.

Thanks to the great work in film editing, the audience can readily capture the flow of the story and benefit also from the seamless flashbacks to see the same event from another point of view, hence, understanding Briony’s misinterpretation. I’m sure even for those who haven’t read the novel, the storytelling is still clear and equally intense.

Director Joe Wright (Pride and Prejudice, 2005) uses the elements of film powerfully to bring to life an excellent script. The music and sound effects (who would imagine the typing sound on an old Corona can be used so effectively in a musical score), the cinematography and the visual flashbacks, the costumes and set all work together to create a masterpiece of cinema artistry worthy of McEwan’s work.  Kudos to Dario Marianelli (The Brave One, 2007; Pride and Prejudice, 2005), who has composed a most riveting score heightening the intensity and poignancy of the film.  I must also stress that, while the music is a powerful element in the movie, the silent moments are equally engrossing.

Young Briony, 13 year-old Irish actress Saoirse Ronan (I’ve read different versions of how her first name should be pronounced so I’m not including any suggestion here) well deserves the Golden Globe nod for a Best Supporting Actress nomination.  Veteran actress and Oscar winner Vanessa Redgrave is brilliant and her poignant summing up at the end is both needed and satisfying. I’m afraid to say the weak link is Briony at 18, played by Romola Garai (Amazing Grace, 2006), where she could be more intense and affective.

And for the lovers, Keira Knightley (Pirates of the Caribbean, 2007, 2006; Pride and Prejudice, 2005) and James McAvoy (Becoming Jane, 2007; The Last King of Scotland, 2006) as Cecilia and Robbie, may well go down in movie history as a memorable pair of star-crossed lovers. Their acting is superb and their chemistry, charismatic.  The passionate scene in the library just confirms that it doesn’t need nudity to convey love, desire, or sensuality.  I had in mind the movie Lust Caution (Ang Lee, 2007) as I was watching this scene.

Knightley and McAvoy are nominated for a Best Actress and Best Actor award at the Golden Globes.  For their very moving performance in Atonement, I’d like to see them continue the ride all the way to the Oscars, and I wish them well.

Overall, an excellent adaptation of an enthralling novel.  Don’t wait to read the book, go see the movie.  But I’m sure after that, you’ll want to get hold of the novel right away.  This is one of the rare examples of both book and film are worthy of complementing each other.

~ ~ ~ Ripples

2008 Golden Globe Nominations

The list is out, and the winner is….

James Schamus, CEO of Focus Features, distributor of the film Atonement, which claimed 7 Golden Globe nominations. Schamus has been riding high on his winning streak with Lust Caution, which he co-wrote and executive produced. Director Ang Lee’s Lust Caution recently garnered 7 Golden Horse Awards in his native Taiwan, after snatching many other film awards including the Golden Lion at the Venice Film Festival earlier this year.  The movie also got the nod from the Golden Globe for a Best Foreign Film nomination.

That’s the glamour of winning (being nominated in 7 Golden Globe categories is already a win).   Such is the licence to bask in the recognition, the exposure, the praises, the esteem-boosting limelight and afterglow in the movie business, no wonder Schamus said, “I’m back from Taipei and I’m on such a high.” 

 And in another corner, I see another film quietly being recognized, receiving one acknowledgement.  Julie Christie is nominated for her role in Away From Her.  That’s the sole recognition of this Canadian film by the Hollywood Foreign Press Association at the Golden Globes.  I can see film director Sarah Polley quietly pleased, for I think she knows but is too modest to admit that it takes an inspiring and talented director to bring out the acting best from her actors.  That at 28, she could work well with the reclusive and iconic Julie Christie, and Canadian veteran actor Gordon Pinsent speaks volume to her maturity and skills.

Recently honored by the New York Critics Circle with their Best First Film Award, as well as the Los Angeles Film Critics Association’s New Generation Award, Sarah Polley once said during an interview:

“I don’t’ think that there’s any chance that I would get nominated. I mean I really hope that the actors have a shot at it …it would be such a dream come true if they were acknowledged…”

Such gracious words from a 28 year-old just serve to prove that it doesn’t need a Golden nod to have a golden future. Be prepared, Sarah, to see many dreams come true.