Ray and his wife are hosting a large party, and he is shocked to see Scott and Una arrive. This movie begins with a shot of a girl in her early teens, sitting outside a house, then going into the yard next door, turning a corner, and seeing … something. Brian Tallerico is the Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. Meanwhile, Ray is first presented as someone who realizes he made a horrible mistake but attests that he truly loved Una and had never done anything similar before or would do anything similar after. [7], Production on the film began on June 13, 2015, in the United Kingdom. Una is a 2016 drama film directed by Benedict Andrews based upon the play Blackbird by David Harrower, who also wrote the film's screenplay. They were supposed to come to New York from Miami, but instead they stayed in Miami, stating that they were In a confrontational meeting when she is an adult, they go over the knotty circumstances of the abuse, which culminated in their running away together. This calls into question whether or not Bateman imagined it all, but according author Bret Easton Ellis (who penned the source material novel), having it all be in Bateman's head would render the point of the story moot. Una finds him. "[22] On Metacritic, the film holds a rating of 62 out of 100, based on 28 critics, indicating "generally favorable reviews". The thematic undercurrent is there—this is a relationship hidden from society—but it’s underdeveloped and distracting. He is unable to function at the work meeting, leaves abruptly, and hides from angry executives and his fellow staff members. Una walks off into the dark. The film ends with a frozen shot of the two of them on the bike which sums up all we have learned about them. The girl enters and loudly demands an explanation. But director Benedict Andrews and writer David Harrower, who adapts his own play Blackbird, are constantly diffusing their own film, likely in a desire to make it more “cinematic” and less “theatrical.” This is an overblown and over-used concern. Mr. Harrower expands the number of characters, to the extent that subplots form around them. Una is a 2016 drama film directed by Benedict Andrews based upon the play Blackbird by David Harrower, who also wrote the film's screenplay. The facts came to light on the eve of their planned elopement abroad. [16] It also screened at the Toronto International Film Festival on September 11, 2016[17] and the BFI London Film Festival on October 9, 2016. These become actively distracting. In November 2014, it was announced that Rooney Mara and Ben Mendelsohn had been cast as Una and Ray respectively, with Benedict Andrews directing from a screenplay by David Harrower who also wrote the stage play on which the film is based. Great actors Ben Mendelsohn and Rooney Mara do their best to elevate the frustrating “Una,” but their director doesn’t seem to understand what he has in these two performers, constantly pulling back from their raw emotion and complex characters. Rated R It stars Rooney Mara, Ben Mendelsohn, Riz Ahmed, Ruby Stokes, Tara Fitzgerald, Natasha Little, and Tobias Menzies. Una leaves the warehouse with Scott (Ahmed), a young single man, and Ray's co-worker. The best element of “Una” on a screenwriting level is the complexity Harrower allows his duo. Even worst, at some point he even insinuates that … Having changed his name from "Ray" to "Peter Trevelyan", he has risen to management level in a large warehouse. However, it soon feels like “Una” the film can’t sit still. The film ends with digital messiah Neo’s death at the hands of Smith, which, for reasons best known to the Wachowskis, results in the evil computer virus being destroyed as well. Ray leaves the room to attend a critical staff meeting, where he must announce cutbacks and layoffs to employees. The Scottish playwright David Harrower adapted his two-character play “Blackbird” for the screen, substantially changing it to include flashbacks. They're both fantastic. Convinced by a misunderstanding that Ray had abandoned her in the coastal hotel room where he had just taken her virginity, she wandered the streets distraught and bewildered, to be returned home by police. for strong sexual content, nudity and language, Memory House by Brazilian Director Joao Paulo Miranda Maria Wins the Roger Ebert Award at the 56th Chicago International Film Festival, High Powered: Aaron Moorhead and Justin Benson on Synchronic, Highlights from Ebert Symposium on Future of Movie Industry, Ebert Symposium 2020: Part 2 Streaming Today, October 22nd, 2020. What does she hope to get out of him and what other secrets could he reveal? This ushers in a new era of peace between the human and machine societies, and it’s further implied that Neo survived his apparent demise. He insists Una is the only one of that age he has ever desired, that she still is "the only one" as he kisses her face, all while his wife, step-daughter and Scott look on from a distance. However, something tells me that it’s not a happy ending. [12], In September 2015, Variety released the first image from the film. Ray used to be Una’s neighbor, and is notably older than she is. In a matching cut, Rooney Mara, playing the same character years later, stands in a dark room with strangers as strobe lights flash and a synthetic percussion track throbs. At the end of the film, he confesses his crimes to his lawyer Harry (Stephen Bogaert), who mistakes him for another colleague and laughs off Bateman's concerns as a joke. [4] Celia Duval co-produced, with executive producers Jason Cloth, Aaron L. Gilbert under his Bron Studios banner, as well as Sharon Harel, Kevin Loader, Eve Schoukroun. The thematic undercurrent is there—this is a relationship hidden from society—but it’s underdeveloped and distracting. Una (Mara) is introduced in the way young, “troubled” woman are so often in independent cinema, dancing at a club and then having a quick sexual encounter in the bathroom. [13] In November 2015, it was announced the film had been re-titled Una. However, it soon feels like “Una” the film can’t sit still. Una finds where he works through a newspaper photograph and confronts him. The ending doesn’t really give any clues about what’s going to happen to Una and Ray. Arm", "Thunderbird Releasing Takes 'Una,' 'Brimstone' for U.K. (EXCLUSIVE)", https://en.wikipedia.org/w/index.php?title=Una_(film)&oldid=976560444, Articles with dead external links from December 2017, Creative Commons Attribution-ShareAlike License, Ruby Stokes as Young Una Spencer (age 13), This page was last edited on 3 September 2020, at 17:02. Also if you know more movies like this, enlighten me. Instead of empathizing with her, Ray at first fears she may want to damage his career or even kill him. Is Ray a broken man who made a horrible mistake or a lifelong predator? She wakes up the next morning, and has clearly made a decision, picking up her things and driving. She’s still stuck in the same small town, where everyone knew her story and where she’s been unable to move on, whereas Ray has a whole new life with a new partner and a good job. The two were so involved that they almost ran away together, but Ray was caught and did four years in jail. It stars Rooney Mara, Ben Mendelsohn, Riz Ahmed, Ruby Stokes, Tara Fitzgerald, Natasha Little, and Tobias Menzies. He argues repeatedly that he’s not a child abuser, but Andrews and Harrower allow suspicion to creep in on the viewer. She is still emotionally wounded from what happened. It's obvious that Ray and Una are still attracted to one another. Abandonment seems to be her overriding emotion, and not just about that night specifically, but overall. He tells Una he is now married to a woman his own age. [18] Shortly after, Swen acquired U.S distribution rights to the film, partnering with Eammon Films handling the theatrical release. We meet Ray’s co-worker Scott (Riz Ahmed), who may get fired that day, and Ray and Una have to hide from his boss. [6] Jed Kurzel composed the film's score. The website's critical consensus reads, "Una's well-matched leads bring an uncomfortable story fearlessly to life, keeping the movie consistently gripping as it navigates the tricky journey from stage to screen. Their performances are tightly focused and unflinching; too bad they are surrounded by a lot of heavy-handed, poorly aimed cinematic showing off. At first, it seems interesting that Ray and Una’s first encounter in years will come at his office as the world goes on around him and the sound of co-workers leaks through the walls.
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