Jackie works as a CCTV operator. Each day she watches over a small part of the world, protecting the people living their lives under her gaze. One day a man appears on her monitor, a man she thought she would never see again, a man she never wanted to see again. Now she has no choice, she is compelled to confront him.
Zoë is a single mother who lives with her four children in Dartford. She is poor and can't afford to buy food. One day her ex-boyfriend drives by and asks her to go on a date with him. ... See full summary »
Whilst working as a CCTV operator in Glasgow's working-class Red Road estate, Jackie sees a face from the past, a face that she thought would no longer haunt her dreams. Keeping her distance, and with the use of her CCTV cameras, she follows the face and the man and she finally decides to confront him. It is here that past lives are once again entwined and reconciliations are aired. Written by
The video screens in the surveillance centre do not show the date and time, which would severely limit their usefulness as filmed evidence in real life. The date and time have clearly been disabled to avoid continuity errors in filming. The 'shadow' of the numbers is however visible. See more »
[seeing Jackie for the first time]
Have we met?
Yeah, I saw you at a cafe.
Right. At a cafe.
[Clyde takes Jackie's hand and they both start to dance]
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The setup is simple. We are voyeurs watching a woman whose job it is to watch surveillance cameras. She gets engaged with a specific subject, leaving the camera and entering the reality. We do as well, but the reason she does so is held in tension as a mystery. She clearly is repulsed while simultaneously attracted, but things take a very long time. By the end, you learn why.
But for nearly two hours, because you are folded into this, you suffer the incredible loss this woman has. She knows what that loss is, but you do not, which makes it ever the more effective. Because you can fill it in with the loss you know, and you can fall as deeply as you ever have.
It is a profound construction. Disturbing. Cinematic. Visual, Folded.
I study redheads in film, and what they stand for. In Hollywood, the dynamic is different than in the UK. There, an overt racism overlays the thing: redheads are from Ireland, and the Irish are at the bottom of the social scale. "Gingers" are considered rare and alluring in the US, while in England there is a vile connotation.
The guy here, the fellow we fear because he is so low class in this tattered landscape, he is a ginger. The road factors into the plot in a few different ways. Red does as well.
Ted's Evaluation -- 3 of 3: Worth watching.
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