Yes

Not since Shakespeare's day have playwrights written entire screenplays in iambic pentameter, but writer/director Sally Potter might single-handedly start the trend again. However, it took me over a half hour to realize that the whole film was one epic poem – before then all I thought was, "This dialogue is horrible! People don't actually speak like this!" But that's the point. Poetry is not meant to imitate average speech. That's why it's poetry.

Joan Allen plays a lonely wife (whose name is never mentioned) trapped in a loveless marriage who has a fiercely passionate affair with a Muslim man from Lebanon. Because she was born in Northern Ireland (but raised, however, in America), she thinks she understands her lover's pain and suffering as an Arab man living in London. These two lovers fight about race, class, religion, politics, stereotypes, and identity, and with the recent bombings on the London Underground, this film is unsettlingly too relevant. Yes is a superb love poem that speaks volumes about what we, as a society, are afraid to mention in our post-9/11 world. But unfortunately, sitting through this film feels more like homework than pleasure.

I was tempted to do this comment in iambic pentameter and rhyming couplets, but somebody from the "New Yorker" has already done it, and of course I would have run the risk of doing an even worse job than Sally Potter has.

Not that this is such a bad film – it's different from the normal run of romantic comedies. At times it becomes quite didactic as "He" asserts the Muslim philosophical position and "She" replies for the secular West. The dying Ulster communist Aunt's story is also an unusual ingredient. Even the more conventional elements – the alienated husband (Sam Neil), the empty affluence, the troubled teenager (Stephanie Leonidas), are deftly handled. I say "romantic comedy" because the film ends like one, but it could have equally ended as tragedy. "He" and "She" are both missing something, and find it in each other, only to discover that love does not always conquer all. One could blow one's brains out. But then one can always high-tail it to Cuba instead.

This is a very artful piece of film-making with some very clever camera-work and adroit use of music, but we still have a very ordinary story. Joan Allen as "she" does manage to transcend the material and make us care about her character, which is quite an achievement as the character is a beautiful middle-class Irish-American ice princess scientist stuck in a dead marriage whose only real passion is in what's at the other end of her microscope. It's interesting how she manages to appear so radiant, 10 years younger in fact, after her first roll in the hay with "He".

"He", the French-Armenian actor Simon Abkarian, comes across to start with as a bit of a cliché, the handsome charming feckless foreigner. He is not helped by the aforesaid iambic pentameter, which was not designed for foreigners speaking English. He has to utter one of the most insincere-sounding pick-up lines I have ever heard: "If I was your husband I would be so jealous of your beauty I would not leave your side". As we see more of him, a serious side emerges, an educated Muslim who sees a lot wrong with the West and not much with his own society, despite its inability to live in peace. This he blames on the West. However, the dialectic is sidelined by the plot line, which as suggested above, winds up on a Cuban beach.

The novel "Orlando" by Virginia Woolf was a pretty weird property, and Sally Potter produced a weird and wonderful movie from it. Her "Tango Lesson" was semi-autobiographical, well produced and absorbing. This movie is ambitious – "let's see if we can make a romantic comedy about the clash of civilizations and the meaning of life" and although visually fascinating it not surprisingly doesn't quite make it. It has its moments though – Maid Shirley Henderson's disquisitions on the nature of dirt to the camera, Sam Neil's guitar miming to an Eric Clapton number and the restaurant orgasm to name a few. Sally Potter still has the ability to find a different angle on existence.

I saw it at the Toronto Film Festival but I had not seen any of Sally Potter's previous films prior to this and mainly saw it because of Joan Allen. Yes is a film with Joan Allen and Sam Neill and directed by Sally Potter. It is about a woman who is in a loveless marriage who has an affair with a Lebanese chef who was a surgeon in Beirut. Shirley Henderson plays the cleaner who acts as narrator and sort of Greek chorus to give background and opinion. I didn't like this film but I think women, in general, will. The acting is good especially Joan Allen and Simon Abkarian (apparently this was his first major role in English, I could not tell he was that good) but slow paced with some artistic shots (shots through water or glass or some obstruction because in real life we don't always have the perfect angle and things are not always clear). Most of the dialogue was in iambic pentameter with rhyming couplets. If you've seen Sally Potter's other work and liked it, then I think you'll like this. It is definitely different and Joan Allen was gorgeous but more for the art house crowd who appreciate a Dutch angle or the lens obstacles or the fact the film speed was off. There was deliberate slowing or disjointing of the frame speed in several scenes with her and her lover. As if the film was being shown at 22 or 26 frames per second or time was passing differently (which could have been a case of trying to catch the human perspective where time sometimes seems sped up so an hour goes by in a blink of an eye or a moment can seem to last forever). While most of the audience loved it, I think the average guy would be bored by this film. Having said that, there are several layers to this film and may improve with additional viewings

I saw this film at the Telluride Film Festival and cannot wait to watch it over and over again. It was by far the festival favorite for everyone I talked to (minus a few teenage boys).

Sally Potter does a wonderful job of turning what could be a cliché story about a white woman falling in love with a man from the middle east into a socially, sexually, and emotionally conscious film.

The style itself is truly Potter with breathtaking cinematography that plays color and costume together in a well choreographed filmic space.

The use of verse throughout the film only adds to the plot and the characters' intensity.

All I can say is go see it, you will not be sorry. 10/10

I had the chance to see Yes when it in premiered at the Telluride Film Festival. I had no idea what to expect and that in turn was a good thing. Expectations more often than not ruin our perceptions of a film and that would be my advice for anyone seeing this film for the first time, do not expect to know what you are getting into. With that said, I believe this was a marvelous film because it was able to balance the seriousness of its subject matter with a nice touch of humor. This definitely was not a film for everybody and I say this because it does require one to think when viewing it and as we all know, a lot of people go to the movies to escape, not to think. Right away, the viewer will realize this is not your normal film simply by the dialogue, it was written in iambic pentameter and rhyming couplets. The rhyming of the dialogue might be a turn off for some, but I found it to be quite pleasing and very humorous almost in a mature Dr. Seuss sort of way. Anyone that is a writer will appreciate the time and care and difficulty that went into writing this script. Regarding the content of this film, I will only say that everything is not always as it appears and we interpret what we see...if you can appreciate this kind of thought, then see this film. If I had to compare it to another film, which I shouldn't do, I'd say American Beauty or Donnie Darko. On a technical note, I had the chance to talk to Mrs. Potter and her producer Mr. Sheppard afterwards and they informed me that it cost less than 4 million to make this film which makes it all the more magnificent.