Delphi-6

One of the best, most innovative films of recent years. This takes cinema and filmmaking to a whole new level. It's what cinema was invented for. The experience of this film is unlike any other due to the flawless technique Mike Figgis uses of splitting the screen into four quadrants and using hand held digital cameras to film in continuous takes. It centres on a fictitious production company and is character driven as we watch the intertwining lives of Hollywood executives and would-be actresses. The script, being improvised, makes the actors work hard and it's a masterstroke of casting for each and everyone pulls it off seamlessly. Jeanne Tripplehorn has never been better, why doesn't someone give this woman a decent script? because this film proves she is an actress of high calibre. And Holly Hunter in a surprising detour from her usual screen persona, plays a timid emotionally wrought executive which is a definite career highlight.

With great humour Mike Figgis never loses sight that this is an experimental film up against the popcorn fodder of today's multiplexes so pokes fun at his own innovation, and this probably saves the film from being too laden down with its own cleverness. All in all this is a cinema treat, and one which shouldn't be so quickly dismissed even if you aren't into experimental film. This is the way forward for filmmaking, it just might take a while for the rest of the world to catch up.

If there is only one foreign language film you see in the next year make it this one. In fact if there is only one film that you see in the next year make it this one. A rare gem of a movie like this doesn't come around often enough, and so when it does you should grab onto it as if its precious metal and savour it as you would a kiss.

'Rosa e Cornelia' is the story of a young Countess and her maid both facing an illegitimate pregnancy in 18th Century Venice. Cornelia's parents do everything in their power to keep their daughter's pregnancy secret, going as far as keeping her a prisoner with only a few servants acting as her jailers on their country estate. Not only will she not tell them who the father is, but she has an arranged marriage to a French nobleman to keep to which will ensure her families return to wealth, so salvaging her reputation is all that matters to her parents, whatever the cost. Rosa's tale is more simple but no less poignant, she simply needs a roof over her head and food for her unborn child, and without a second thought agrees to become lady in waiting to the spoiled, often selfish Cornelia.

From this unlikely pairing though a deep friendship develops between the two women, beautifully played out by the wonderful Chiara Muti (Cornelia) and the mesmerising Stefania Rocca who steals the film as the bright, resourceful, courageous Rosa. And it's the exchanges and relationship between these two strong women where the beauty of the film lies. The director Giorgio Treves seems to take a step back from the camera and lets the scenes and characters speak for themselves. What is most surprising about the film is how contemporary it feels. The issues, actions and consequences surrounding the story are as relevant now as they were in the 18th Century, the most horrifying thing is the play its based on, 'L'attesa', was drawn from real life events that still happen today. Which as the film comes to its unexpected ending makes it even more horrifyingly poignant for the audience.

Finally this film has everything you could want from a trip to the cinema. It has strong female characters (a rare thing these days) beautiful directing and cinematography, love, friendship, drama and surprisingly great humour. But most of all the cast do their job so well and the story is so engaging that after you see the film you'll want to go back and see it all over again. I did!!!