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My wife and I rented this movie because we are so fascinated by films that explore the various issues involved in inter-racial relationships. I am Chinese, and my wife Indian, and it was quite a tumultuous journey from the day we met to the day that we exchanged our wedding vows. Seeing movies like this always brings us a strong feeling of nostalgia.

A Fond Kiss is the love story between Casim, a young Pakistani man, and Roisin, a young Catholic woman, with the backdrop being modern day Scotland. Much of the plot revolve around the Casim's family dynamics, which is a rather modern Muslim household. We are not given much about Roisin's family, but the director gives us a rather bitter depiction of fundamental Catholic dogma. Despite the predictable problems that arise, the story is accompanied by a strong performance from the entire cast, and the use of common Hollywood love-story gimmicks are refreshingly absent from the plot.

I must note that the performance by Casim's father was especially moving for me; you want to judge him quickly for his hypocrisy and bigotry, but soon feel for his predicament. The antagonism he has for "love" marriages arise from his responsibility to love and protect his family, and his tribulations in the past have made him weary of foreigners. I am reminded of the problems I have had with my father-in-law; for the longest time I hated him so much, but only now I see that he's one of the most caring and loving individuals I have ever known, and any problems he gave me was simply his way of testing my devotion to what matters most to him, his daughter and family.

The ending scenes were also beautifully woven together. There are no ridiculous chase scenes or over-exaggerated dialogues. The people who ultimately decide their fates are themselves. It is Casim and Roisin who must determine what their destinies are, and this non-fatalistic scenario is often the case in real life. I know, from my culture as well as my wife's, that in many cases, marriages are arranged, and sometimes forced. Though I try not to make any judgements, I am glad that I live in a society where I still get to choose my partner in life.

Ae Fond Kiss is Ken Loach's latest movie. It's a movie with that classic basic premise: a woman and a man from different cultures fall in love. Will their love survive what other people think and do? It's a premise we've seen a million times before. But that doesn't make Ae Fond Kiss a bad movie. No, quite the opposite: I think it's wonderful.

First of all, I think the script is amazing. While Casim's family probably is the biggest obstacle for the young couple to overcome, this is by no means a movie which portrays only the Moslems as the bad guys. Roisin's Catholic society isn't much better. This is one of the reasons why the movie is so engaging.

Another reason why I really liked this film is the fantastic performances by all the actors. Eva Birthistle is certainly the standout, but it would be unfair to name any other actor before the others. In short, it's a great cast.

Ae Fond Kiss is a well-played, sweet and very engaging movie. I liked it a lot. It's even a bit better than Loach's Sweet Sixteen. (8/10)

"Ae Fond Kiss" embodies all and more that we are used to from director,Ken Loach. The film is entertaining and moving from start to finish and makes interesting and true social comment about the way we live. Loach approaches the subjects of religion, race, national identity and cultural differences in a way that is sensitive, gritty and real to the audience. "Ae Fond Kiss" does not shy away from the truth and attempts to deal with issues in a far more serious and believable way than such films as "Bend it Like Beckham". An enjoyable film, and one which should gain huge attention and recognition from the U.S. However, we shouldn't hold our breath as we know.

That word is of course relative. What is racism? Where goes the border between being incorporated in your culture and looking down on others? The question is relevant also for Muslims in Scotland.

Ken Loach is a passionate director watching everyday-life in a passionate way. You always get engaged in his people. You come to know them and feel for them.

In this film the catholic girl is the most abused part and the Muslim boy the one who has to struggle most against prejudice. The end is predictable, but the travel towards it exciting. The good powers win.

Ken Loach dares to criticize and understand at the same time.

I was impressed again by the freshness and ease with which another one of those astute British social dramatists displays the confusion, double standards and selfishness that interracial couples have to face mirrored against the ever outspoken lip service that they do not have to face anything, of course. But the movie fails to bring across credibly what eventually it is all about: a love story. Although, all dialog's and conflicts between the couple seem close to reality and modern, the couple fails to display true passion and that sort of romantic bond that would make the spectator believe they are doomed to go for each other. Roisin's acting is quite strong and subtly displaying all the weaknesses of the figure, but Casim's acting is rather flat and immature so she looks like a bulldozer falling for someone whose acted passion always seems a bit ridiculous. The movie does not manage to settle that imbalance so it really looks like a didactic play between a teacher and a boy.

I watched this movie expecting to be told about social problems, that is Ken Loach's typical film-making. On the contrary, this time the director manages to touch the audience on an emotional level, dealing with clashes between people coming from different countries. These conflicts are described as inevitable when parents are rooted to their native cultures and sons are influenced by western traditions and livings. The spectator is offered a slice of life that is absolutely simple and realistic. Finally, a remarkable peculiarity of this film is its having explicit sex scenes (maybe in Carla's song starring Robert Carlyle there was something like that).

British filmmaker Ken Loach is a rare commodity. The man should be revered. He consistently makes superb films, movies that comment on important social issues. And he's never been tempted to go Hollywood.

He's appreciated in Europe, but he should be in the United States, too. I consider Loach and fellow Briton Mike Leigh to be the most socially conscious filmmakers working today. Just look at some of Loach's remarkable films - "Kes" (1969), "Riff-Raff" (1990), "Hidden Agenda" (1990), "Raining Stones" (1993), "Ladybird Ladybird" (1994), "Carla's Song" (1996) and "My Name is Joe" (1998). They may not all be masterworks, but they're more emotionally satisfying, funny and poignant than most Hollywood films.

It's a shame Hollywood doesn't have an equivalent to Loach or Leigh. We have the marvelous John Sayles, but he's alone and he, too, doesn't work in the Hollywood system.

In "A Fond Kiss," Loach and screenwriter Paul Laverty tackle the age-old conflict of star-crossed lovers. In this case, it's Casim Khan (Atta Yaqub), a second-generation Pakistani immigrant, and Irishwoman Roisin Hanlon (Eva Birthistle) in Glasgow, Scotland. Casim's a DJ with lofty plans to open his own club; Roisin's a music teacher at the Catholic school attended by Casim's sister, Tahara (Shabana Bakhsh). As expected, Casim's family made plans for him to marry a cousin. And he's caught between obligations to his family and his love for Roisin.

This might seem familiar. And it is. But what Loach and Laverty do is elevate their story to another level, stripping off any artifice and making it as sincere, human and believable as possible. Biracial couples, especially, will understand and appreciate the genuine storytelling. The movie's final scene is beautifully written and acted.

There's something deeply honest about Yaqub and Brithistle's performances. These aren't Tom Hanks and Meg Ryan pretending to be normal people. There's nothing artificially cute or movie-like about Casim and Roisin's romance and relationship. These are two people extremely comfortable with each other. Their conversations are frank; their problems are real; their anguish and joy ring completely true. Even their lovemaking has nothing artificial about it.

Yaqub wasn't a professional actor when Loach cast him. So Yaqub brings certain rawness to his role that's very welcome. But that also exposes his shortcomings. There are moments that require a bit more emotion from Yaqub, scenes that would play better if he were stronger. But he gets ample support from Birthistle. This really is her movie.

From the first moment we see her, Birthistle captivates us. Her reactions to everything that happens to her - from ecstasy with Casim to pain with his sister - there isn't one thing false about her performance. It's so easy for us to sympathize and empathize with her because she draws us in with a wonderfully subtle, nuanced and open performance.

There's also a superb cameo from Gerard Kelly as a sanctimonious priest.

We rarely get to see films such as "A Fond Kiss" in the U.S. Films that bravely tackle social issues, expose our prejudices and force us to think and understand other people and cultures. Loach's oeuvre includes one movie made in the U.S. - "Bread and Roses" (2000). He hasn't returned to make another one. Pity. Just imagine how much richer the American film industry would be if it had filmmakers of Loach's integrity and caliber.

Every romance film should be this way; the lovers bickering, throwing each other out of the apartment, taking shots at each other's families and generally not getting along in between periods of being so intensely in love that they forget everything but each other.

Sadly, most romance movies aren't like this at all.

Ae Fond Kiss, or Just a Kiss, is a gritty account of two blue-collar workers in love, one a Scottish girl and the other a product of an immigrant Pakistani family, all taking place in the not so glamorous city of Glasgow during the late 20th century. The Scottish girl is a music teacher at a Catholic school and meets the Pakistani boy when her guitar is broken during a racial incident. So far it follows much of the standard boy-meets-girl line. The romance takes off, they find they are getting along swell, and then the price comes due.

You can see it coming, the Muslim Pakistani family coming down on the boy for not going along with his arranged marriage, and him going on the outs with his family. But then the price comes due for his Scottish girlfriend, too, and that was a little harder to call. It comes down to both of them having to pay a price for their love, and the various tests of their willingness to do so. Even at the end, it was a bit uncertain, as such a romance would probably be. You can almost see them trying to decide if this is worth the trouble they are going through, or just a lust thing they will eventually get over.

The characters are likable, even when you don't agree with them. The father who doesn't want his son going out with a Catholic girl is not only likable, you can even see his point of view and the quandary he is in. The story line is believable, especially today, and the sub plots were intriguing.

I'm not normally much for romance films, unless there are a lot of naked chicks wobbling around, or the popcorn is really good, but I liked this movie quite a bit. Something in it appeals to even a die hard chick flick hater like me. It would make an excellent date movie, giving you something to discuss while providing that all important element of romance that leads to your hand sliding off the gear shift and squeezing her thigh while you make some pseudo-intellectual point about one of the various issues in the film.

There is no feel-good Hollywood ending here, it just sort of fades out, leaving you wondering what would happen with such a couple. Did they stay together? Did the boy reconcile with his family? But you don't feel cheated out of an ending, rather you are forced to confront how you, the viewer, would deal with the same or similar issues.

Done with broad-strokes rather than the intimate details of true differences and huge challenges that go along this bridging of cultures. The intention is very well appreciated but the complexity of the Muslim culture seemed simplified. Most of the problems discussed were basic rather than substantial. The characters seemed to go on an auto pilot rather than the clarity that needs to exist for a fuller more in depth experience. Too much indicating and very little dimension. The filming style does not really have any impressive thinking behind it. It seemed as though everything was put together in the last minute. This fascinating subject should be the focus of a much better film that deals with the integrity of the problem honesty rather than trying to please everyone as was the intention of this film

Ken Loach has spent most of his career focusing on politically-charged issues in the United Kingdom: "Poor Cow" is about a woman on skid row, "Hidden Agenda" is about an assassination in Northern Ireland, and "Sweet Sixteen" is about a working-class teenager in Scotland.

This makes "Ae Fond Kiss..." an outlier. At the very least, it's the only one of Loach's movies that I've seen that focuses on a relationship. In this case, it's a Pakistani man and an Irish woman in Glasgow, and the challenges that their relationship faces from those around them. Seeing how the church treats the woman upon learning of her relationship with the man, it's no wonder that the British population has turned away from religion.

Just to keep a focus on political issues, the movie opens with the man's sister denouncing islamophobia and the invasion of Iraq (Loach called for hauling Bush and Blair off to the Hague). Of course, all these years later one could posit that things like the protagonists' relationship is what led so many ignorant people to support Brexit (the feeling that the "original" version of the country had gotten "taken" from them).

All in all, worth seeing.

This is a film of love in a Glasgow cultural melting pot. With his Pakistani family long resident in the UK, Casim meets, and falls in love with his young sister's Irish Catholic music teacher. Both Muslim and Catholic tradition reject mixed marriages and relationships so the couple face grave obstacles to their happiness - starting with Casim's engagement to a cousin he hardly knows.

The couple themselves - Casim played by first-time actor Atta Yaqub and Roisin played by Eva Birthistle - feel comfortable in their roles most of the time as does Casim's younger sister Tahara (Shabana Bakhsh). Some of the other actors, many of whom were not professionals, don't seem so confident. In places the delivery is stilted and occasionally people fluff their lines.

Ken Loach, the director, is almost revered for crafting gritty Northern dramas and as such I wonder if some reviewers here haven't given him a bit of an easy ride. This kind of culture clash is difficult to depict and it shows bravery from Loach to attempt it. However, in places the dialogue doesn't feel natural and there are rough edges to the plot. The screenplay also depicts Casim as a bit spineless particularly in one family argument where he's oddly silent.

It's a moving film though, and the dilemmas are real. I'm not sure I found the resolution so convincing.

I really didn't like this film. I usually don't feel this strongly about films but I found it very difficult to sit all the way through this one.

I found the acting pretty 'rough around the edges', which was charming at first and gave the film a real-life quality, but became very noted, particularly with regard to the male lead. I found the plot badly structured (how many times did they fall out and then get back together?) I didn't think that there was any chemistry between the two leads at all and the script didn't allow for any development of their relationship. I found it difficult to work out why they were actually together, other than mutual sexual attraction. I could go on....

I thought that the film started extremely well - thoughtful, but with a lighthearted touch. Unfortunately it just didn't even come close to living up to the promising opening.

The Mother. I shall devote most of this post just talking about her.

Nondescript during her first few appearances, she fits the bill of a stereotypical Asian immigrant mom. And thats about it. But to assume just that will also mean that we have not seen enough Ken Loach movies. For it takes but one stolen moment of familial conflict for the woman to sense her troubled son's pain. And like balm over raw open wounds, she unleashes her outbursts of maternal affection. Its easy to understand why the son breaks down there and then. I would too. A mother's intuition is uncanny. To see it approximated so closely on screen, this movie demands my gratitude.

I love the other characters in this great film too - the father, the son's two very different sisters, his best friend and even the white "outsider" love interest. Each character is so well defined, their inter-relationship dynamics so genuine and heartfelt, they deserve my devoting paragraphs each respectively just to shower my compliments. But I shan't do that. I will only be repeating myself.

Hence, this much I shall say; there's something in a Ken Loach film which gets to me each and everytime - the characters. More specifically, I am floored by their measures of realness. They are individuals guided by distinct codes of conduct. Their values explain their actions and exposes their strengths and frailties. Ultimately, these "real" people earn my empathy. There are no saints or sinners in Ken Loach's film universe. Instead, I see human beings relating with each other simply, truly, sometimes madly, but always deeply.

Ae Fond Kiss is one of the best films of the year. Check it.

Casim is the son of Pakistani immigrants in Glasgow. His life appears to be mapped out, as he is engaged and will marry the woman of his parents' arrangements. That is, until he meets Roisin. She is a gifted music teacher at the Catholic school his younger sister attends. Smitten from the first moments, it is Casim who offers his help in moving a grand piano from the home of her ex and into her new apartment. As he listens down below, she plays the piano beautifully. Whistling, he invites her to look down from her balcony (can we say R & J?) and promptly asks her for a date. It is a short trip into a romance. The two even sneak out on a holiday together in Spain. It is there Roisin learns the truth about Casim's future. She breaks it off. But, can they stay apart from one another? And, what will it mean to Casim and his family if he were to continue the romance? This is a touching story of two star crossed lovers indeed. To be in a romance with a non-Muslim is to be booted out of the family and to bring shame on all of the family members. Catholism, too, frowns on out of wedlock relationships. Yet, Casim and Roisin are drawn to each other. All of the actors are quite adequate and the setting is a glimpse at another world. However, there is a plethora of bad language in the script and the two principals never say the things they need to in order to make this a fairy tale romance. Therefore, all who love romantic dramas, beware. These are real people with plenty of foibles and the film has a gritty edge to it that takes the viewer far away from such films as Just Like Heaven. That said, it is still a lovely story about individuals who risk everything for those they love. There will always be an audience for tales of irresistible and clandestine romance.

OK, this is a Romeo and Juliet update and the star-crossed lovers get the bulk of the attention. However, it opens with the younger sister in a school debate delivering the funniest line of the film. You think you're in Bend it like Beckham territory but the feisty Pakistani schoolgirl quickly takes a back seat. Her share of good lines rapidly declines. As the lovers' dilemma is played out, the supporting cast gets weaker.

This is a good film taking on some hard issues. The conflict between western values of individual freedom versus the eastern traditional family duties is well presented. Loach cleverly uses the illiberal catholic priest to show that religious rectitude is not the sole preserve of the Moslem's.

This is not the first British film to deal with love across the cultural divide but it is a good example of naturalistic film making.

I saw Loach's new work at the Berlin festival and was stunned. Usually, I'm not very much into his films as he gets a little to preachy for me at times. Still, I respect him for taking up subject matters other directors avoid nowadays - most of all British working class stories. "Ae fond kiss" to me is his masterpiece. It's the first film I've seen that really brings across all the complexities of intercultural relationships. It resists the temptation to judge or mock the conservative islamic family while making clear that its sympathies are with the bicultural couple. It doesn't give any easy answers but shows that sometimes you can only choose between bad and worse - but choose you must if you still want to be able to look at yourself in the mirror. A friend of mine is Afghan, and the film reminded me a lot of the problems she is going through, balancing between family tradition and Western culture. So if you're interested in a deep, aching but also hopeful look into the intercultural reality of our European societies, go and see "Ae fond kiss". Its Berlin awards are well deserved.

When the two leads first meet in Ken Loach's A Fond Kiss, it's out of a negative item in the form of some racial harassment of a young man's younger sister; someone he was picking up from school. After having chased her, who in turn is chasing the bullies back into the school grounds and then through the corridors, he stumbles across a certain young woman who's a teacher there. Tahara (Akhtar Bakhsh) was the younger sister, her angered reaction displaying strong and positive traits for a young girl, anything but the expected passive reaction of a teenage girl living amidst those of a ethnicity different to hers. The rest of the film will dedicate itself to the relationship of this young man and woman, the sequence setting up an overall tone or outlook on events played out within, an observing of a good thing being born out of a terrible thing; a systematic realising of the good and the bad that plagues life, as later on certain events and revelations will arise that'll have the ability to both tear and sway entire families onto plateaus of bad, seemingly without much in the way of a positive outlook.

The leads are British born of Pakistani descent Casim (Yaqub) and Irishwoman Roisin (Birthistle); two people based in the Scottish city of Glasgow. Their coming together is born out of a hate filled and chaotic event, their relationship is built on tranquillity and mutual love but in being together, they'll spawn further events of a chaotic nature. They are two people who connect principally through their fondness for items of a musical nature, Casim being a disc jockey who works through the nights at a local club, selecting tunes and mixing them up to the resounding visual chorus of many-a young dancers, while Roisin is a music teacher at the aforementioned school, spreading teachings and learnings on the subject as her piano playing enforces a physical skill in working within this similar field as Casim. The idea is fairly clearcut, in that tone of skin is irrelevant as is racial background and ethnicity and that if two people can connect with one another, then that is a beautiful thing.

The film is certainly more lower-key Loach than one might expect, A Fond Kiss taking a step forward and mingling with two people of different racial ethnicities as struggles and items that exist to block their fondness for one another arise within the respective camps: an organised marriage Casim wants nothing to do with and issues the Catholic Church has with him in challenging Roisin to break off the affair for the good of her career. In light of recent but consistent, unfortunate arisings to do with the Catholic Church that date back however far, no doubt few will begrudge them the role of the unsympathetic, 'out to destroy' and just down right nasty force they're rendered here. The film is of a relatively routine nature by Locah's standards, running on a Romeo and Juliet infused premise as life in the shoes of each of these respective people whose issues, aspirations and families clash with both a British based culture and and their own. For Roisin, her life and aspirations are threatened by way of issues within the field of her career as Casim's first generation and consequently strictly traditional parents threaten to destroy what Casim wants in terms of a partner.

It'd be fair to say the affair takes its toll on the two, with Casim's business deal that'll enable him to build his own nightclub (one that runs on an expansive sense of equality) and an arranged marriage Roisin will have to learn of sooner of later hovering around above all of this and acting as a consistent off screen threat; their relationship hitting a major buffer the one time they're out of the nation and therefore further away from problems linked to job, family and so forth during a half term holiday in Spain. Spain is a radiant locale Loach uses to push their relationship away from mere flirtations, rides home and the odd drink with each other and into a more passionate and embracing bond as the bodies of these two are exposed more on the warm, welcoming beaches as the systematic feelings they have for one another becoming equally exposed; all the while under glowing cinematography as the location of Spain glistens in an interesting juxtaposition.

The film proves Loach can construct a love story whilst systematically maintain an eye on how the greater items in each of these persons lives can also affect them. 1991's Riff-Raff saw an effective enough love story play out amidst this seemingly neo-realistic aesthetic of men working on a building site as one of the ring leaders of that troupe spoke about Britain's needs as a nation to be reigned in, rebuilt and so fourth as the dialogue and scenes of that nature fittingly unfolded on a site dedicated to construction - it was just more interesting. The film's story here doesn't carry as much dramatic tension nor visceral involvement in each of these people's problematic lives as later-in-the-decade efforts such as 2006's The Wind That Shakes the Barley did nor the shared, tri-directorial piece entitled 'Tickets' that Loach made with two other directors in 2005; his segment revolving around young British individuals struggling in a foreign territory as the timer ticked down and the train neared its destination as the guard loomed about the place. A Fond Kiss is an admirable effort, engaging and interesting in its own right but I found a hollow space where I wanted to feel for these people and their plights with modern society; respective cultural clashes and then later religion. It's an interesting piece and worth seeing but not one I came away from ecstatic about.

I saw this at the Edinburgh Film Festival last night. I'm not a natural fan of Loach's work, although grew a little warmer to it after Sweet Sixteen.

What he's made here though is a believable, warming love-story. Aside from 'location-spotting' the Glasgow geography, there was a feeling throughout the film that's difficult to pin down (or articulate!); just a kind of "yeah, that's right, these people and these feelings are real".

Lead-wise, a great line up, Atta Yaqub plays a quiet Casim, and Eva Birthistle a brilliant but natural Roisin - there's nothing that stops you believing that this is a couple in love.

As for the rest of them - some excellent characters and some good acting. One criticism is Loach's practice of using non-actors - sometimes this leads to an almost TOO natural delivery of the script. The strength of the whole cast comes through though, and there's certainly no feeling of any tokenism or stereotype characters.

One actor who doesn't appear to have had much notice in any write-ups I've seen is Shabana Bakhsh, who plays Tahara Khan, Casim's youngest sister. She's fantastic. Again, falls a little foul of sometimes sounding overly natural... but what a star though. She was very believable as the rebellious, starting to get politically active, younger sister.

All-in-all, a great film, worth seeing. I think it's out on general release sometime in the early autumn - well worth the ticket.