Open Window

This is a wonderful film. It is well crafted, beautifully written and sensitively shot. It deals with a topic that is difficult to view.

The treatment of this violent subject is amazingly soft and thoughtful. It brought me to tears in it's simplicity. And I think it is this delicate treatment that is the strength of the piece.

By carefully, tenderly working through the torment of the character and bringing her through to the other side we, as the audience are given a great gift--the gift of hope.

I understand why there is such a groundswell of support for this film. It is a testament to all who have been through any trauma.

Very enjoyable movie but would have like to seen a little more continuity in the plot and sub-plots. Cybill Shepherd's character was funny and provided some comic relief to a fairly serious subject matter. Didn't understand the significance of the bird on the window ledge. Robin Tunney (Izzy) didn't convince me of her true feelings at the end of the movie. Overall, I would go see this as an entertaining albeit serious relationship movie. I loved the actress that plays the psychiatrist (she was Bree Van De Camp's mother-in-law on Desperate Housewives). I discussed this movie with another person and we both agreed that a picture of the attacker in Izzy's camera would have been a good thing as well as a large portrait of him at her show.

Mia Goldman both wrote and directed this fine little film that deals with the butterfly effect of an event affecting a whole family. The subtlety of the film is enhanced by unforced, subtle performances by a solid cast and further enhanced by a quality of filming (cinematographer Dennis Maloney) that creates disturbing images without obsessing over them.

Photographer Izzy (Robin Tunney) is deeply in love with Peter (Joel Edgerton) whose lives are brutally assaulted when Izzy is raped. Unable to cope with the concept and in the midst of a healing phase, Izzy and Peter breakup, consoled by Izzy's mother Arlene (Cybil Shepherd) and father John (Elliott Gould). Once the incident that is the driver of this story is revealed and discussed, the ramifications are bitter. How Izzy and Peter survive the ordeal is beautifully and subtly written and acted. Cameo roles by Scott Wilson and Shirley Knight add depth to the story. This film has some very disturbing moments, but the subject of rape has always and will always be a disturbing topic. How writer/director Goldman handles this is one of the finest moments on film.

It is a pleasure to see Robin Tunney, best known now for her ongoing role on televisions 'The Mentalist', tackle a role so demanding and make us stay with her character all the way. Joel Edgerton is also exception in a tough role. In all, this is one of those unnoticed films that deserves a larger audience.

Grady Harp

This film, for the first time I believe, explores the effects of a trauma which intrudes itself upon the apparently otherwise smooth and fulfilling relationships of the lead characters ), and the ripple effects of that trauma on their relationships with family and friends.

The trauma could be in many forms, not necessarily the one depicted here. Our lives, seemingly secure as they flow along, can be brutally interrupted by many events -- devastating and crippling accidents, unexpected and life-threatening illness, etc etc etc. Not only is devastation wreaked upon the subject, but tangentially upon all his/her relationships. This film makes us clearly aware of this fact.

Now, the healing and rehabilitation and recovery must hopefully and painfully take place. How far can one come back? How can one become better, stronger, than prior to the trauma? This film gently, patiently, helps us see that one need not remain a victim forever! One can overcome! Not easily, not without scars, but with dignity and self-pride.

A bonus is the music score. It is beautiful and supportive, yet never intrusive. It is in exquisite unity with the film and a joy to experience.

Many here thinks this is a great film, and only a couple of reviewers at giving in my opinion a correct picture of the film, since most is quite over-positive. But it's easy to fall off here for the first hour. For me the film first started growing after an hour. The story is more about guilt and communication.

Understand me correct. The film is really well acted, and the cast is good. And this is a film which is OK, but nothing more in a strange way. It's a solid independent film. The problem is - I don't know what should have been done otherwise. Maybe the direction is it. We understand early on that some small things, like opening a window is important, as it's also the title of the film.

The film is like a therapy session after a rape, and the consequences of it. And I'm not opposed to that, but somehow this is also a bit annoying. It's like what we've heard the consequences of a rape might be. What is troubling is the gathering of problems which follow. Sad problems, but is quite depression to see so much if it. Thankfully this changes towards the end.

Everything here is spot on, and I can't point out exactly what is wrong, because it is plausible everything that happens. Still I feel the film seem to be going into a bottomless pit, and somehow both the film and the players deserve more. Maybe it's a story like this which will have this kind of problem.

Somehow the film lacks a nerve for me in the first part. And I'd really like it to be different. Maybe it's me being in the wrong mood. But when the film starts getting interesting, when we're over the part we might guess what will happen. But with the last half our the film is getting to be more interesting for a common viewer. So stick in, even if you fall of after the half hour!