Una

Una is uncomfortable and unnerving viewing, a film that will make your skin crawl on more than one occasion but thanks to some award worthy turns from its impressive lead performers, Benedict Andrews film is noteworthy as a character driven, dialogue heavy expose of some very heavy material.

Andrews film, which is based on David Harrower's esteemed play, keeps its stage play roots well and truly at the forefront as Rooney Mara's tormented Una takes a road trip to confront Ben Mendelsohn's factory foreman Peter, a man she knows from her childhood as Ray and a man with whom she had an illegal relationship with as a 13 year old teenage girl.

Largely taking place in Peter's workplace as he and Una discuss what happened, what could've been and what they feel, we get brief yet confronting flashbacks to Peter and Una's forbidden affiliation but mostly Andrews is focussing solely on Mara and Mendelsohn as the two competent performers work off each other too slowly tear away the layers to reveal their true motivations and inward thoughts.

Mara once again shows she is willing to be laid bare as an actress in another noteworthy turn while Mendelsohn, who has recently been cast more as a purely bad guy type role, gets one of his meatiest feature film roles yet as Peter.

His far from a likable or respectable person but Mendelsohn plays him to perfection, giving Peter just the right amount of humanity and against all the odds moments of compassion.

It's a role that could've fallen either way but the Aussie actor once more showcases why his regarded now as one of our all-time great exports. With Mara he shares a wonderful energy, while with the younger Una played by Ruby Stokes, Mendelsohn plays the role not predatory but more purely sad, a man consumed by feelings and urges that lead him to make his life's biggest mistake.

Una's greatest flaw as a film and ability too fully connect is strangely with the character of Una herself.

We feel her pain and understand the confusion and mental strain that has been bought down upon her but her reasoning behind confronting Peter and then her subsequent decisions from there are not that easy to understand. For a film that in many ways feels so realistic and raw, Una's consistently odd behaviour is hard to take, even when at times she is a heartbreakingly broken soul searching for closure on her past.

Final Say –

Not what you'd call an entertaining watch, thanks to some dark subject material and sombre to bleak tone, Una is an immaculately acted tale whose flawed characters don't always connect but thanks to Mara and Mendelsohn and Andrews carefully weighted hand behind-camera, this is a bleak drama that's a cut-above many similar productions.

3 ½ Ferris Wheel rides out of 5

I have no idea how so many people thought this movie was deep or why it's so critically acclaimed .

Rooney Mara is stunning and has great screen presence , but there really is nothing more to this . It's slow , tedious to watch and the ending leaves you wanting to pull your hair out.

It seems like an attempt at justifying a child predators actions.

My wife and I watched this at home on DVD from our public library.

Many viewers will feel uncomfortable with the subject, a 3-month affair between an adult man and his neighbor, a 13-yr-old girl. However it is done with enough sensitivity that everything is merely suggested, along with dialog that explains what happened.

Set and filmed in England, essentially 15 years later, now 28-yr-old Una looks up the man she had been intimate with, he had served his time and had changed his name, was now married and had a good job as a supervisor. She is intrusive, she is demanding, she had cared for the man and never got over what she considered abandonment when they decided to travel to Europe together.

The story plays out to show how the bad decisions made those years earlier had wrecked the life of the young girl into her adulthood, and how now is came back to haunt him. This is fiction but these types of stories really happen, we learn about them on the news all too often.

Ruby Stokes is really good as the young Una while Rooney Mara shines as the adult Una. Ben Mendelsohn is also very effective as the man, Ray, who changed his name to Peter. No pun intended, I suppose.

This film tells the story of a woman who confronts the man who had a three month sexual relationship with her when she was thirteen years old.

"Una" deals with a forbidden love that stirs controversy and provokes thoughts. Initially Una seems to want revenge, but the events lead her to examine her true feelings and desires. The man's thoughts changes as well over the course of the evening, and this dynamic interaction keeps suspense and engagement going. What the man did was wrong, and what he is suggested to be doing at the end is very controversial. It will keep conversation going, if you watch it with friends.

Conventional genre movies work their magic almost entirely through manipulating stereotypes. But many powerful movies work in reverse: they deconstruct stereotypes to challenge our boundary perceptions. Themes like feminism, racism and nationalism, are regularly pulled apart to see what makes them tick. In recent years, child sexual abuse has been in the spotlight and it is overwhelmingly treated as a moral absolute. However, the film Una (2016) challenges the norm by exploring ambivalences in a case of blatant abuse. In doing so, it places the audience squarely on the judge's bench. Adapted from the acclaimed 2005 stage play Blackbird, this tense drama-thriller explores the moral ambiguities of a criminal act that occurred 15 years ago between 40-year old Ray (Ben Mendelsohn) and 13-year old Una (Mara Rooney). The emotionally immature Ray was obsessed with the lonely and precocious Una over a three-month relationship before having 'consensual' sex with her. By chance, the incident was discovered and he spent four years in jail. Since then he changed his name and has tried to restore his life. Meanwhile Una's world spiralled into an emotional void. Now 28, she has tracked him down and unexpectedly confronts him at the factory where he works. Instead of attacking him for the abuse, she demands to know why he abandoned her after their one night together. They continue talking beyond the factory's closing time, then she tricks another employee to take her to Ray's home where his girlfriend is hosting a party. At this point, the intensity of the factory scenes becomes diluted and the sparring inconclusive. This is an explosive mix of issues, personality and circumstance. The film consists mostly of their verbal sparring about the illegal 'affair' with dialogue ranging from hysterical, passionate to icy cool within an industrial setting that is claustrophobic and alienating. It is beyond Ray's emotional capacity to understand what Una wants, while she vacillates between wanting to restore her juvenile obsession with him and wanting to see him wallow in guilt for his crime. Every time we feel contempt for him, we see a piece of the emotional puzzle indicating human weakness but not evil. Every time we admire Una's determination to hold Ray to account, we see a glimpse of her complicity and manipulation. Mara Rooney and Ben Mendelsohn fill their characters with confusion and remorse. At the same time, they depict genuine emotional connection with each other despite the legal, emotional and moral prohibitions that still frame their lives. Their performances are brilliant. At one level, this film is about the horrendous impact on victims and the abrogation of responsibility that occurs in cases of child sexual abuse. At another, it pulls apart the stereotype of victim and abuser to shed light on how it can happen and its painful aftermath. Some audiences may be repulsed at the level of sympathy shown to the perpetrator and the implicit sharing of responsibility between a juvenile and an adult for what is entirely an adult crime. Others may be shaken by the idea that such crimes may have any moral ambiguity at all. In any case, this is brave and provocative cinema that cuts across the guilt versus innocence binary.