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IMDbPro

Yes

  • 2004
  • R
  • 1h 40min
VALUTAZIONE IMDb
6,4/10
3288
LA TUA VALUTAZIONE
Joan Allen and Simon Abkarian in Yes (2004)
Home Video Trailer from Sony Pictures Home Entertainment
Riproduci trailer0: 50
1 video
40 foto
DramaRomance

Aggiungi una trama nella tua linguaIn this film, told almost entirely in iambic pentameter, She is a scientist in a loveless marriage to Anthony, a devious politician. He is a Lebanese doctor in self-imposed exile, working as... Leggi tuttoIn this film, told almost entirely in iambic pentameter, She is a scientist in a loveless marriage to Anthony, a devious politician. He is a Lebanese doctor in self-imposed exile, working as a chef in a London restaurant. They meet at a banquet and fall into a carefree, passionat... Leggi tuttoIn this film, told almost entirely in iambic pentameter, She is a scientist in a loveless marriage to Anthony, a devious politician. He is a Lebanese doctor in self-imposed exile, working as a chef in a London restaurant. They meet at a banquet and fall into a carefree, passionate relationship. But the contempt He perceives as a Muslim immigrant to the UK causes him t... Leggi tutto

  • Regia
    • Sally Potter
  • Sceneggiatura
    • Walter Donohue
    • Sally Potter
  • Star
    • Joan Allen
    • Simon Abkarian
    • Sam Neill
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,4/10
    3288
    LA TUA VALUTAZIONE
    • Regia
      • Sally Potter
    • Sceneggiatura
      • Walter Donohue
      • Sally Potter
    • Star
      • Joan Allen
      • Simon Abkarian
      • Sam Neill
    • 52Recensioni degli utenti
    • 59Recensioni della critica
    • 55Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 2 vittorie e 3 candidature totali

    Video1

    Yes
    Trailer 0:50
    Yes

    Foto40

    Visualizza poster
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    + 32
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    Interpreti principali23

    Modifica
    Joan Allen
    Joan Allen
    • She
    Simon Abkarian
    Simon Abkarian
    • He
    Sam Neill
    Sam Neill
    • Anthony
    Shirley Henderson
    Shirley Henderson
    • Cleaner
    Wil Johnson
    Wil Johnson
    • Virgil
    Gary Lewis
    Gary Lewis
    • Billy
    Raymond Waring
    Raymond Waring
    • Whizzer
    Stephanie Leonidas
    Stephanie Leonidas
    • Grace
    Barbara Oxley
    • Cleaner in Swimming Pool
    Samantha Bond
    Samantha Bond
    • Kate
    Kev Orkian
    • Waiter
    George Antoni
    George Antoni
    • Kitchen Boss
    • (as George Yiasoumi)
    Beryl Scott
    • Cleaner in Laboratory
    Sheila Hancock
    Sheila Hancock
    • Aunt
    Lol Coxhill
    • Father Christmas
    Charles Owen
    • Priest
    • (as Father Charles Owen)
    Mandy Coombes
    • Nun
    Beti Owen
    • Nun
    • Regia
      • Sally Potter
    • Sceneggiatura
      • Walter Donohue
      • Sally Potter
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti52

    6,43.2K
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    Recensioni in evidenza

    JohnDeSando

    Plato on the park.

    The most imaginative narrative film in the last two years? Better middle-aged romance than Something's Gotta Give and Must Love Dogs? YES! In Yes, Sally Potter, having established herself as not one of the usual directing boys with her wildly creative Orlando, has her characters speak in iambic pentameter, which, if I remember my English literature classes well enough, was the style used by Shakespeare because it approximates ordinary speech.

    Why use iambic pentameter in a contemporary film? Actually, if it weren't for the rhyming, most of us would not identify the meter beyond just beautiful cadence by professional actors. But because this is an intricate tale of a mature woman in a lifeless marriage finding a man who gives her a reason to be happy, the meter adds grace and elegance to what neo-cons could label as "sin." The arguments about the beauty of life and the human body, along with a maid discoursing on dirt, are made to sound like philosophical discourse by Plato at his nearest park.

    When Allen's "She" discovers through her aunt that we want our whole lives "things we don't need," the film takes another direction from love to a communistic conclusion about wealth, in Cuba no less. That's what's exciting about Potter's agenda: She seems to have so many thoughts about birth, love, and death that the film bursts with the energy of a first date with an interesting, very verbal, very sensual human being. When "She" has her date in a restaurant, "He," her new love, stimulates her under the table in an almost elegant takeoff on the "Harry Meets Sally" scream.

    That "She' was born in Belfast and "He" in Beirut is Potter's way of universalizing the clashes our culture seems to proliferate these days. The director could be faulted for trying too much, for being too heavy handed in her metaphors, but better that overreaching than no reaching at all.

    What Potter's aim is with the maid who comments to the audience about the universe of microbes beneath a seemingly clean sheet is a challenge, as are the multiple times service people such as cooks and waiters address us. I suspect Potter is emphasizing the need to pay attention to the little things of life, including marginal workers. Indeed, at one point the need to live each moment fully stands front and center. I can agree with that.

    The eternal "Yea" overcomes the "Nea."
    10peter-1048

    When Harry met Sally Potter

    Sally Potter has in my view made a masterpiece.

    To challenge every issue from racism to religion to cultural difference, let alone to the big question, the what's it all about question, and all in one film is astounding but to do this with such daring, the rhyming verse, structure, cinematography, musical score is nothing short of genius. Joan Allen is remarkable as She. Her beauty is second only to her delivery of the some of the most intelligent and profound verse that I have ever heard. Shiela Hancock's death speech sits on its own as an inspired piece of writing. There are so many great moments in this film, there is no point in trying to list them, but do look out for the wine bar scene!

    Potter has reminded me why film is great.

    Thank you Sally Potter.
    newmanfilms23

    Profound and Poetic

    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.
    5leilapostgrad

    Austin Movie Show review

    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.
    10lara_jensen

    Stikingly beautiful!

    Yes is possibly the most beautiful film I have ever seen.

    Sally Potter began work on this film on September 12, 2001. The impact of the previous day's events can be felt throughout the film as He and She try to make sense of their lives and discuss both the meaning of life and the world around them.

    Told in rhyming couplets, the comparison to Shakespeare is natural. Potter claimed that she would be thrilled if even one line of hers was as good as the Bard's. I believe much of her work is on par with his. The text is both witty and intelligent and addresses a plethora of modern day issues of conscience. The iambic pentameter flows very naturally throughout the film and is never a distraction - only a credit to the abilities of the writer! As with any Shakspearean production, the feelings and inner turmoil of the main characters are central.

    The cinematography is excellent. The film is simply beautiful to watch and behold. As if the images were not enough, the music provides a perfect complement to all that goes on on screen.

    Go see this movie. It is unlike any other. Everyone shines!

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      The whole of the film's dialog is spoken in verse.
    • Blooper
      As "He" is chopping celery and talking to his crew, the knife in his hands changes from shot to shot. One shot has pieces of celery stuck to the knife while the other shows a clean blade.
    • Citazioni

      Aunt: I want my death to be just like my life. I want the mess, the struggle, and the strife.

    • Connessioni
      Featured in Siskel & Ebert & the Movies: The Best Films of 2005 (2005)
    • Colonne sonore
      TEN LONG YEARS
      Composed by B.B. King (as Ridley B. King)/Jules Bihari

      Performed by B.B. King and Eric Clapton

    I più visti

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    • How long is Yes?Powered by Alexa

    Dettagli

    Modifica
    • Data di uscita
      • 5 agosto 2005 (Regno Unito)
    • Paesi di origine
      • Regno Unito
      • Stati Uniti
    • Sito ufficiale
      • Sony Pictures
    • Lingua
      • Inglese
    • Celebre anche come
      • Evet
    • Luoghi delle riprese
      • Cuba
    • Aziende produttrici
      • Adventure Pictures
      • GreeneStreet Films
      • Studio Fierberg
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Budget
      • 1.000.000 £ (previsto)
    • Lordo Stati Uniti e Canada
      • 396.760 USD
    • Fine settimana di apertura Stati Uniti e Canada
      • 28.451 USD
      • 26 giu 2005
    • Lordo in tutto il mondo
      • 661.946 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 40 minuti
    • Colore
      • Color
    • Mix di suoni
      • Dolby Digital
    • Proporzioni
      • 1.85 : 1

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