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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

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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

    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.
    7Philby-3

    And the microbes lived happily ever after

    I was tempted to do this comment in iambic pentameter and rhyming couplets, but somebody from the "New Yorker" has already done it, and of course I would have run the risk of doing an even worse job than Sally Potter has.

    Not that this is such a bad film – it's different from the normal run of romantic comedies. At times it becomes quite didactic as "He" asserts the Muslim philosophical position and "She" replies for the secular West. The dying Ulster communist Aunt's story is also an unusual ingredient. Even the more conventional elements – the alienated husband (Sam Neil), the empty affluence, the troubled teenager (Stephanie Leonidas), are deftly handled. I say "romantic comedy" because the film ends like one, but it could have equally ended as tragedy. "He" and "She" are both missing something, and find it in each other, only to discover that love does not always conquer all. One could blow one's brains out. But then one can always high-tail it to Cuba instead.

    This is a very artful piece of film-making with some very clever camera-work and adroit use of music, but we still have a very ordinary story. Joan Allen as "she" does manage to transcend the material and make us care about her character, which is quite an achievement as the character is a beautiful middle-class Irish-American ice princess scientist stuck in a dead marriage whose only real passion is in what's at the other end of her microscope. It's interesting how she manages to appear so radiant, 10 years younger in fact, after her first roll in the hay with "He".

    "He", the French-Armenian actor Simon Abkarian, comes across to start with as a bit of a cliché, the handsome charming feckless foreigner. He is not helped by the aforesaid iambic pentameter, which was not designed for foreigners speaking English. He has to utter one of the most insincere-sounding pick-up lines I have ever heard: "If I was your husband I would be so jealous of your beauty I would not leave your side". As we see more of him, a serious side emerges, an educated Muslim who sees a lot wrong with the West and not much with his own society, despite its inability to live in peace. This he blames on the West. However, the dialectic is sidelined by the plot line, which as suggested above, winds up on a Cuban beach.

    The novel "Orlando" by Virginia Woolf was a pretty weird property, and Sally Potter produced a weird and wonderful movie from it. Her "Tango Lesson" was semi-autobiographical, well produced and absorbing. This movie is ambitious – "let's see if we can make a romantic comedy about the clash of civilizations and the meaning of life" and although visually fascinating it not surprisingly doesn't quite make it. It has its moments though – Maid Shirley Henderson's disquisitions on the nature of dirt to the camera, Sam Neil's guitar miming to an Eric Clapton number and the restaurant orgasm to name a few. Sally Potter still has the ability to find a different angle on existence.
    Proud_Canadian

    Mostly for the Art House Crowd or Women in General

    I saw it at the Toronto Film Festival but I had not seen any of Sally Potter's previous films prior to this and mainly saw it because of Joan Allen. Yes is a film with Joan Allen and Sam Neill and directed by Sally Potter. It is about a woman who is in a loveless marriage who has an affair with a Lebanese chef who was a surgeon in Beirut. Shirley Henderson plays the cleaner who acts as narrator and sort of Greek chorus to give background and opinion. I didn't like this film but I think women, in general, will. The acting is good especially Joan Allen and Simon Abkarian (apparently this was his first major role in English, I could not tell he was that good) but slow paced with some artistic shots (shots through water or glass or some obstruction because in real life we don't always have the perfect angle and things are not always clear). Most of the dialogue was in iambic pentameter with rhyming couplets. If you've seen Sally Potter's other work and liked it, then I think you'll like this. It is definitely different and Joan Allen was gorgeous but more for the art house crowd who appreciate a Dutch angle or the lens obstacles or the fact the film speed was off. There was deliberate slowing or disjointing of the frame speed in several scenes with her and her lover. As if the film was being shown at 22 or 26 frames per second or time was passing differently (which could have been a case of trying to catch the human perspective where time sometimes seems sped up so an hour goes by in a blink of an eye or a moment can seem to last forever). While most of the audience loved it, I think the average guy would be bored by this film. Having said that, there are several layers to this film and may improve with additional viewings
    kassandra_adc

    Yes! Yes! Yes!

    Sally Potter's Yes premiered this evening at the Toronto International Film Festival before a 1300-strong crowd, with the director and star Joan Allen in attendance. I am so grateful to have been present at this extraordinary event (the film is still in negotiations for distribution). Yes is a love story between She (Joan Allen, stunning in the role of a lifetime) and He (Simon Akbarian). She is married (to Sam Neill, who manages to play both boorish and sympathetic), a scientist, and Irish-American, living in London - a city Potter loves to photograph and whose different, colliding cultures she conveys superbly. He is Lebanese, working as a chef in London. She meets He. Love ensues.

    It sounds so simple, and in a sense it is. The film is luminous, elegant, ravishingly beautiful, subtly erotic. The love scenes feel so natural. And yet -- all the dialogue is spoken in rhymed iambic pentameter. Scenes are shot from canted angles, through glass or water, sometimes from CCTV cameras. Jump-cuts, motion blur, internal monologue, an unsettling score - all these elements challenge the simplicity of the idea of love. He and She are unnamed, but they have backgrounds, political and religious beliefs that take the narrative so far beyond the usual romantic pap of Hollywood cinema. Every frame and every gesture invites multiple viewings and multiple readings, partly for the precision and lush beauty (each city has its own colour scheme), and because so many other films and paintings are evoked (including an audacious nod to Orlando early on!) And because this is a Sally Potter film, the passion and the politics have a strain of humour. Or in this case, a frame, provided by Shirley Henderson as She's cleaning woman. Her opening and closing monologues in the whiteness of She's London house are immediately engaged, and totally unlike anything else you'll see or hear in film (at least English-language film). In fact, that's a good summary: Yes is totally unlike anything you've seen before.
    9CharlieCalvert

    Uncompromising Film with Serious Themes

    First off, you need to set your expectations. This is an extremely arty film. There are no explosions, chase scenes, or guns in this movie.

    Instead, we have a film with metaphors, themes and relationships. There are few movies I have seen recently that attack such large and serious topics.

    The major themes in this movie are God, love and politics. During the course of the movie, racism and war, terrorism and the Middle East, infidelity, atheism and Marxism are all brought on stage.

    As if that weren't enough, the majority of the dialog is in rhymed verse, with perhaps occasional interjections of free verse. In fact, the entire very contemporary script has a vaguely Shakespearean feel to it, though there is no shortage of four letter words.

    The entire cast of the movie is wonderful, but the centerpiece of the entire film is Joan Allen, who gives an almost supernaturally wonderful performance. The heart of the movie is a moving love story, but this is a serious romance with strong, deeply emotional scenes designed to reflect adult, rather than teenage, themes.

    There are also major metaphors in the movie, such as the role of cleaning, which usually stands for an attempt to wipe out guilt or corruption, and the use of glass, and particularly glasses of water, to show the way different viewpoints distort a particular perception of reality.

    If you are prepared to see a very serious, beautiful made, and extremely arty film, then this is an excellent way to spend your time. I simply loved the movie, and would probably enjoy seeing it again sometime soon. But please, don't bother to go if you are looking for something else. This is a very heartfelt and intense movie, which refuses to compromise.

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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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    Domande frequenti19

    • 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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