Sweet Sixteen (2002 film)
Sweet Sixteen is a 2002 drama film directed by Ken Loach. Set in Scotland, the film tells the story of a teenage boy from a troubled background, who dreams of starting afresh with his mother as soon as she has completed her prison term. Liam's attempts to raise money for the two of them are set against the backdrop of the Inverclyde towns of Greenock, Port Glasgow and the coast at Gourock; the film is shown with subtitles because, as with many of Loach's films, the dialogue is extensively in a local dialect, in this case of the Scots language. In a few weeks, Scottish teenager Liam will turn 16; the film opens with him using his tripod-mounted telescope outdoors on a clear night to show other children the stars and planets. He and his friends exemplify the violent "ned" subculture, they get money by illicitly selling untaxed cigarettes in a pub, defy the police. Liam's mother is in prison, for a crime she did not commit, she will be released in time for her son's 16th birthday. She has a boyfriend named Stan, who works as a drug dealer with Rab.
Stan and Rab take Liam in Rab's car on a visit to his mother in Cornton Vale Prison, try to force him to smuggle drugs to his mother while they create a distraction. In the event, Liam refuses to cooperate by passing the drugs over; when driving home his companions beat him up. Liam arrives back to find that he has been expelled from his grandfather's flat, his belongings thrown down into the front garden. Liam moves to his sister Chantelle's nearby home in Port Glasgow. Chantelle agrees to let Liam live in her house if he's good to Calum, she has been taking free evening classes to get work in a call centre, implores Liam to do the same because she wants Liam to do something more'constructive' with his own life. When Liam takes Calum for a walk along Greenock Esplanade, his friend Pinball arrives in a stolen car and insists on taking them joyriding along the coast, they drive up through the Cloch caravan park where Liam sees a caravan for sale in a spot overlooking the scenic Firth of Clyde. Liam, who loves his mother much, fantasizes that he, his sister, his mother can escape to the seaside and live in the caravan, away from Stan and Rab's wrath.
To purchase it he and Pinball steal a delivery of drugs from Stan's house and sell them, doing the things Liam once hated – claiming that they will never get anywhere by selling cheap cigarettes. They soon develop'entrepreneur skills' and raise several thousand pounds, which they pay as a deposit towards the caravan in Liam's mother's name. Liam's efforts attract the attention of Tony Douglas. Liam, who only wanted a peaceful life with his mother, agrees to work with them after the local godfather tells him to'stay away from our shops'. Pinball, meanwhile, is thrown into the health club showers due to his disrespectful manner towards the dealer, vows revenge. Liam and Pinball carry on selling drugs to the local area, with the help of Liam's other friends who deliver pizzas. Liam and Pinball meet again with members of the drug godfather's gang, Liam joins them in their car. Pinball is kicked out, they instruct him that he has to kill someone to join the gang. Liam is stopped by the gang, who inform him it was a test.
Liam, Chantelle and Suzanne drive to the caravan to have a picnic, only to discover that it has been burned down. Liam believes it was Stan who did it, throws a rock through his window; that evening, Pinball turns up in Douglas's car. He proceeds to crash the car into the health club. Liam speaks to the godfather in the morning and, to his chagrin, is ordered to "take care of" the Pinball problem; the next morning, Pinball - aware of Liam's intentions - first tries to stab Liam proudly tells him that he's the one who burnt down the caravan, not Stan. He cuts his own face in rage. Liam is seen reassuring his injured friend after phoning for an ambulance, but in the next scene he notifies the godfather that the deed has "been done", leaving a viewer to infer that he has indeed murdered his friend. Douglas promises to buy Liam an upscale apartment, on the day before his birthday Liam's mother is released from the prison and taken to this new house on the coast of Gourock where she is welcomed with a party.
She appears uneasy, the next morning is found to have escaped to Stan's house. Liam blames this on Chantelle. Chantelle, now aware that Liam is dealing drugs, attempts to warn her little brother about their mother not being so thankful for Liam's efforts because she is too devoted to Stan, but this only provokes Liam further. An enraged Liam goes to Stan's house, trying to convince his mother to go back to their new home, only to receive insults from Stan. In a struggle, Liam stabs Stan. Liam is seen walking alone on the stony beach, he is phoned by Chantelle. She tells him that the police have been looking for him, but that after everything that he has done, Chantelle still loves him, he walks towards the sea. Martin Compston as Liam Annmarie Fulton as Chantelle William Ruane as Pinball Junior Walker as Nighttime Sweet Sixteen received positive reviews holding a 97% "fresh" rating on Rotten Tomatoes.
The Limey is a 1999 American crime film, directed by Steven Soderbergh and written by Lem Dobbs. The film features Terence Stamp, Lesley Ann Warren, Luis Guzmán, Barry Newman, Nicky Katt, Peter Fonda; the plot concerns an English career criminal who travels to America to investigate the recent suspicious death of his daughter. It was filmed on location in Big Sur. Critical reception was positive. An Englishman named Wilson travels to Los Angeles to investigate the death of Jenny, she had died in a car accident, but Wilson suspects she was murdered. Released from a British prison, he is a hardened man. Arriving in Los Angeles, he meets questions them. Finding they pass his initial inquiry, he elicits their help in investigating Jenny's death. One suspect who emerges is a record producer named Terry Valentine. Investigating him it's learned that besides his legitimate record company business, Valentine has involvement in drug trafficking, his involvement is managed through Avery. Wilson questions the men there.
Laughing at him, they beat him, throw him out onto the street. Undeterred, Wilson draws a hidden pistol and returns to the warehouse, shooting dead all but one of the employees; as the survivor flees, Wilson shouts "Tell him... I'm coming!" Back with Elaine and Eduardo, Wilson reminisces about his earlier life with his daughter, whom he remembers only as a child. Worried her father would be sent away to prison, she would threaten to call the police whenever she found evidence of the crimes he was involved in, he recalls she never followed through on her threats because she loved him and it became a sad joke between them. However, his life of crime put a strain on his family, he ended up in prison. Seeking more information from Valentine and Eduardo sneak into a party held at Valentine's house. Once there, Wilson searches for evidence of Valentine's involvement, he steals a picture of Jenny. Attracting suspicion from Avery, Wilson is accosted by a guard whom he swiftly head-butts and throws over a railing to his death.
Wilson and Eduardo flee, but are chased by Avery, who rams their car. Wilson rams Avery's car in return, he and Eduardo not before Avery hears Eduardo call out Wilson's name. Avery hires Stacy, to track down and kill Wilson and Elaine. Avery is prevented from making the hit by agents of the DEA, who have been monitoring Valentine as part of their investigation. Wilson and Elaine are taken to meet a DEA investigator; the head agent makes it clear the DEA is after the dealer who used Valentine to launder money, the agents will not interfere with Wilson's personal mission. He lets Wilson see their file on Valentine, including a photograph and address of a second home in Big Sur. Meanwhile and his partner, angry at their beating by the DEA agents, plot to double cross Avery. Avery moves Valentine to the house in Big Sur; that night Wilson enters the grounds. Avery's guards shoot an intruder but it turns out the man killed is Stacy. Avery and the guards engage in a shootout with Stacy's partner, resulting in several deaths, including Avery.
Valentine flees with Wilson in pursuit. Falling and breaking his ankle, Valentine cannot escape, begs for his life, he says Jenny had threatened to call the police. During his attempt to stop her, there is a struggle and Valentine pushes Jenny against a wall where she receives a fatal head injury. To deflect attention from Valentine, Avery staged the car accident. Wilson knows, he turns away. Wilson makes his farewells to Elaine and Eduardo, returns to London. Steven Soderbergh uses atypical flashback sequences, includes several scenes from a much older Terence Stamp movie, Ken Loach's 1967 directorial debut Poor Cow. Soderbergh uses the scenes to create a hazy back story to show Stamp's character as a young man, his criminal past, his relationship with Jenny's mother and childish Jenny's disapproving attitudes towards his crooked lifestyle. Wilson speaks in a Cockney rhyming slang; the title refers to the American slang Limey. In a scene in the film, Fonda's character is watching TV, footage from Access Hollywood is shown—a clip of George Clooney discussing his first visit to Italy.
Soderbergh made the film Out of Sight with Clooney the previous year. Film editor Sarah Flack utilizes a variety of unorthodox editing techniques in The Limey; the film features dialogue and background sound from previous or future scenes juxtaposed with a current scene. Dialogue from one conversation, for instance, may find itself dispersed throughout the film, articulated for the first time long after its chronological moment has passed, as a sort of narrative flashback superimposed over conversation, to complete a character's thought or punctuate a character's emphasis. Background sound may be disjointed in the film and shifted to enhance another scene by suggesting continuation, similarity, or dissimilarity. For example, Wilson is in a hotel room, turns on the shower, Wilson is in a plane looking out the window, while the shower can be heard; the Limey was first presented at the 1999 Cannes Film Festival on May 15. It was featured at the Toronto International Film Festival, the Buenos Aires International Festival of Independent Cinema, the Hong Kong Intern
Ae Fond Kiss...
Ae Fond Kiss… is a 2004 romantic drama film directed by Ken Loach, starring Atta Yaqub and Eva Birthistle. The title is taken from a Scottish song by Robert Burns, the complete line being "Ae Fond Kiss, we sever..." The film explores the complications which ensue when second-generation Scottish Pakistani Casim and Roisin fall in love. Set in Glasgow, the film tells the story of the Khan family. Casim is the only son of Pakistani Muslim immigrants to Scotland, he has a younger sister, an older sister Rukshana. Casim's parents and Sadia, have arranged for him to marry his first cousin and Casim is more or less happy with the arrangement, he meets and falls in love with Roisin, an Irish Catholic immigrant. Roisin books a short holiday break for them both on seeing an advert in a travel agent's shop window, while on holiday Casim tells her about the arranged marriage his family are planning for him, they have to decide whether their love is strong enough to endure without the support of their respective communities.
At the same time, rebellious Tahara struggles to find herself between the bullying of some Scottish schoolmates and her Pakistani relatives. Meanwhile, Rukhsana loses her fiancé. Roisin loses her job because the Catholic school's direction does not accept her relationship since she is a married – though separated – woman and because she and Casim are living together. Roisin is moved by her hierarchy to a non-denominational school, Casim confronts his family, begging them to respect his choice before returning to her, while Tahara leaves to study Journalism at the University of Edinburgh against her parents' will. Atta Yaqub... Casim Khan Eva Birthistle... Roisin Hanlon Ahmad Riaz... Tariq Khan Shamshad Akhtar... Sadia Khan Shabana Akhtar Bakhsh... Tahara Khan Ghizala Avan... Rukhsana Khan On the review aggregator Rotten Tomatoes, Ae Fond Kiss received a rating of 88% certifying it as "Fresh", based upon 25 reviews. On Metacritic, the film had an average score of 65 out of 100, based on 7 reviews, indicating "generally favorable" reviews.
Ae Fond Kiss received a number of awards. Won, Berlin International Film Festival – Prize of the Ecumenical Jury Won: Berlin International Film Festival – Prize of the Guild of German Art House Cinemas Nominated: Berlin International Film Festival – Golden Bear for Best Motion Picture Nominated: British Independent Film Awards – Best Actress, Best Screenplay, Most Promising Newcomer Nominated: International Filmfest Emden – Emden Film Award Won: European Film Awards – Best Screenwriter Won: Irish Film and Television Awards – IFTA Award for Best Actress Won: Valladolid International Film Festival – Audience Award Won: Valladolid International Film Festival – Golden Spike Award Won: Motovun Film Festival – Propeller of Motovun Won: London Film Critics Circle – ALFS Award for Best Actress of the Year Won: César Award – Best European Union Film Asian-Scots British Pakistanis New Scots Official website Ae Fond Kiss... at AllMovie Ae Fond Kiss... on IMDb
Steven Andrew Soderbergh is an American film director and producer. He is considered one of the founding pioneers of the independent cinema movement and among the most acclaimed and prolific filmmakers of his generation. Soderbergh's directorial breakthrough—indie drama Sex and Videotape —lifted him into the public spotlight as a notable presence in the film industry. At 26, Soderbergh became the youngest solo director to win the Palme d'Or at the Cannes Film Festival which garnered the film worldwide commercial success, among numerous accolades, his breakthrough saw him to Hollywood. He found further critical success with the Ocean's trilogy and film franchise. Despite his film career spanning a multitude of genres, his cinematic niche centers on psychological and heist thrillers, his films have grossed over US$2.2 billion worldwide and garnered nine Oscar nominations, winning seven. Soderbergh's films center on the metaphysical themes of distorted reality, shifting personal identities, sexuality and the human condition.
His feature films retain distinctive cinematography as a result of his liberal use of avant-garde cinema coupled with unconventional film and camera formats. Many of Soderbergh's films are anchored by multi-dimensional storylines with plot twists, nonlinear storytelling, experimental sequencing, suspenseful soundscapes, third person vantage points. Soderbergh was born on January 14, 1963, in Atlanta, Georgia, to Mary Ann and Peter Andrew Soderbergh, a university administrator and educator, he has Swedish and Italian roots. Soderbergh's paternal grandfather immigrated to the U. S. from Stockholm. As a child, he moved with his family to Charlottesville, where he lived during his adolescence, to Baton Rouge, where his father became Dean of Education at Louisiana State University. Soderbergh discovered filmmaking as a teenager and directed short films with a Super 8 and 16 mm cameras, he attended the Louisiana State University Laboratory School for high school before graduating and moving to Hollywood to pursue professional filmmaking.
In his first job he worked as a game show composer and cue card holder soon after which he found work as a freelance film editor. During this time, he directed the concert video 9012Live for the rock band Yes in 1985, for which he received a Grammy Award nomination for Best Music Video, Long Form. After Soderbergh returned to Baton Rouge, he wrote a film titled Sex and Videotape on a legal pad during an eight-day cross country drive; the movie tells the story of a troubled man who videotapes women discussing their lives and sexuality, his impact on the relationship of a married couple. Soderbergh submitted the film to the Cannes Film Festival where it won a variety of awards, including the Palme d'Or, its critical performance led it to become a worldwide commercial success, grossing $36.7 million on a $1.2 million budget. The film was considered to be the most influential catalyst of the 1990s Independent Cinema movement. At age 26, Soderbergh became the youngest solo director and the second youngest director to win the festival's top award.
Movie critic Roger Ebert called Soderbergh the "poster boy of the Sundance generation". His relative youth and sudden rise to prominence in the film industry had him referred to as a "sensation" and a prodigy. In 2006, the film was selected by the Library of Congress for preservation in the United States National Film Registry, being deemed "culturally or aesthetically significant" and the American Film Institute nominated it as one of the greatest movies made. Soderbergh's directorial debut was followed by a series of low-budget box-office disappointments. In 1991, he directed a biopic of Franz Kafka written by Lem Dobbs and starring Jeremy Irons; the film received mixed reviews from critics. Roger Ebert's review stated, "Soderbergh does demonstrate again here that he's a gifted director, however unwise in his choice of project". Two years he directed the drama King of the Hill, again met with poor commercial performance, although fared well with critics. Based on the memoir of writer A. E. Hotchner, the film is set during the Great Depression and follows a young boy struggling to survive on his own in a hotel in St. Louis during after his mother falls ill and his father is away on business trips.
In 1995, he directed a remake of Robert Siodmak's 1949 film noir Criss Cross, titled The Underneath, which grossed $536,020 on a $6.5 million budget and was panned by critics, with Rodrigo Perez of IndieWire accusing Soderbergh of "throwing himself under the bus."Soderbergh directed Schizopolis in 1996, a comedy which he starred in, wrote and shot as well as directed. The 96-minute film was submitted to the Cannes Film Festival to such a "chilly response" that he reworked the entire introduction and conclusion before releasing it commercially. In the movie's introduction, he placed a title page that read: ”In the event that you find certain sequences or events confusing, please bear in mind this is your fault, not ours. You will need to see the picture again and again until you understand everything", he starred in Schizopolis as Fletcher Munson, a spokesman for a Scientology-esque lifestyle cult, again as Dr. Jeffrey Korchek, a dentist having an affair with Munson's wife; the film switched languages multi
My Name Is Joe
My Name Is Joe is a 1998 film directed by Ken Loach. The film stars Peter Mullan as Joe Kavanagh, an unemployed recovering alcoholic in Glasgow, Scotland who meets and falls in love with a health visitor, played by Louise Goodall. David McKay plays his troubled friend Liam; the film's title is a reference to the ritualised greeting performed in Alcoholics Anonymous meetings, as portrayed in the film's opening scene. The movie was filmed in the council estates of Glasgow and filling small roles with local residents, many of whom had drug and criminal pasts; the Glaswegian Scots dialect of some of the actors are unintelligible to many of the American audience and therefore the film is shown subtitled there.. The film won awards in many film festivals, including Best Actor for Mullan at the 1998 Cannes Film Festival; the film begins with Joe Kavanagh at an Alcoholics Anonymous meeting, relaying an experience from his past. He states the ritualised greeting:'My name is Joe and I'm an alcoholic.' He feels.
He tells the group that he copes by states that he is grateful to be at the meeting. He goes round to his friend's place, bangs on the door and pretends to be the police, they travel in Joe's van where they examine stolen sporting merchandise, of low quality. Joe and his friends stop at another person's house to pick up more people. A car cuts off the van. Joe encounters the driver, whom Joe describes as being'the woman who tried to kill us all.' He asks the woman if she lost her guide dog. The woman, states that she is a health visitor, she wants to see Liam and his child, but Joe explains that Liam has an important football game to attend. Joe is encouraging as a coach; the other team appears in black, which are the colours that Joe's team wears. Joe's team express their anger at this and respond by taking their shirts off so that they are able to distinguish between players; the other team scores the first goal of the game. Joe drives Liam home and Liam abruptly tells Joe to pull over and Liam runs up to a male who acts aggressively towards him.
Joe does not hear what transpires between the man. Joe sees Sarah, seen struggling with wallpaper in her car. Joe appears to fancy her, as Sarah tells him her name and he flirts with her. Joe helps an acquaintance of Sarah's to complete a wall papering and paint job in Sarah's flat. Sarah brings them tea as they paint the ceiling and sing to themselves, they look outside and notice someone taking photos of them through the window. Joe runs outside with his can of white paint and brush to confront the man, taking the photos; the photographer tells Joe that he has a bad heart. Joe paints all over the photographer's car; the car manages to knock over a pile of rubbish by the side of the road. Sarah and Joe have dinner together. There is a bottle of red wine on the table. Sarah's telephone rings and she leaves the kitchen to answer it. Joe is left alone with the wine, he appears somewhat nervous. When Sarah finishes with her telephone conversation, Joe asks her about the photographs on her wall. Joe reveals to Sarah that he does not drink, to which Sarah replies:'Why didn't you say?'
Joe reveals that he is an alcoholic and he has not had a drink in ten months. Joe is happy that she has been direct in her responses to him. Joe thanks Sarah for her company. Sarah pays Joe for the work that they part company. Joe attends the Mayfield Health Centre. Joe tells the receptionist; the receptionist does not appear to be surprised by his request and says that Joe is free to pop his head around the door. He sees Sarah advising parents on dealing with the changing of nappies. Outside the Health Centre, Joe asks Sarah if she would like to go ten-pin bowling with him and to ring him if she fancies going, they part company. Sarah speaks with a female colleague and says that Joe seems a bit wild, she states. Sarah and Joe laugh at their many errors, they occupy Aisle 16 and neither of them are spectacular players. They go back to Sarah's place. Joe politely says no. Sarah offers him money for a taxi. A friendly argument ensues, at the end. Sarah says. Joe states that Sarah can sleep at his place, but not together.
They arrive at Joe's and he shows her around his flat. Joe tells Sarah that he used to be in a band and they won a local talent contest. Joe tells Sarah a story of what transpired, he stole some cassettes. He took one of them home and'got pissed.' He describes the experience as being'magical.' When Sarah asks him what made him stop drinking, Joe asks her. He is not curious. Joe says that he is scared to tell her and that there is a strong chance that she will hate him if he tells. Joe explains that there was a girl he used to drink with and they loved one another, they were both'just tangled up' and they used to get into terrible arguments and tear one another apart. The audience sees a flashback where Joe and the girl are returning home from a night out, he states that'a cloud just descended... really
Land and Freedom
Land and Freedom is a 1995 film directed by Ken Loach and written by Jim Allen. The film narrates the story of David Carr, an unemployed worker and member of the Communist Party of Great Britain, who decides to fight for the republican side in the Spanish Civil War, an anti-rebel coalition of Socialists and Anarchists; the film won the FIPRESCI International Critics Prize and the Prize of the Ecumenical Jury at the 1995 Cannes Film Festival. The film was nominated for the Palme d'Or at Cannes; the film's narrative unfolds in a long flashback. David Carr has died at an old age and his granddaughter discovers old letters and other documents in his room: what we see in the film is what he had lived. Carr, a young unemployed worker and member of the Communist Party, leaves Liverpool and travels to Spain to join the International Brigades, he crosses the Spanish border in Catalonia and coincidentally ends up enlisted in a POUM militia commanded by Lawrence, in the Aragon front. In this company, as in all POUM militias and women – such as the young and enthusiastic Maite – fight together.
In the following weeks and months he becomes friends with other foreign volunteers, like the French Bernard and the Irish Coogan, the latter's girlfriend Blanca – with whom David Carr falls in love – a member of POUM, the ideologue of his group. After being wounded and recovering in a hospital in Barcelona, he joins – in accordance with his original plan and against the opinion of Blanca – the government-backed International Brigades, he encounters the Soviet propaganda and repression against POUM members and anarchists. After her funeral he returns to Great Britain with a red neckerchief full of Spanish earth; the film comes back to the present, we see Carr's funeral, in which his granddaughter throws the Spanish earth into his grave after speaking lines from "The Day Is Coming", a poem by William Morris. Join in the battle wherein no man can fail, For whoso fadeth and dieth, yet his deed shall still prevail. Afterwards she performs a raised fist salute. Ian Hart – David Carr Rosana Pastor – Blanca Frédéric Pierrot – Bernard Goujon Tom Gilroy – Lawrence Icíar Bollaín – Maite Marc Martínez – Juan Vidal Andrés Aladren – Militia member Sergi Calleja – Militia member Raffaele Cantatore – Militia member Pascal Demolon – Militia member Paul Laverty – Militia member Suzanne Maddock – Kim According to Ken Loach, the most important scene of the film is the debate in an assembly of a village liberated by the militia.
People from the actual village where the film was shot play peasant parts in the film and express their thoughts and a debate ensues about whether or not to collectivise the village land and that of the shot priest. An American with the POUM militia argues that the war effort must come first, suggesting that collectivisation and other revolutionary actions might hamper that effort, he mentions that if such actions and the slogans accompanying them continue, they will not gain the support of the capitalist democracies such as the United States and Britain. The necessity of a contemporaneous war and revolution is expressed by a German militiaman, who says that'in Germany revolution was postponed and now Hitler is in power'. In the end the villagers vote for collectivisation. In the anarchist and socialist controlled areas this kind of expropriation of land was common, as the civil war was accompanied by a social revolution; as in the above scene, various languages: Spanish and Catalan are spoken throughout the film, subtitles are used selectively.
Carr arrives in Spain without knowing any Spanish, but picks it up – and luckily for him English is the lingua franca in his militia. The social revolution was opposed by both the Soviet-supported communists and the democratic republicans and as the war progressed, the government and the communists were able to leverage their access to Soviet arms to restore government control over the war effort, both through diplomacy and force. An historical event, the bloody fight between Republicans and Anarchists for controlling the Telefónica building in Barcelona, has been chosen by Loach as an emblem of this internal conflict. Carr's disenchantment starts from this meaningless fight, which he fails to understand because both groups were supposed to be on the same side. At one point he is guarding the Communist Party headquarters in Barcelona and engages in banter across the barricades with the anarchists opposite, he asks a Mancunian among them "Why aren't you over here with us?" In reply his compatriot asks him the same question and Carr answers "I don't know".
Another important moment inspired by actual events is the execution of a village priest for acting in favour of the Rebel side: he has broken the seal of confessions, telling the rebels where the anarchists were hiding and causing their deaths. The priest is shown to have a bruised shoulder from firing a rifle. Most critics and viewers noted the similarity between the story narrated in this film and George Orwell's book Homage to Catalonia, in which the author wrote one of the more famous accounts of the war, that of his own experience as a volunteer in the ILP Contingent, part of the POUM militia; the review aggregator website Rotten Tomatoes reports a 77% approval rating based on 13 reviews, with an average rating of 7.7/10, As of 22 February 2018. David Armstrong, cinema critic for The San Francisco Examiner, stated in SF Gate that "
Ladybird, Ladybird (film)
For the 1963 Frank Perry film, see Ladybug Ladybug Ladybird, Ladybird is a 1994 British drama film directed by Ken Loach. It is a drama-documentary about a British woman's dispute with Social Services over the care and custody of her four children; the title comes from the traditional nursery rhyme "Ladybird Ladybird". Crissy Rock won the Silver Bear for Best Actress award at the 44th Berlin International Film Festival. In a karaoke bar Maggie Conlan, a woman with a troubled past, meets South American Jorge and has a drink with him. During their conversation we learn about both their past lives, she has four children by four different fathers and all of her children are in care. Jorge is a Paraguayan, afraid to return to his own country for fear of persecution there. Maggie goes on to make a relationship with Jorge, being impressed with his history, her relationship with him is a tentative one because of her previous experience with her earlier boyfriend. The film goes on to show her time in a women's refuge: one night as she was singing in a club she was told that there was trouble at her home.
The local authority took her children into care and Maggie now blames Simon for having her children taken from her, but she says she shares some of the blame. Maggie's relationship with Jorge becomes more intense, but more strained, as Maggie's mental stresses become apparent, they set up home together, have a daughter, but she is taken from them by the local authority under a Place of Safety order on the grounds that she is an unreliable mother with "low intellect". Jorge is threatened with deportation to Paraguay from the UK, because he has been illegally employed but he is allowed to stay in the UK because of his good character, the plea he makes to the court. Maggie and Jorge have another baby daughter and once again their child is taken into care. Maggie has to be sedated; the couple continue their lives together and the film closes with a caption: Maggie and Jorge have had three more children whom they have been allowed to keep. They have been given no access to their first two daughters.
Maggie says. Crissy Rock as Maggie Conlan Vladimir Vega as Jorge Sandie Lavelle as Mairead Mauricio Venegas as Adrian Ray Winstone as Simon Claire Perkins as Jill Jason Stracey as Sean Luke Brown as Mickey Lily Farrell as Serena Scottie Moore as Maggie's father Linda Ross as Maggie's mother Rosemary Frankau as Lawyer Yvonne Riley as Lead Social Worker Review aggregator website Rotten Tomatoes retrospectively gave the film an approval rating of 71%, based on 7 reviews with an average rating of 7.2/10. Ladybird, Ladybird on IMDb Ladybird, Ladybird at AllMovie