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![]() Tip of the Week Red Road
Andrea Arnold's beautifully crafted first feature, "Red Road,"
following three shorts, including the Oscar-winning "Wasp" (2003), was
shot on digital video and exploits a fresh, bold palette in her story of
Jackie, an alienated Glasgow policewoman (Kate Dickie) whose job is to
watch Glasgow's banks of surveillance monitors. One day, she notices
something more unusual than the petty street crimes she surveys each
day: a man crosses a street, crosses from one monitor to another, and
becoming fixed on him, Jackie crosses a line, and her obsession reaches
to following him on the streets, toward the dangerous housing project
called Red Road. Why is she obsessed with this figure she first glimpsed
as a shadow, almost a ghost on her vast wall of surveillance monitors?
The very contemporary paranoia and potential for violence, sexual and
otherwise, that simmers throughout Arnold's taut, tense and starkly
beautifully film (and Dickie's intent, sere performance as the troubled,
vengeful woman) is nightmarish yet haunting. The film is the first of
three from The Advance Party, an enterprise co-produced by Glasgow's
Sigma Films and Lars von Trier's Zentropa, in which writer-directors are
supplied an outline for a film which features the nine actors playing
the same characters in all three. There are instructions and rules, a la
Dogme 95, but "Red Road" is so much more than a stunt. 113m. "Red Road" opens Friday at Landmark Century.
Also by Ray Pride Love, Truly Love
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