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Rosie 2019
Description: A mother strives to shield her young family from their fresh reality when their landlord sells the property and renders them homeless.
Released: 12 Oct 2018 Director: Paddy Breathnach Writers: Roddy Doyle (screenplay) Actors: Sarah Greene, Moe Dunford, Ellie O'Halloran, Ruby Dunne Genres: Drama
Trailers and related videos:

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Rosie Reviews:

Tackling the actual homeless crisis in Ireland, specifically in the capital town of Dublin, Rosie is as relevant and timely a movie as you're ever likely to see. Directed by Paddy Breathnach, and written by Roddy Doyle, the movie is an intimate hero drama rather than an mad piece of protest cinema. Not concerned with pointing fingers at who may be responsible for this situation, examining why it is getting worse rather than better, engaging with the economic complexities, or analysing the wider socio-political implications, Doyle is instead more interested in imparting to the audience that homelessness should happen to almost anyone. Rather than evoke ire, he wants to evoke empathy. Unfortunately, the lack of major stars, the almost non-existent advertising campaign, and the grim topics matter will hamper its commercial prospects, and whilst I'd love to tell this is going to be the Irish Cathy Come Home (1966), enacting change on a grand scale, the possibilities are it will pass from cinema screens without much of an impact.Doyle began writing Rosie two years ago after listening to an interview with a girl who explained that although her husband worked full-time, the family were living out of their car, finding themselves with literally nowhere to go after being evicted from their rented accommodation. The girl emphasised that she never imagined such a case for herself or her family, explaining that ordinary folks don't realise how easy this can happen to them. And this is precisely the theme Doyle emphasises in the film. The Davis family are a fully normal working-class family, meeting none of the commonly held (mis)conceptions about the homeless, and the movie challenges at each turn the stereotypical photos we have of such people. The fact that the Davis family are an "ordinary family" enables Doyle to demonstrate that no nice economic cataclysm or private defect is important for folks to be cast into the void, it's as much to do with terrible luck and terrible timing, and, in this sense, the movie explores the extent to which the housing crisis has begun to cross class borders.As this may suggest, Rosie is a piece of social realist drama in the tradition of Ken Loach or Jean-Pierre Dardenne and Luc Dardenne. However, it is much less concerned with constructing a left-wing world-view than the French brothers (I'm thinking of something like L'enfant (2005) or Deux jours, une nuit (2014)), and far less melodramatic than newest Loach output (the most obvious mission of comparison is the predictable and manipulative I, Daniel Blake (2016), a decidedly inferior movie to Rosie). As with all social realist cinema, Rosie speaks to the privations of the working class, and voices a critique of prevailing social structures. However, the nature and goal of that critique is less conspicuous than we often search in the work of Loach, Mike Leigh, or Antonia Bird, with the movie placing more emphasis on personal hero beats than synecdochical cases or hero archetypes.One of the strengths of Doyle's script is that he has been able to transmute emotionless news headlines and dry stats concerning the rising tide of homelessness into a deeply effective and emotional storyline which does, by all means, work as a call-to-action, but which is much more forcefully a call-to-care. Doyle is not interested in sermonising about the failings of the State, concerning himself much more with what the housing crisis means to true folks in practical terms. In exploring this issue, his script is remarkable for its sense of restraint, avoiding condescension, cliché, predictability, and melodrama. Rather than the characters speechifying about their plight and the state of the country, they devote all their energies to simply getting through the day, dealing with every on-the-spot challenge as it arises. As a result, they never come across as a manipulated political device, existing only at the lvl of symbolism or allegory, merely a means to let the screenwriter some socio-economic grandstanding (indeed, the wider-ranging homeless crisis itself is literally never mentioned in the film). However, this is not to tell that the movie avoids looking at how this type of case can exist in such a relatively wealthy country.For example, when John Paul attends an open-viewing for a house he and Rosie are thinking of purchasing in the East Wall zone of Dublin, he finds the house crawling with folks obviously more wealthy than himself, John Paul asks the true estate agent to place his name down, only to be said the house "isn't really suitable for a family." Again, the true meaning behind this remark is left unsaid, but the critique of gentrification is unmistakable. An extremely necessary stage in this respect is when Rosie visits her brother-in-law and his wife. When he refers to the family being homeless, she quickly chastises him, saying him "don't test that word", and denying that the family are, in fact, homeless, which speaks volumes as to cultural stigma and social labelling.Aside from the method in which it handles the housing case as a national crisis, Doyle's script is surprising in another respects. For example, a great piece of writing is that Doyle doesn't have Rosie and John Paul at every other's throats the entire film, as we might expect. Instead, they help every another 100%, working together to test to hold the children's spirits up, and only seriously arguing once (which, tellingly, they do away from the kids). One of the film's most salient themes is that theirs is a marriage of genuine love and respect, and that goes double for their family. The movie may be asking for empathy from the audience, but it also depicts a nice deal of empathy, as Breathnach and Doyle stress that this is a tight-knit family unit filled with love and affection. Their case may be grim but they are in it together. Doyle has also fashioned an absolutely knockout ending, which somehow manages to be both extremely uplifting, yet utterly soul-shattering.From an aesthetic mission of view, Breathnach's direction is utilitarian, wisely avoiding any type of directorial gymnastics which would draw attention away from the story. Which is not, however, to tell that the movie is visually uninteresting. One particularly well-blocked stage sees Rosie talking to a school principal, with the sequence shot in such a method that the two-shot is demarcated by a pc monitor, literally cutting Rosie off from the well-to-do globe represented by the principal. The scenes in the family's vehicle (which comprise a sizable portion of the film) are suitably cramped and claustrophobic, with a palpable sense of unrest growing ever more prominent as the movie continues. In contrast, however, many of the exterior scenes are shot in such a method as to feel disconcertingly empty, with Rosie and her family often dwarfed within the frame, creating a true sense of hopelessness and swimming-against-the-tide. Additionally, almost the whole movie is shot with handheld cameras, with a lot of the exteriors consisting of long single-take Steadicam shots which make a sense of urgency, as well as depriving the characters of any sense of the control with which they should be imbued by editing.One especially well managed aspect of the movie is how it deals with the task of ringing around the different hotels trying to search a room, going through the exact same conversation over and over and over again. Before we see any images, we hear a radio report talking about the homeless crisis, followed by Rosie ringing the first number on her list. Then the photo fades in. This conversation becomes a refrain, and is continued throughout the film, serving almost like a chorus punctuating the rest of the days' activities.As for the performances, Sarah Greene is outstanding as Rosie, carrying the bulk of the film, and most of the emotional weight (a nice 70-80% has her front and centre). Her attempts to remain calm in front of the kids, never losing her temper or chastising them for being frustrated with their situation, and her sorrow and regret on the several opportunities when she does, are utterly heart-breaking. Her brave face slips a couple of times, and when it does, there is no sense of catharsis, no feeling of pressure being released. There is just sadness, and acknowledgement of her suffering. Despite her outward optimism, the ominousness of the case is everytime there, right beneath the surface. It's an extraordinarily subtle and layered performance of just a several emotional registers, but it's fully effective and rings fully true. The ever-reliable Moe Dunford is also perfect in the slightly under-written role of John Paul, imbuing the hero with a warmth and fragility, especially noticeable in a heart-breaking stage in which he reveals to Rosie his shame at not being able to adequately deliever for or protect his family.Although Rosie is about a national crisis, it is also intensely personal. Doyle may not be outwardly concerned with the politics, but his sense of anger is unmistakable as he attempts to present that the ordinary and decent folks of this country are being humiliated and degraded on a everyday basis. In this sense, Rosie could create audiences angry. And it probably will. The trouble is that it will have a very tiny audience. This is not Cathy Come Home being watched by 12 million folks on the BBC. This is a tiny independent movie testing on a several screens across the country, a movie of which the vast majority of the cinema-going public have never heard. In the end, despite the fact that it's exceptionally well made, deeply affecting, and flawlessly acted, Rosie won't create much of a difference or have much of an impact. And that's a crying shame.


A tough watch which is the exact point. The end is a bit sudden. More should have been done, after sitting through the film, potentially exlporing another outcomes. But that's a minor criticism. Nice acting even though the script is rather slow at times.



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