Una (2016)

A tale of forbidden love. The guy (Ben Mendelsohn) went to jail for it and started another life after that. The girl (Rooney Mara) still can't move on 15 years later, and confronts him. Also starring, Ruby Stokes and Riz Ahmed. Does sex even mean anything in our day and age? It certainly does when it comes to taboos such as „relations" between adult and minor – a story in the center of „Una". This particular topic may well be the most loaded of them all, which makes it difficult to even write about. It's an uncomfortable experience for sure, not just because of the topic, but for raising burning questions that nobody wants to answer, at least not in public. Not us the viewers, not the movie makers – director Benedict Andrews and David Harrower who has written both the theatre play and then screenplay „Una" is based on. The actors are satisfying. Mara is better than her usual (eloquent and tormented as suitable for the role), Mendelsohn is great as usual (one of the best not quite famous character actors the UK has today)... There is not much room for other major characters, but Stokes as young Una and Ahmed as the unwitting bystander brought into this mess are memorable too. I think I like Stoke's performance even better than Mara's but comparison is unfair because I have never admired Mara's acting abilities anyway. This is the first time that I have truly respected her screen work, ever. Bold role, bold project. The storytelling is, khm, less satisfying. Not only because of the uncomfortable topic and leaving much unanswered but overall approach is too artsy for my taste, so the movie has issues with pacing and holding tension. Una as a character would improve from additional development too. All in all, it's certainly compelling but I think it would make a more powerful short movie lasting, say, 30 minutes instead of 94.

Fmovies: A tough, psychological drama about the trauma caused by pedophilia. A directorial debut by the Australian theatre director Benedict Andrews adapting the critically acclaimed stage play. A cinematic technique to parallel the real-time storytelling of a stage play of this nature is to have a curious camera voyeuristically track action. This serves as a plus but also a problem for this particular, sometimes hard to watch film. As a spectator 'spying' on such disturbing subject matter made me think twice about what I thought was morally right about the situation. I also would have liked to have seen more of the characters that had little screen time. That aside, extraordinary central performances by the emotionally cold Rooney Mara and unflinching Ben Mendelsohn.

Fifteen years after the crime and Ray still pulls at the heartstrings of Una. It is the shadow of love, a brutal charm and broken promise that brings her back to confront him in search of answers. In flashbacks to a Ferris wheel, courtroom and cottage by the seashore, the emotional carnage of two fractured lives is gradually revealed. Una struggles to find meaning in the answers provided by Ray as well as those from inside her heart.

This character driven psychological thriller stars Rooney Mara and Ben Mendelsohn. Each actor specializes and excels in such roles about damaged psyches, and they continue to shine here. Wonderful cinematography, direction and music contribute to heighten the emotional impact of the story. The film is based on the play Blackbird by David Harrower. Just released to Netflix snail mail catalog.

Una fmovies. This film explores the repercussions of an illegal sexual relationship between a 13 year old girl, Una, and her neighbour and father's friend, Ray.

Fifteen years have passed and both of them are scarred and emotionally damaged by the affair. Una is angry and vengeful, while Ray has served four years in gaol before changing his identity and becoming settled in an age-appropriate relationship. Una finds him by chance and seeks him out at his workplace where he has achieved respected managerial status. The film shows their tense meeting and regularly flashes back to the tender moments of their taboo liaison.

While there are several small parts for characters such as Una's mother and Ray's partner and workmates, this film is almost entirely a 'two-hander' with the leads played by Rooney Mara and Ben Mendelsohn. Mara is best known for a string of recent successes including opposite Cate Blanchett in 'Carol' and as 'The Girl with the Dragon Tattoo.' Melbourne-born Mendelsohn's career includes the Adelaide classic, 'Return Home', 'Mullet', 'Australia', 'Slow West' and a string of blockbusters. He even played Rupert Murdoch in Craig Lahiff's 'Black and White'.

His role here is a career best. As Ray, he is startled, troubled, protective and terrified all at once. Mara's Una is difficult to read as we try to get to know this complex character in the space of a regulation-length feature film.

With the main action taking place in a modern factory with just two characters, any chance of dullness is exploded by the exquisite production design, artful and assured camera work and the audacious editing. This visual extravaganza is set to the striking music of Jed Kurzel, South Australian musician best known for working on his brother's films 'Snowtown' and 'Macbeth'.

But this is a British film, based upon the play 'Blackbird' by Scottish playwright, David Harrower, who also wrote the film's screenplay. The taboo issues and themes are expertly teased out through a sharp, Pinteresque script.

This is the debut feature for director, Benedict Andrews born in Adelaide and educated at Flinders University but there is no need for cultural cringe here. 'Una' is a brave and inventive psychological thriller and one of the best films of the year. Challenge yourself.

Tackling a difficult and sensitive subject on film is very brave, and also important in showing how awful sexual abuse is and the damaging effects it leaves on the victims. While a difficult subject, generally, due to the amount of ignorance and generalisations it garners (with victim blaming for example), it needs to be addressed more.

Like my fairly recent (a couple of months ago) viewing of 'The Girl in the Book', 'Una' is a tough watch but overall very rewarding, being beautifully done and emotionally powerful. Based on David Harrower's play 'Blackbird', although not a victim of sexual abuse, 'Una' really resonated with me and shows no signs of being afraid to show the full effects and not trivialise it. It also captures the claustrophobia of the play so that there is plenty of tension, but does it in a way that opens things out and not make it feel stage-bound (a danger with films/television translated from plays).

'Una' is not flawless. It does drag somewhat in the middle act and the shifts from past to present day to start with are not always clear. Otherwise, there is very little wrong with it and it does a huge amount right.

It's a good-looking film, being very nicely and atmospherically shot and lit. The music is never intrusive or too low-key, it doesn't overbear the drama while still having presence and in no way does it feel inappropriate.

Benedict Andrews directs with a suspenseful touch, passion for the subject and potent realism, he doesn't allow the film to hold back nor does he allow it to go overboard with the unsubtle. 'Una' is not always subtle but that is not an issue, the subject itself isn't subtle either. The script is taut and poignant, with the confrontation between the present day Una and Ray having so much harrowing truth.

What really makes 'Una' particularly good are the storytelling and performances. The story may drag in the middle at times, but the final act is electrifying and logical, not trivialising the effects of the abuse like the final act of 'The Girl in the Book' did and rings true far more. The confrontation is particularly harrowing while the main characters' thoughts, darkest desires and motivations are just as frightening, complex and difficult to fathom. On the most part, the past (through flashbacks) and present day time-lines are structured clearly and beautifully intertwined.

Rooney Mara and Ben Mendelssohn's performances are positively on blistering fire, particularly Mara, while that of Ruby Stokes is also hard to forget in the best of ways.

In conclusion, not quite one of my favourites of the year or ever, but powerful and brave film and that it was not an easy watch, considering the subject it's portraying, worked in its favour rather than against it. 8/10 Bethany Cox

After this film was screened at the Toronto Film Festival today, an audience member asked director Andrews about the skill of lead actor Mendelsohn in his portrayal of such a deceitful and manipulative character. The host repeated the question without the adjectives but fortunately the question was answered as it was asked. Mr. Andrews noted that many audience members didn't see the "Ray" character in that fashion at all.

Indeed this ambiguity and its affect on Una is at the heart of this film as well as the play Blackbird upon which it is based. I generally am not happy when plays are translated into films but I found this adaptation to be quite the exception. The camera was able to extend the scope of the play to include scenes from the crucial events which occurred 15 years before the main confrontation which occupies most of the film.

A brilliant first film from director Andrews which will hopefully reach the wide audience it deserves.