Blessed

Ana Kokkinos' Blessed is a heartbreaking tale of the love between mothers and their children, and is one of the finest achievements of Australian cinema. The flawless screenplay follows a number of characters through a single day, deftly telling their stories from different points of view until we develop a full understanding of the day's events. Geoff Burton's stunning cinematography focuses on unexpected things – a pattern on a wall, a flash of fabric – and then moves in close to the characters, creating a rich visual texture. The music of Cezary Skubiszewski is one of the finest movie scores of recent years, gently enhancing the drama and the brilliant performances of the actors. The entire cast is superb, but I must make special mention of Frances O'Connor, who gives the performance of her life, and the splendid Monica Maughan, whose brief appearance in the film is truly unforgettable. Blessed represents a triumphant return to form for Kokkinos, after the disappointing Book of Revelation, proving that the astonishing Head On was no fluke. Her uncompromising, insightful, deeply humanist eye makes her one of the most exciting directors working today. Blessed is a deeply moving film that you will never forget, and deserves to be showered with awards.

I attended the International Premiere of "Blessed" at the 2009 Toronto International Film Festival. Many of my favorite films have come from Australia, so I had high hopes going into "Blessed," and was not disappointed. This is just the kind of film I look for -- a sweet little gem that will make you laugh and cry.

"Blessed" follows five mothers and seven kids -- three boys and four girls -- aged 14-18, as they wander the streets after having run away or been abandoned by their parents. Left to fend for themselves, each teen's plight is poignantly portrayed by a talented young group of Australian actors culled from thousands. Mostly unknowns, I did recognize the terrific Harrison Gilbertson as Daniel, who starred in "Accidents Happen," one of favorites from this year's Tribeca Film Festival. The mothers are appropriately anguished at the apparent loss of their loved ones, not knowing whether or not they'll ever come home. The vulnerable teens fall prey to their own as well as others' desires, and there are enough twists and turns to add additional layers to an already compelling set of stories. "Blessed" left me with a smile on my face and a tear in my eye. It's a superb character-driven study of the bond between mothers and children.

This film is fantastic. Beautifully crafted, brilliantly acted, comes together incredibly.

I totally disagree with the first review of Blessed. I found the film utterly absorbing and very moving and I was totally caught up in the unfolding dramas of the children's (and their mothers') lives. I don't agree that the story was clichéd or the characters one-dimensional. Other members of my film discussion group said the same thing - not one person found fault with the film. It was bleak and sad but certainly spoke to me as a mother and former teacher. The young actors who played the children were marvellous and the adult actors played their parts in a very low-key and realistic way. I barely registered the fact that some of them were among Australia's top actors. As I came out of the cinema I was thinking, 'There but for the grace of god go I...' Anna Kokkinos has done a wonderful job. The cinema I saw it in was full, and at the end hardly anybody left while the end credits were rolling (most unusual). You could have heard a pin drop. I highly recommend this film.

I was tremendously moved by this movie from Australia, and the audience at the London Film Festival were very appreciative of director Ana Kokkinos who attended to introduce the film and for a Q&A. Blessed is based on an Australian play called "Who's afraid of the working class" which was produced in 1999. So the project to make it cinematic has taken the best part of 10 years for Ana Kokkinos. Ana's focus in the film was towards the relationships between mothers and their children (or blessings), and stripped out anything from the play that didn't fit in that agenda.

The film is simply that, an examination of the bond between mother and child, with a strong backdrop of contemporary Melbourne. I think it was a challenge to try and strip the theatricality out, but that seems to have been pulled off really well (both with the structure of the film which is very cinematic and the focus on the close-up of the human face, which is a cornerstone of cinema). There are around five different stories here, which have some degree of connectivity, which avoids the choppiness you can get in a typical portmanteau film. Mostly we are seeing children on the streets of Melbourne, instead of in school, in some degree of confrontation or peril. There is a structure so that you can see the same story twice, once from the children's side and once from the adult's side.

I think the cast is cracking. Frances O'Connor as Rhonda if electric in this movie, like a force of nature, a flaming creature. She does some terrible things, they are sins of omission more than anything else (though they are still heinous). There is a scene in this movie where heavily pregnant Rhonda dances in a nightclub after a huge incident, whilst her social worker looks on in awe and disbelief. That's the attitude of the audience mirrored. Rhonda's alive with sexuality and agony throughout the whole movie, so apart from the way most people live in their ultra-sanitised lives where they've tried to remove everything animal. The social worker is a proxy for the middle class audience member, who is university educated and has erased their pagan side.

The level of confrontation in the movie is astonishing to anyone (like myself) who lives in a confrontation-phobic milieu. A police detective in a darkened interview room, full of frustration and rage, tells two truant girls how miserable they are and stupid, and how they've got no talent going for them and that they know nothing, and will never amount to anything.

Cezary Skubiszewik music is absolutely haunting, it's played over the opening scenes where we see all the children asleep in their beds. You know right then that you're in for a very special movie. It's a raging torrent of love and hatred and pure emotion that leaves you bewildered and touched by the dilemmas and hideous positions that the characters find themselves in.

I don't have any trouble in saying that this is the finest film I saw in a programme of at least 25 films, including the eventual winner of the festival, Jacques Audiard's Un prophète.