Helen

To all those amateur critics out there, (and I am one of them...), not all films need to be acted and directed in the same way.

This was an absorbing, mesmerising film. Beautifully shot, acted, and directed with the intention to empathise with the single character, 'Helen'.

Yes they used stilted narrative and 'wooden' characters around her, but wasn't this intentional? To draw the viewer into Helen's view of the world and people around her.

It may not appeal to everyone but for me it worked.

I would recommend this film to anyone that is willing to look at the world through another persons eyes.

I agree with jlon and arnold here. This film is really tedious, dull, leaden, plodding, nothing really happens... The comparisons someone made with Antonioni are good ones, somehow his films are riveting. Because they re cinematic. There's such attention paid to each shot, which slowly builds a mood and atmosphere. This isn t cinematic, it feels very limited. Its hard work, for no rewards. Antonioni s films are hard work, but somehow they pay off. This just got on my nerves. One critic calls it 'a resurgence of UK art cinema.' Gawd help us in that case. The acting just isn t, it plays like the characters are reading an autocue. Maybe this was deliberate. I ve decided now to boycott all British and Irish 'art' films excepting the superb Shane Meadows. They re just not worth wasting time with.

Saw this at the 2008 Sydney Film Festival so apologies if I'm short on detail.

This film does look good, with an all-pervasive dreamy quality. That said, the vocabulary of camera movements is eventually too meagre and repetitive. At times it seems that every shot is a slow dolly.

Like Bloomer wrote in hir comment, the acting and dialog is peculiarly stilted. I initially took this for a deliberate ironic or alienating effect and I read the film as a satire of English New-Labour era 'caring'. The scenes with the teacher, policewoman and social worker all stuck with me for this reason.

But by the end I was forced to conclude that the awkwardness was unintentional and I that I have an overactive imagination. As Alan Donald commented, this film's virtues are simply overwhelmed by bad acting and direction.

The film-making team deserved ten points for having the right connexions to fund this film. Sadly have become so obsessed with shooting in scope they have forgotten any other element that might make the end product interesting. British critics love anything to do with identity. Make a film remotely along the lines of Hitchcock's Vertigo and they will fall over themselves praising it to heaven. Endless shots of tree leaves . A lead actress with the total on screen charisma of a potted plant. Antonioni used spacial dynamics to stunning effect long before this pair turned up. I thought I would go nuts if another shot arrived with a long slow dolly shot. But hey this is the sort of thing lottery funders and arts councils love to cultivate. Dull. Badly acted. It should have stayed as a short.

A barely funded film, the only reason I even came to know of Helen's existence was under the recommendation of a trusted friend. It is the feature debut of film-making duo Lawlor and Molloy, previously known for a series of rule-dictated shorts; rules to which Helen also abides.

A seemingly uncomplicated story, Helen's eponymous character is a care- home raised college student struggling to get by in a world where she has known neither family nor friends. She is hired to play the part of Joy, a missing girl from her college, in a police reconstruction of her disappearance. As Helen reenacts the life of Joy, she sees a world she has never known, and finds herself considering her own identity.

The film's slow motion credits introduce us to the long takes, harrowing score, and unsettling beauty of what we are soon to see unfold. The eerie music which becomes synonymous with the central theme of identity is simultaneously uncomfortable and entrancing, drawing us into the film whilst giving the sense it may not always be a pleasant experience. Nay-sayers have cited some of the film's less convincing performances as a deterrent, but the central performance is sufficiently strong, and often moving, to hold everything together in the face of the amateur actors. The effect of the long takes is wonderfully gripping, helping us descend with this character to her new role, and drawing us into the splendour of the slow pacing. The cinematography is undoubtedly the film's area of expertise, the effulgence and mastery with which the directors convey that which goes unspoken truly fascinating and endearing. Townsend's performance meshes with the melancholy of her character, crafting a beautiful and heartbreaking impression of a girl lost in life. Her fragility and dark wistfulness is perfectly portrayed, giving us a realistic and relatable character.

A superbly shot piece bearing all the symptoms of genuinely transcendent cinema, Helen is an unforgettable film, and one which explores its ideas in a subtle, moving, and inspirational manner.