En af Academy Award-vindende skuespillerinde Olivia Colemens mørkeste roller, i en film, der følger to meget forskellige karakterer og deres forhold til den vold, der dominerer deres liv. / One of Academy Award winning actress Olivia Coleman’s darkest roles, in a film that follows two very different characters and their relationships with the violence that dominates their lives.
Paddy Considines kritikerroste instruktørdebut følger historien om Joseph, en mand, der ser ud til at blive plaget af et ukontrollerbart raseri, og det usandsynlige forhold, han danner med en from kristen velgørenheds butiksmedarbejder Hannah (Olivia Coleman). Begivenhederne i filmen finder sted i et uspecificeret socialt boligbyggeri i det nordlige England og præsenterer en eksplicit dyster skildring af livet i det samfund. Hver karakter, man møder, er enten et offer for eller gerningsmand af ekstrem vold.
Dir. Paddy Considine / 2011 / UK / 1hr 32min / English / Subtitles: Danish
Denne film er en del af temaet “BRUTalisme”
“It’s funny how the colors of the real world only seem really real when you viddy them on the screen.” – Alex in A Clockwork Orange (1971)
How much is our perception of things shaped by the way it is presented in the media? Social housing across Europe, and the world, suffers from an image problem that directly challenges the vision behind its inception. In the years following the Second World War, the most respected architects and urban planners of the day experimented with new materials and modernist designs in order to create homes that would improve the lives of the working-classes.
Now these developments are increasingly facing demolition due to their reputation of violence and disrepair, their Brutalist design considered ‘ugly’ and undesirable. Almost as soon as they were built, a tradition in British cinema was established in which these buildings would often be the setting for films with violence and hardship as primary themes.
From dystopian sci-fi to social realist dramas, this programme traces the depictions of brutalist post-war social housing in film in order to provoke a discussion as to how and if these representations have impacted public perception of social housing and to what extent are these depictions accurate?