“Una” should be a searing two-hander, a showcase for two performers to dissect gender roles, sexual abuse, and more. “Una” works when Mendelsohn and Mara are allowed to look in each other’s eyes and convey years of rage and regret, and less so when it feels like the film is actively trying to get in their way. However, it soon feels like “Una” the film can’t sit still. Coz the ending was so deeply intriguing. [4] In May 2015, Film4 joined the film as a financier. She grew up lonely and confused, living with her mother in the same house they lived in before the incident, and in her adulthood, now takes solace in going out for one-night stands and returning home before dawn.
Convinced by a misunderstanding that Ray had abandoned her in the coastal hotel room where he had just taken her virginity, she wandered the streets distraught and bewildered, to be returned home by police. They quarrel: he insists that he was genuinely in love with her, is not by nature a hebephile, and had not been "grooming" her. [21] It was released on October 6, 2017, in the United States. She is still emotionally wounded from what happened. In the play, Ray (Ben Mendelsohn) and Una (Ms. Mara) are a sex offender and his victim. Is Ray a broken man who made a horrible mistake or a lifelong predator? As they recollect the past, an uncomfortable emotional intertwining seems to occur; the scenes that leave Ms. Mara and Mr. Mendelsohn alone are, tellingly, the most interesting and effective ones. A young woman, Una, arrives unexpectedly at an older man's workplace looking for the truth behind the three-month sexual relationship that occurred when she was a 13-year-old child and he was a next-door neighbor and trusted friend of her father.
But director Benedict Andrews and writer David Harrower, who adapts his own play Blackbird, are constantly diffusing their own film, likely in a desire to make it more “cinematic” and less “theatrical.” This is an overblown and over-used concern. In flashbacks, we see glimpses of a young girl, a 13-year-old Una, with a younger Ray, and the fuzzy picture becomes clearer before Una puts words to it.
Una wanders upstairs, where she curls up on the bed of a teenage girl - the daughter of Ray's wife, from an earlier marriage, also aged about 13 - who is obviously loved and cared for. In a matching cut, Rooney Mara, playing the same character years later, stands in a dark room with strangers as strobe lights flash and a synthetic percussion track throbs. Such is the case with “Una,” which I would imagine was unforgettable on the stage but is difficult to pin down on the big screen.
The problem with “Una” is structural. I felt bad for Una, because Ray never admitted the damage that he has inflicted in her life. Una and Ray – Ending Explained. He served four years in jail for his crime, treated as the lowest form of humanity by fellow inmates. for strong sexual content, nudity and language, Memory House by Brazilian Director Joao Paulo Miranda Maria Wins the Roger Ebert Award at the 56th Chicago International Film Festival, High Powered: Aaron Moorhead and Justin Benson on Synchronic, Highlights from Ebert Symposium on Future of Movie Industry, Ebert Symposium 2020: Part 2 Streaming Today, October 22nd, 2020. Great actors Ben Mendelsohn and Rooney Mara do their best to elevate the frustrating “Una,” but their director doesn’t seem to understand what he has in these two performers, constantly pulling back from their raw emotion and complex characters. However, something tells me that it’s not a happy ending. The facts came to light on the eve of their planned elopement abroad.
It's obvious that Ray and Una are still attracted to one another. The thematic undercurrent is there—this is a relationship hidden from society—but it’s underdeveloped and distracting. This movie begins with a shot of a girl in her early teens, sitting outside a house, then going into the yard next door, turning a corner, and seeing … something. Una walks off into the dark.
[5] In June 2015, Indira Varma, Tara Fitzgerald, and Riz Ahmed were all confirmed to star in the film. He tells Una he is now married to a woman his own age.
In a confrontational meeting when she is an adult, they go over the knotty circumstances of the abuse, which culminated in their running away together. It holds a 76% approval rating on review aggregator website Rotten Tomatoes, based on 98 reviews, with an average rating of 6.77/10.
Una (Mara) is introduced in the way young, “troubled” woman are so often in independent cinema, dancing at a club and then having a quick sexual encounter in the bathroom. She invites herself to Scott's flat, where she seduces him. Well-captured by Mara, Una is a maelstrom of emotions, still sometimes looking like the 13-year-old girl who’s more upset that Ray left the night they had sex than he abused her in the first place. [14] In November 2015, IndieWire released another image from the film. Una is a 2016 drama film directed by Benedict Andrews based upon the play Blackbird by David Harrower, who also wrote the film's screenplay. [6] Jed Kurzel composed the film's score. It stars Rooney Mara, Ben Mendelsohn, Riz Ahmed, Ruby Stokes, Tara Fitzgerald, Natasha Little, and Tobias Menzies. Ray and his wife are hosting a large party, and he is shocked to see Scott and Una arrive. Why is that fair? (A side note: two of the leads, de la Rua and Florian, disappeared during their trip to the United States for the film's U.S. premiere at the Tribeca Film Festival in 2012. [12], In September 2015, Variety released the first image from the film. At the end of the film, he confesses his crimes to his lawyer Harry (Stephen Bogaert), who mistakes him for another colleague and laughs off Bateman's concerns as a joke. Una is a 2016 drama film directed by Benedict Andrews based upon the play Blackbird by David Harrower, who also wrote the film's screenplay. The Scottish playwright David Harrower adapted his two-character play “Blackbird” for the screen, substantially changing it to include flashbacks. The wife and Una talk briefly, and she drops a hint that their marriage is not entirely happy (earlier, we saw Ray have sex with his wife with his eyes closed on getting home).
We meet Ray’s co-worker Scott (Riz Ahmed), who may get fired that day, and Ray and Una have to hide from his boss.
Their performances are tightly focused and unflinching; too bad they are surrounded by a lot of heavy-handed, poorly aimed cinematic showing off. They're both fantastic. Also if you know more movies like this, enlighten me. The film ends with a frozen shot of the two of them on the bike which sums up all we have learned about them.
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