Director: Sean Ellis

Producer: Lene Bausager

Production Co: Left Turn Films/Gaumont

Starring: Emilia Fox, Sean Biggerstaff

Format: Kodak 35mm - Moviecam - Xtal Express Anamoprhic - 2.39:1


OFFICIAL SELECTION - Toronto International Film Festival

WINNER: BEST NARRATIVE FEATURE - Bermuda International Film Festival

WINNER: CICAE AWARD -  San Sebastian International Film Festival

WINNER: COUP DE COEUR - Sarlat International Cinema Festival



“The cinematography by Angus Hudson is breathtaking”

Tony Thio - The Urban Wire


“Cinematographer Angus Hudson infuses an arresting visual quality into the film from beginning to end that gives it a really special quality -- think the humour of "American Pie" mixed with the style of "Blade Runner." All of the footage involving the women completely motionless is astonishing, and the lovely final scene is a dazzler.“

Brian Rowe - Los Angeles Loyolan


“Ellis has a strong visual style, and working with cinematographer Angus Hudson, he’s crafted a gorgeous low-budget film that doesn’t look remotely low-budget.”

Drew McWeeny - aintitcool.com


“There may be nothing too innovative or refreshing about the premise of the story, but take a moment to look out for beautiful time lapses, mesmerising time freezes and other visually appealing shots by cinematographer Angus Hudson. You almost wish that this is your life, and everything could play out so visually enticing like this movie – it’d be nice if you were given the artistic liberty to undress people too.”

John Li - Movie Exclusive


“The first thing one will probably respond to, after the brief rampant nudity, is the exquisite cinematography by Angus Hudson. The florescent lights of a supermarket can often be a harsh place to properly light a film, another world from the softness of a wintry British night. Yet Hudson, with his limited budget, equipment and crew, finds a way to create a balanced uniformity to every scene regardless of location or time of day. An insert of Ben riding on a bus gets as much detail to visual quality as a scene inside an art gallery, where the audience finally gets to see the end result of Ben’s artistic efforts”

Edward Havens - Film Jerk


“The flaky humour of wage slaves serial-killing time is good, rude fun; the trompe l'oeil camera trickery creates a woozy sleepwalking effect; and Ellis and cinematographer Angus Hudson shoot the immaculate rows of paper towels and canned veggies with an Andreas Gursky–like eye for symmetrical splendour.  It's all so lovely, you'll want to go out at 3 a.m. to buy Cool Whip”

Jim Ridley -- The Village Voice


CASHBACK

2006 UK




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