Una (2016) Reviews

• You have to watch it til the end

  dingane2018-05-12

  I think most of the negative comments I read here are people mad at two things. First, they're mad that Una herself seems ambivalent about the relationship she at 13 with this man. Part of her is mad at Ray, but part of her clearly misses him. It even kind of looks like maybe she's only mad because he left her, not because he statutorily raped her. Second, it allows Ray the space to say that he's not really a pedophile, but just loved this particular girl at that time. It clearly wants the viewer to consider whether this was a truly loving relationship that was only complicated by the age issue. People justifiably do not want to consider such a thing and, if you're like my wife, turned it off. I came back to finish it because I was interested to see how it was going to resolve. And the acting and cinematography are phenomenal. Here's where the movie saves itself and proves it isn't what my wife thought it was. You get your first glimpse at true Ray in the warehouse when he starts saying stuff to Una like "You were just so wise for your years." That's the kind of manipulative crap that pedophiles use to "groom" their victims. It harkens back to past pedophile Ray. It passes quickly, but it's clear that there's more to Ray than he's been showing us. I'm skipping a bunch. In the end, they go to a garden party at Ray's house where Una discovers that he married a woman who has her own very cute 13 year old daughter. Suddenly Ray sees that he's in danger. He follows Una out and starts telling her again how special she was and how he's never been attracted to another young girl etc. He's clearly full of shit. At that moment, Una realizes that he's been full of shit for however many years. She realizes how stupid she's been for holding a candle for this guy, and she leaves, feeling disgusted. Ray turns around and everyone saw *something* happen. He's got some explaining to do and it's probably not going to go well for him. But here's why I love this movie. It turns the *viewer* into Una. At the beginning we're thinking this guy is a creepo, but maybe it was just this momentary thing and he's not *really* a pedophile. Maybe he even really loved her, even if having sex with her was wrong. The film forces us into Una's ambivalence. It's only in the last few moments that we do a 180 along with Una. She and the viewer realize in the same moment that Ray is and always has been a predator. If you don't watch it until the end, you might think it's defending statutory rape. It's not. It's just trying to take you on a journey with a woman who is still on a hard journey, processing her abuse. For that reason, it's a powerful film

• a tense essay on moral boundaries

  CineMuseFilms2017-06-25

  Conventional genre movies work their magic almost entirely through manipulating stereotypes. But many powerful movies work in reverse: they deconstruct stereotypes to challenge our boundary perceptions. Themes like feminism, racism and nationalism, are regularly pulled apart to see what makes them tick. In recent years, child sexual abuse has been in the spotlight and it is overwhelmingly treated as a moral absolute. However, the film Una (2016) challenges the norm by exploring ambivalences in a case of blatant abuse. In doing so, it places the audience squarely on the judge's bench. Adapted from the acclaimed 2005 stage play Blackbird, this tense drama-thriller explores the moral ambiguities of a criminal act that occurred 15 years ago between 40-year old Ray (Ben Mendelsohn) and 13-year old Una (Mara Rooney). The emotionally immature Ray was obsessed with the lonely and precocious Una over a three-month relationship before having 'consensual' sex with her. By chance, the incident was discovered and he spent four years in jail. Since then he changed his name and has tried to restore his life. Meanwhile Una's world spiralled into an emotional void. Now 28, she has tracked him down and unexpectedly confronts him at the factory where he works. Instead of attacking him for the abuse, she demands to know why he abandoned her after their one night together. They continue talking beyond the factory's closing time, then she tricks another employee to take her to Ray's home where his girlfriend is hosting a party. At this point, the intensity of the factory scenes becomes diluted and the sparring inconclusive. This is an explosive mix of issues, personality and circumstance. The film consists mostly of their verbal sparring about the illegal 'affair' with dialogue ranging from hysterical, passionate to icy cool within an industrial setting that is claustrophobic and alienating. It is beyond Ray's emotional capacity to understand what Una wants, while she vacillates between wanting to restore her juvenile obsession with him and wanting to see him wallow in guilt for his crime. Every time we feel contempt for him, we see a piece of the emotional puzzle indicating human weakness but not evil. Every time we admire Una's determination to hold Ray to account, we see a glimpse of her complicity and manipulation. Mara Rooney and Ben Mendelsohn fill their characters with confusion and remorse. At the same time, they depict genuine emotional connection with each other despite the legal, emotional and moral prohibitions that still frame their lives. Their performances are brilliant. At one level, this film is about the horrendous impact on victims and the abrogation of responsibility that occurs in cases of child sexual abuse. At another, it pulls apart the stereotype of victim and abuser to shed light on how it can happen and its painful aftermath. Some audiences may be repulsed at the level of sympathy shown to the perpetrator and the implicit sharing of responsibility between a juvenile and an adult for what is entirely an adult crime. Others may be shaken by the idea that such crimes may have any moral ambiguity at all. In any case, this is brave and provocative cinema that cuts across the guilt versus innocence binary.

• Remarkable translation of a play to screen

  coonyp2016-09-15

  After this film was screened at the Toronto Film Festival today, an audience member asked director Andrews about the skill of lead actor Mendelsohn in his portrayal of such a deceitful and manipulative character. The host repeated the question without the adjectives but fortunately the question was answered as it was asked. Mr. Andrews noted that many audience members didn't see the "Ray" character in that fashion at all. Indeed this ambiguity and its affect on Una is at the heart of this film as well as the play Blackbird upon which it is based. I generally am not happy when plays are translated into films but I found this adaptation to be quite the exception. The camera was able to extend the scope of the play to include scenes from the crucial events which occurred 15 years before the main confrontation which occupies most of the film. A brilliant first film from director Andrews which will hopefully reach the wide audience it deserves.

• Powerful? Yes. Fearless? Yes. An easy watch? No

  TheLittleSongbird2017-09-09

  Tackling a difficult and sensitive subject on film is very brave, and also important in showing how awful sexual abuse is and the damaging effects it leaves on the victims. While a difficult subject, generally, due to the amount of ignorance and generalisations it garners (with victim blaming for example), it needs to be addressed more. Like my fairly recent (a couple of months ago) viewing of 'The Girl in the Book', 'Una' is a tough watch but overall very rewarding, being beautifully done and emotionally powerful. Based on David Harrower's play 'Blackbird', although not a victim of sexual abuse, 'Una' really resonated with me and shows no signs of being afraid to show the full effects and not trivialise it. It also captures the claustrophobia of the play so that there is plenty of tension, but does it in a way that opens things out and not make it feel stage-bound (a danger with films/television translated from plays). 'Una' is not flawless. It does drag somewhat in the middle act and the shifts from past to present day to start with are not always clear. Otherwise, there is very little wrong with it and it does a huge amount right. It's a good-looking film, being very nicely and atmospherically shot and lit. The music is never intrusive or too low-key, it doesn't overbear the drama while still having presence and in no way does it feel inappropriate. Benedict Andrews directs with a suspenseful touch, passion for the subject and potent realism, he doesn't allow the film to hold back nor does he allow it to go overboard with the unsubtle. 'Una' is not always subtle but that is not an issue, the subject itself isn't subtle either. The script is taut and poignant, with the confrontation between the present day Una and Ray having so much harrowing truth. What really makes 'Una' particularly good are the storytelling and performances. The story may drag in the middle at times, but the final act is electrifying and logical, not trivialising the effects of the abuse like the final act of 'The Girl in the Book' did and rings true far more. The confrontation is particularly harrowing while the main characters' thoughts, darkest desires and motivations are just as frightening, complex and difficult to fathom. On the most part, the past (through flashbacks) and present day time-lines are structured clearly and beautifully intertwined. Rooney Mara and Ben Mendelssohn's performances are positively on blistering fire, particularly Mara, while that of Ruby Stokes is also hard to forget in the best of ways. In conclusion, not quite one of my favourites of the year or ever, but powerful and brave film and that it was not an easy watch, considering the subject it's portraying, worked in its favour rather than against it. 8/10 Bethany Cox

• Shadow of love, brutal charm & broken promise

  Raven-19692018-01-24

  Fifteen years after the crime and Ray still pulls at the heartstrings of Una. It is the shadow of love, a brutal charm and broken promise that brings her back to confront him in search of answers. In flashbacks to a Ferris wheel, courtroom and cottage by the seashore, the emotional carnage of two fractured lives is gradually revealed. Una struggles to find meaning in the answers provided by Ray as well as those from inside her heart. This character driven psychological thriller stars Rooney Mara and Ben Mendelsohn. Each actor specializes and excels in such roles about damaged psyches, and they continue to shine here. Wonderful cinematography, direction and music contribute to heighten the emotional impact of the story. The film is based on the play Blackbird by David Harrower. Just released to Netflix snail mail catalog.