Yes, is an outstanding film by Sally Potter.
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Read this review by: Roger Ebert
"Sally Potter's "Yes" is a movie unlike any other I have seen or heard. Some critics have treated it as ill-behaved, as if its originality is offensive. Potter's sin has been to make a movie that is artistically mannered and overtly political; how dare she write her dialogue in poetry, provide a dying communist aunt, and end the film in Cuba?"“Now, about the dialogue. It is written in iambic pentameter, the rhythm scheme of Shakespeare. It is a style poised between poetry and speech; "to be or not to be, that is the question," and another question is, does that sound to you like poetry or prose? To me, it sounds like prose that has been given the elegance and discipline of formal structure. The characters never sound as if they're reciting poetry, and the rhymes, far from sounding forced, sometimes can hardly be heard at all. What the dialogue brings to the film is a certain unstated gravity; it elevates what is being said into a realm of grace and care.”
“There is her dying aunt, an unrepentant Marxist who provides us her testament in an interior monologue while she is in a coma. This monologue, and others in the film, are heard while the visuals employ subtle, transient freeze-frames. The aunt concedes that communism has failed, but "what came in its place? A world of greed. A life spent longing for things you don't need." The same point is made by She's housecleaner (Shirley Henderson) and other maids and lavatory attendants seen more briefly. They clean up after us. We move through life shedding a cloud of organic dust, while minute specks of life make their living by nibbling at us. These mites and viruses in their turn cast off their own debris, while elsewhere galaxies are dying; the universe lives by making a mess of itself.”
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