Console best movie i've ever seen.

Glimmerubro It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

Numerootno A story that's too fascinating to pass by...

Kaydan Christian A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Sindre Kaspersen English screenwriter and television and film director Dominic Savage's feature film debut which he wrote, premiered in the Panorama section at the 55th Berlin International Film Festival in 2005, was shot on location in England and is a UK-Ireland co-production which was produced by producer Neris Thomas. It tells the story about a 17-year-old Muslim immigrant named Naseema who lives in England with her parents and her older brother named Yuosif. When Naseema begins working at a wallpaper store she is introduced to an English boy named Adam who also works there, and almost instantly a connection arises between Naseema and Adam. As they become more acquainted they wish to see each other in private, and due to Adam's group of friends mostly being racist and Naseema's family are expecting her to marry a man who are of the same nationality and religion as they are, Naseema and Adam starts meeting in secret. Distinctly and engagingly directed by English filmmaker Dominic Savage, this fast-paced fictional tale which is narrated from multiple viewpoints though mostly from the two main characters' point of view, draws an invariably moving portrayal of an evolving and heartily romance between a boy and a girl who happens to not have the same color on their skin. While notable for it's naturalistic and atmospheric milieu depictions, sterling cinematography by English cinematographer Barry Ackroyd, production design by production designer Phil Rawsthorne, costume design by costume designer Justine Luxton and use of sound, this character-driven and narrative-driven story about love being disgraced by hatred where a girl is torn between her family and her boyfriend, and a boy between his friends and his girlfriend, depicts two merging and heartrending studies of character and contains a great and timely score by English composer Rupert-Gregson Williams.This eloquently romantic, sociological and tangible coming-of-age drama from the mid-2000s which is set in a city in England during the early 21st century and where an immigrant who has begun a relationship with an English girl named Michelle begins condemning his sister after learning that she has done the same thing and an intolerant conflict breaks out in the streets, is impelled and reinforced by it's cogent narrative structure, substantial character development, efficient continuity, use of music, unsentimental and authentic depiction of its central theme, graceful scenes between Naseema and Adam, memorable acting performances by English actress Samina Awan and English actor Tom Hudson in their debut feature film roles and the fine acting performances by English actress Nichola Burley and actor Wasim Zakir in their debut feature film roles. A heartfelt and emotionally involving love-story.

Rob Ainsley To judge by the comments here, it's one of those films you indeed either love or hate. I loved it; to me, coming from the north of England, the characters and dialogue were utterly convincing and compelling. (Maybe because the decent, fair-minded chap who ran the wallpaper shop reminded me of my Dad... unfortunately some of the other characters, with their odious and ignorant views, I recognised too.)To me, the only problem was the over-reliance on coincidences (oh, so Greek drama). But I liked the fact that many of the expected clichés were avoided.So, Hollywood it ain't. If you like your films smartly scripted and smoothly acted, you may well hate the Loach-style rough edges. But for me, this raw and bluntly honest film was one of the most powerful pieces of cinema of the year. And, actually, excellently acted. Throughout I kept saying, that's what it's like. That's just what they do. That's exactly what they say. And, by gosh, I wish it wasn't.

gordon-19 I find it difficult to comprehend what makes viewer's feel this is a powerful movie. I would guess that the main intention of this film would be a character study and the effects of racism in a British community. It is therefore all the more disappointing that all the characters are two dimensional and the acting is at the level of a college performing arts course. I'm always sceptical of "improvisation", another word for being too lazy to write a decent script. I was embarrassed by the performances and sat in an audience who laughed when they surely were supposed to be moved by the story. Racism is a serious issue but I think a subtle approach in cinema works far better than laying it on with trowel.

ikanboy The movie wears it's message on it's sleeve. It's about racism in England. No, not Black v. White, but Brown v. White. A Pakistani British girl gets a job in a wallpaper store. There she is welcomed by all but the boy to whom she is assigned to as a trainee. He is surly, largely mute, and it's clear he hates "Pakis." In the mean time we are introduced to an older Pakistani male who works at a factory and has to contend with the racial digs of his fellows. One man, a manager, hesitantly engages him in talk, but he shows his prejudices with his ignorance of the other man's culture. The message is clear: If you are a Brit, then there is only one cultural standard and that is working class neanderthalism.Soon enough we see the people are linked. The girl is the sister of the Pakistani man, and his strictures to her are clear: don't date "Goras(?)", i.e. local Brits. It is also clear that these rules apply to her but not to him.The girl befriends another girl at work, who is clearly out for wanton pleasure. This friend turns out to be the daughter of the man who is the manager of the Pakistani male. When the girls are seen walking home by the Pakistani male he chides her for "hanging out" with the wrong sort.So far so good. Is the movie going to show us the British working class ethnocentrism, and amorality, clashing with a more rigid, religious imported culture? Yes, but it's also going to show us the hypocrisy and male chauvinism of the Pakistani male.To complete the circle and connect all the characters the Pakistani male picks up the friend of his sister. This is done in a manner highly parallel to picking up a whore; she sits on a bench with a friend, all tarted up, and they get into the car of whomever that drives by. The Pakistani male is right: she is the wrong sort, but she's the sort that turns him on, and to his chagrin he eventually falls for her.In the mean time we see more into the reasons for the Pakistani girls being ignored by the boy at work. His brother and mother are proud racists. The brother makes it clear that "shagging" a "Paki" would be grounds for expulsion from the "white" race, and his mother hates them because she blames them for having more entrepreneurial skill than she does.It is therefore inevitable that he will make a pass at the Pakistani girl, if only to taste forbidden fruit.Having set us up, it is now only a question of how the movie will bring all these inevitable collisions together, and whether anyone will walk away from the smoke! Collisions do occur, and people get beaten up, but the young couple, now deeply in love, cast off away from their families, in search of a more tolerant lifestyle. Nothing is said of the inevitable cultural and religious clashes ahead of them when the love glow ebbs, but at least they don't end up committing suicide! The message is clear: love wins out from intolerance and familial dark holes! It's a nice message if an overly optimistic and unrealistic one.