Wonderful character development!

Better Late Then Never

if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Great movie. Not sure what people expected but I found it highly entertaining.

After finding herself alone and detached from society, an unnamed woman (Lotte Verbeek), backpacks through Ireland seemingly wanting to lead a solitary existence. With no more than the clothes she has on her back and some utensils like a small tent, the woman discovers an isolated house belonging to Martin (Stephen Rea) who also appears to be living his life alone.Nothing Personal tells an intriguing story of loneliness and this becomes quite apparent due to the less than normal use of dialogue, minimal use of accompanying music, controlled camera shots and the muted colour scheme which fills every scene. All of these traits slowly increase as the film continues, and from a visual and audio manner it is great to see the relationship between the woman and Martin develops. The narrative uses a linear flow but it becomes quite a shame that it is broken into noticeable chapters: each chapter begins with a black screen and a word, such as 'marriage'. Beyond hurting the flow of the film these wordings do not exactly portray the tangible events about to occur, but rather abstractly feel as if the director needed to guide the viewer into a particular point of thought in regards to the events about to take place. This guidance erodes at the loneliness theme of the narrative and inevitably makes it more difficult for the viewer to truly appreciate the resonance of story and the characters. An aspect which could have gotten a little extra information for story purposes is in regards to the history of both main characters. By the conclusion, the plot ultimately retains an element of uncertainty as it is difficult to truly gauge the strength of the conclusion on characters who the audience knows almost nothing about.While neither Verbeek nor Rea provide strong acting performances both are adequate in depicting the different means by which people approach a feeling of isolation. Rea's character takes a more traditional approach to the experience whereas Verbeek seems somewhat off-the-wall. This is not a bad thing as this helps to differentiate the characters and make them more unique, but some of her actions can seem rather odd in an almost overly poetic manner.Nothing Personal marks the full-length feature debut for Urszula Antoniak. Her control on scenes really does allow for some lovely landscape imagery, if muted by the colour scheme and harsh weather that surrounds the film, for the viewer to gaze up. It all works in enhancing the reclusiveness of the characters and the visual aids thus synch nicely with the thematic elements being explored. This naturalness is barred by some odd editing problems which occur infrequently.The film contains no violence while language is strong but used rarely. One scene could constitute as sexual in nature but otherwise there is none to speak of, yet breast nudity does feature in two or three scenes.There is an emotionally powerful story to be told within Nothing Personal and this is noted by a wonderful use of minimal music and colour variety, however it never really succeeds as expected. The narrative does a decent job on impressing the experience of loneliness onto the viewer but, it is unfortunate that Verbeek and Rea are unable to find the connection between their respective character and the narrative material, and the story can feel thin when the credits roll. Still, Nothing Personal is not a film which should be easily dismissed.

Belying its' title, 'Nothing Personal' is clearly a very personal film. Set on the west coast of Ireland, this two-hander explores the decision to leave virtually everything behind and offers a study of loneliness and reconnection through a gradual re-building of trust. With strong performances from both leads, I was increasingly absorbed as their characters unfolded, and the film is at its' best in the gentle humour and the slowly developing relationship between them; there are some lovely touches and moments, like stopping the wind blowing through the grass.Unfortunately this undoubted emotional engagement seems to have come at the expense of narrative coherence. Whilst I don't expect everything handed to me on a plate, it felt quite an uphill struggle trying to follow the Director's clues about what was actually happening. I couldn't quite work out if the chronology was chopped up or not, and I felt the main device of leaving history unspoken between the pair was unnecessarily allowed to overwhelm plot lucidity at times, leaving me with too many unanswered questions for it to be a consistently rewarding experience; I look forward to reading the future IMDb message board musings of more perceptive viewers. I suspect the film will be compared to Ondine – similar location and 'strong, mysterious, beautiful foreigner' theme –and whilst undoubtedly more cerebral and emotionally resonant, it's a shame that its' increasing tendency to veer into a somewhat perplexing swamp rather lets it down.If you have a penchant for 'hands swirling round in seaweed' close-ups, then this is certainly the film for you – otherwise, despite its' spirit and intrigue, the level of confusion means that for me, it won't stay in the memory for too long.

A very promising cinema debut. Though most of it is set on the Irish West coast, the whole film has an Eastern European feel to it: sparse dialog, little music, beautiful still shots of landscape and interiors and relentlessly grim weather. I don't find the choice of location at all artificial. If you want to get away from one of the most densely populated countries in the world on a budget, the West of Ireland doesn't seem such a bad choice.This is a film not so much about loneliness, but about being alone. While the female lead clearly had a very negative experience before the story begins (loss of a loved one or traumatic end of a relationship?), one senses that her being alone in this remote corner of Europe is something she deliberately chose and eventually prefers. It seems male viewers have problems with her arrogance and rudeness, while women (including yours truly) find her strong and full of character. Stephen Rea provides a perfect match for her impulsive behaviour and injects a gentle sense of humour. Fortunately their developing 'relationship' avoids romantic clichés.I like films that leave you guessing about the characters' inner thoughts, motives and actions. Combined with the powerful imagery, it makes this one linger in the mind long after the house lights have switched on. Although I found the last scene puzzling and out of place and while the storyline might have been tightened up here and there, I am certainly keen to see what Urszula Antoniak comes up with in her next project.

Lotte Verbeek and Stephen Rea, two highly accomplished actors, take on this thoughtful two- hander from Polish-Dutch débutant Urszula Antoniak about loneliness and the difficulty of human connection.Verbeek plays an unnamed Dutch woman who finds herself in Ireland after the end of her marriage and, having opted for an itinerant life free from life's trappings, ends up working on the isolated estate of recent widower Martin (Rea). They strike up an agreement: she will work for food on condition that neither exchanges any personal information about the other. The deal works for a while, but inevitably resistances crumble and the pair form a strong and, for the audience, steadily intriguing bond. Their personal as well as cultural differences clash and then mesh, leading to a co-dependency allegorical to most 'normal' relationships. Antoniak clearly has a good eye, and her performers give their all, but as the film's central premise – a Dutch girl wandering into the Galway countryside – is never explained (beyond the financial needs of a Dutch-Irish co-production), the result is perplexing rather than engaging. While Antoniak's restraint is admirable, from a dramaturgical perspective we are left to scratch our heads while indulging in shots of beautiful countryside. The result is impressive but curiously forgettable, and feels like the idea for a short stretched out into a feature-length film (albeit one that cleaned up at the Locarno Film Festival). We are certainly pulled into the head of the main character, but as her puzzlement and anomie for the world increases so does ours for the film, so any chance of redemption (or explanation) is not just missing, it's redundant. Antoniak is one to watch, but whether one could say the same for the film is not so much a question of quality but one of taste.