Don't listen to the Hype. It's awful

This is a must-see and one of the best documentaries - and films - of this year.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Sally Potter's Yes uses various cinematic devices in order to tell its story, but for the most part, they do not lead the film. The most obvious device to identify is the use of the iambic pentameter in the form of rhyming couplets, which Potter herself describes as a means of evoking the simultaneity of thought and feeling. For me, that every character speaks and thinks in rhymes conjures up an idea of everyone straining to fulfil the most basic expectations of a 'perfect' human being. This is best exemplified with the scene in which HE asks SHE: "From Elvis to Eminem, Warhol's art/I know your stories, know your songs by heart/But do you know mine?" This demonstrates his frustration at the differences between the two, and his displeasure at his culture being seen as subordinate to hers.Perhaps the strongest theme for me was the cleaners as all-seeing, all-knowing witnesses, in particular the cleaner who breaks the fourth wall to become our narrator (played by Shirley Henderson). As she weaves comparisons with microscopic bacteria and the larger worlds in which they reside, her hands toy with various manifestations of dirt. In this way, she is showing us how well she can know a person through the evidence they leave behind. In echo of this idea, every character in the film who cleans by occupation also looks directly at the audience, perhaps to extend the idea of constant surveillance beyond the universe of the film.

She is a scientist in a loveless and dead marriage with politician Anthony. He is chef in a London hotel. They meet one night when she comes to a dinner event with her husband. A small bit of flirting turns into a meeting and starts an affair between him and her that is passionate and intimate despite the gap between them in regards race, status, culture, background and income.I was brought to this film out of curiosity more than anything else. The plot summary said that it was written entirely in rhyming couplets and, despite not knowing quite what to expect I figured it was different and interesting enough to be worth a look. At first the novelty of hearing a modern Shakespearian dialogue distracted me from the story but once my brain got into the flow of the words I was taken into the characters and the story. Plot wise I can see why some viewers are put off this because the story is secondary to the characters and the dialogue. That said though, the characters are well brought out with the dialogue – which is something I didn't think would be that easy to do. I was interested in He and She although I must admit that the story wasn't there to make the most of them.Instead the film does delight in the dialogue and holding the audience with the flow as much as with the content. This was enough for me but I understand why this makes this film one of limited appeal which is why the votes on this site number in the hundreds rather than the thousands. The cast respond well to this across the board but none more so than Allen. She enjoys the lead and makes a lot of her character and her lines. Abkarian is almost as good but the film offers him less to do – he works well with Allen even though the dialogue does slightly limit the impression of passion between them. Supporting turns from Neill, Leonidas, Lewis, Johnson mostly produce good individual scenes while Henderson does a good job as the narrator, framing the film as one of several cleaners viewing the stage while also being on it themselves.Overall then a curio piece that is worth a look for what it does well. It flows well to the ear even if Potter's ability as director is somewhat less than that as the writer here. The cast deal well with the dialogue and aid the flow but the weaknesses in the narrative are there for all to see and will put many viewers off from seeing what it does well.

I found the trip to Cuba unconnected with the rest of the film, not pertinent to what has come before and not congruent with the characters, their idiosyncrasies or backgrounds. The Cuban trip stems out of background reminiscences during the dying aunt sequence and, to me at least, is completely uncalled for. First world (the "she" character certainly qualifies as such, at least) traveling to Cuba seems apt to happen out of just plain tourism or out of revolution-inspired soul searching (hardly the case in the family background of the "she" character), the reasons behind "she"'s trip are inconclusive and unconnected, as I said, with everything that has come before save for the dying aunt's reflections.Unless someone caught a different reason in the plot I overlooked ...

If I can not find the rhyme - fine, if I can not find the rhythm - hit me!It's been a while since I have cried watching movie. And by the end I sobbed like a child who has been told that Santa is not real. Of course, I'm lying just a bit, men do not cry in movies. It takes a woman to bring tears to man's eyes. Yet, I admit, the movie touched me deeply. I have been known to write a verse or two. And timing was suspiciously perfect, I just was looking for the answer, hoping 'Yes' could be the word I'll hear from the Goddess. God answered instead. He did not sound 3.14ssed but neither He was pleased with my quest. At least He was amused, you can bet on that. Let us return back to the movie. Some people, I guess, those who did not expect to hear a lengthy poem, might get upset after an overdose of verse. I pity them but only for a moment, it's all I've got for them, the rest is for my Goddess...I meant the time, my darling, not the pity. Yeah, yeah, yeah. All the time. OK, I'm sorry, little domestic troubles. I gotta go now. See it for yourselves. And hear too)))Bye-bye,Ghost Cat