Sweet Sue
- 2023
- 1h 39min
Une femme de retour sur la scène des rencontres entame une relation avec un mystérieux motard lors des funérailles de son frère, dont le fils s'avère être un influenceur des médias sociaux.Une femme de retour sur la scène des rencontres entame une relation avec un mystérieux motard lors des funérailles de son frère, dont le fils s'avère être un influenceur des médias sociaux.Une femme de retour sur la scène des rencontres entame une relation avec un mystérieux motard lors des funérailles de son frère, dont le fils s'avère être un influenceur des médias sociaux.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 2 nominations au total
Commentaire à la une
For us long-time Mike Leigh aficionados, son and writer-director Leo's 2023 feature debut inevitably draws comparisons with the 'elder'. For all I know Leo may have constructed Sweet Sue - an offbeat drama in which Maggie O'Neill's titular 'mostly sweet' re-entrant to the dating game effectively finds herself 'mediating' between Tony Pitts' taciturn, introverted biker, Ron, and his flamboyant influencer and dancer son, Harry Trevaldwyn's Anthony - without any conscious reference to dad's work, but that is probably a stretch too far. That said, whilst the pacing, small-scale (working class) domestic setting and variable character empathy fits with Mike's oft-displayed traits, Leo's film differs in terms of a more eccentric narrative style, featuring moments of jump-cut editing and even hand-held close-ups.
Character-wise, each of Sue and Ron certainly could have been a central pairing in one of Mike's films (High Hopes springs to mind and Pitts' bearded visage calls to mind Phil Davis in the earlier film) and it is this 'delicately poised' and (ultimately) under-developed relationship that is at the heart of Leo's film. On the other hand, it would be difficult to pinpoint a direct equivalent (or even comparator) with Anthony's 'out there exhibitionist' - even if David Thewlis' Johnny and Marianne Jean-Baptiste's Pansy outwardly (at least) display a similar level of self-confidence. Leo, though, is likely more in touch(?) with the superficiality of our tech and social media-dominated state of being and his writing of Anthony (and, indeed, both Sue and Ron) is perceptively human and his characters are convincingly delivered on screen by O'Neil, Pitts and Trevaldwyn. Other elements of Leo's 'modern day set-up' which also ring true are the casting of a 'sugar daddy' for Anthony and giving us Nick Holder's 'angry man' (railing at all and sundry) Gordon - indeed, another differentiator with Mike is the amount of swearing here.
So, not a classic by any means, but enough observational accuracy and 'character curiosity' to keep this viewer moderately enthused.
Character-wise, each of Sue and Ron certainly could have been a central pairing in one of Mike's films (High Hopes springs to mind and Pitts' bearded visage calls to mind Phil Davis in the earlier film) and it is this 'delicately poised' and (ultimately) under-developed relationship that is at the heart of Leo's film. On the other hand, it would be difficult to pinpoint a direct equivalent (or even comparator) with Anthony's 'out there exhibitionist' - even if David Thewlis' Johnny and Marianne Jean-Baptiste's Pansy outwardly (at least) display a similar level of self-confidence. Leo, though, is likely more in touch(?) with the superficiality of our tech and social media-dominated state of being and his writing of Anthony (and, indeed, both Sue and Ron) is perceptively human and his characters are convincingly delivered on screen by O'Neil, Pitts and Trevaldwyn. Other elements of Leo's 'modern day set-up' which also ring true are the casting of a 'sugar daddy' for Anthony and giving us Nick Holder's 'angry man' (railing at all and sundry) Gordon - indeed, another differentiator with Mike is the amount of swearing here.
So, not a classic by any means, but enough observational accuracy and 'character curiosity' to keep this viewer moderately enthused.
- keithhmessenger
- 24 mars 2025
- Permalien
Histoire
Le saviez-vous
- AnecdotesThe phone numbers on Sues shop and van are different and neither is a valid number.
- Bandes originalesGive Me the Money
written by Marc Jacson Burrows, Kemar Shirley
Meilleurs choix
Connectez-vous pour évaluer et suivre la liste de favoris afin de recevoir des recommandations personnalisées
- How long is Sweet Sue?Alimenté par Alexa
Détails
Box-office
- Montant brut mondial
- 14 417 $US
- Durée1 heure 39 minutes
- Couleur
- Rapport de forme
- 1.66 : 1
Contribuer à cette page
Suggérer une modification ou ajouter du contenu manquant