Possibly her workaholic character explains her somnambulistic behaving fashion - she is just worn out. I can not figure out whether Mara is really a fantastic actor or not, but she is definitely cornered the market in enjoying 'damaged young girls', as is once again true in Una, manager Benedict Andrews' version of David Harrower's controversial drama Blackbird. 15 decades after, Una monitors down Ray, currently going under the name 'Peter', also faces him at his present office.
Originally, Ray supposes Una has come searching for revenge, yanking her purse from her hands in dread it comprises a pistol or another weapon. It soon becomes evident however that Una's anger in Ray stems not from his bodily abuse, but in the fact that he walked away from her. As bizarre as it might look, Ray remains the love of Una's lifetime, and she expects to find out where they left off. I can not talk for Harrower's drama, but the movie he's fashioned as a scriptwriter indicates he's scant interest in anything besides exploiting a shocking topic. Una provides little in the means of insight into either a pedophile or his victim, along with the strained and theatrical dialogue dilutes the feeling of realism necessary to get a story of this type. You will find over a few character activities that strain credulity.
An impromptu sex scene involving the grownup Una and Ray at the locker area of the latter's office is accidentally laughable, a stage where the movie can not recover. More baffling is a choice on the section of Ray that puts him up for vulnerability by putting Una in the maintenance of co-worker Scott. It will not help that her personality is one-note and under developed, yet another in cinema's extended line of 'mad' girls. More persuasive is Ruby Stokes, that performs with the 13-year-old Una at flashbacks that prompt embarrassing questions concerning how much of this movie's topics the kid actress was subjected to. The best screen adaptations of stage plays are usually those who easily accept that they are adaptations of stage plays and settle on taking advantage of a restricted cast in a restricted site.
In a vain effort to include cinematic price, Andrews' movie adds a pointless and distracting subplot about Ray burning bridges with his companies, an action that contributes to himself and Una scurrying about his labyrinthine office to evade capture. The last act, where Una arrives unannounced at a party thrown in the home Ray shares with his wife and his young stepdaughter is initially fraught with anxiety, however Andrews and Harrower neglect to exploit its potential, and we are left wondering just how much more grasping the film could have been had it embraced that placing because of its entirety.
Wallpaper from the movie: