WATCH THE TRAILER HERE
First, the Recap:
There is a statement that “time is the fire in which we burn”. It sounds so overtly ominous, and in many ways, it IS. We sit back, recalling all that has come and gone in far shorter order than we wish, longing to have MORE moments to relish everything we cherish. The reality that time cannot be held fast is hard enough from this perspective, made even more difficult when something we are WAITING for only makes time an even bigger adversary?
An older couple, Ruth (Lizzy McInnerny) and Juliet (Suzanna Hamilton), are experiencing their own personal, and deeply impactful, struggle with not only time, but with acceptance. As a same-sex partnership residing in 2013 Britain, their desire to consummate their love via marriage is stymied by a pending vote that could either legalize, or not allow, it. Facing other opposition to it on the home front, there also remains one other critical factor….the specter of Juliet’s illness….and time they may not have.
Next, my Mind:
Poignantly stirring within your heart and soul, socially and culturally relevant to our times, and undeniably compelling in its portrayal of abiding love, the weight of malady, and the desperation of decisions made with a limited timeframe with no guarantee of the outcome, this amazing, well-written, astutely executed short film from writer/director/producer/executive producer/editor Kasra Karimi, executive producer Bernadette Flynn, plus associate producers Kathryn O’Reilly and Michele Moran definitively becomes the most recent example for this critic of a film with foundational focus on an LGBTQ-based story absolutely transcending it and instead providing an all-encompassing portrait of deep commitment, stalwart support, and human connection during the best and worst of circumstances.
With intentional bluntness tempered by a wholly embraced degree of empathy and fully believable emotional potency, this based-on-a-true-story narrative sees two middle-aged women, whose adoration for each other is both lauded and lamented by family and the country in which they reside, awaiting the results of a pivotal decision that could change their lives while having to also face an actuality that threatens to upend their ultimate goal. It’s a jarring sense of simmering urgency that really lends itself well here, catapulting us headlong into a tale that is both heartening and heartbreaking, delving into the sadly all-too-familiar realms of an insidiously malignant disease while showcasing the nature of political debates, contrasting opinions, and the accompanying burden of two people only wishing to express their devotion with legality behind them, much less with so little time to share it together.
The aforementioned exigency of the couple’s plight is audibly and visually made more persuasive through the intermixing of actual archival radio broadcasts and television footage OF the same-sex marriage debate that occurred in Parliament, which again is where the film finds its cornerstone theme. In fact, the title of the film itself is a direct reference to those proceedings, but unless you already happen to know, I am not going to spoil WHAT that connection is. That is to say…find the means to watch the film when hopefully it becomes available for public consumption. Thematically, the film addresses a multitude of elements beyond its core, illustrating the REAL magnitude of what GENUINE love is, exploring the enigmatic nature of death, confronting the steadfast fight against something inevitable, the sheer drain of medical treatment and the toll it takes on both mind and body, how we hide things from even those closest to us in fear of ridicule or rejection, and familial dynamics all find their way into the story to highly effective and firmly convincing manner.
To say the least, the finale is one for the box of tissues to be used in both happiness and sadness, and it more than affectingly befits the story being conveyed while even making this an awareness-raising effort without being grandiose or “preachy”. Plus, I give full credit to Karimi for being so adeptly artistic in finding a fantastic way to deliver an LGBTQ-centric narrative, which isn’t in itself a personal favorite of mine, in a way that ends up being applicable to ALL people, regardless of orientation and, frankly, whether you support that lifestyle or not. With the state of things in this world right now still feeling (and, again sadly, BEING) so overtly polarized, this critic appreciates when filmmakers choose to tackle issues and instances like portrayed here, as it really should serve as a better force for BETTERMENT, to initiate more compassion, action, and unity amongst us ALL that we might see a more constructive and mutually beneficial world to reside together within.
McInnerny delivers a wonderful, energetically fervent yet likewise acutely understated performance through her role as Ruth, a woman who unmistakably carries within her not only the irrefutable love for the woman she resides with, but is just as ardent at standing UP for her and their relationship even when it seems both family and a nation are standing against what she and Juliet are seeking. What then makes this even MORE imperative to maintain the commitment she does is that Juliet doesn’t have all the time in the world left to see the two of them have an opportunity to marry. With the decision about this caught up in the governmental system, will the choice be made there before it’s too late? It’s that kind of emotional volatility that the situation elicits that allows McInnerny to explore this through the character with the poise and fierce passion that she does, making it one hundred percent credible throughout.
Hamilton is another force to be reckoned with, with a like display of emotive strength, but in a more muted way throughout via her role as Juliet, the second half of the couple who is not only longing to see a marriage be able to legally come about, but is also having to face the larger monster of illness that she is to boot. Her brave demeanor and ideally positive, matter-of-fact outlook on life is only made harder when also contemplating precisely where the road she’s on will lead, and in what timeframe it will come about. The nurturing she receives from Ruth is so blatantly touching and inspiring, but Juliet IS still very much a realist when it comes to her condition, and it sometimes turns into the tension between the pair as the legislative result they’re waiting upon is being determined. It’s a beautifully dynamic performance Hamilton gives, creating a character you do feel sorry for, yet also applaud for not just being some kind of pushover due to her illness.
Primary supporting roles are provided first by Francesca Zoutewelle as Christina, Ruth’s adult daughter who supports her mother’s desires yet also possesses a cautionary attitude towards them as well. Mark Edel-Hunt plays Ed, Ruth’s adult son who makes it abundantly clear how he feels about his mother’s choices, resisting until something changes his perspective. Brian Croucher and Kerry Washington are Trevor and Shannon, Ruth’s parents, who seem more curious, and supportive as well, about Juliet’s condition as well as what the potential decision by the Parliament could mean for the couple. An additional supporting appearance is made by Nicola Walsh as a nurse at the local hospital where Juliet receives her treatments, Fatima Martiniano, Sara Louise Aston, Brenda Tigue, and Greg Ardley.
So, in total, “175” is a resounding declaration of the human need for unwavering love, persevering through trials, believing for the winds of change to manifest, and accepting that this moral coil will one day be shed, with the latter ideally not happening until transformation and fulfillment arrives. Time, however, bows to no one.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
