Saturday, 30 October 2010
It's one of those films the BFI would probably describe as "haunting and poetic" (cf. Womb), which is to say it challenges you to not to collapse, comatose, into a pool of your own dribbles. While it's ultimately forgettable, it's worth noting that none of its characters are clichés and their individual reasons for being "on the edge" aren't the usual excuses screenwriters vomit up in order to get an escaped murderer into the same scene as a forgiving priest or some such toss. There's a vague mystery running through the plot that's tied up in a clumsy and unlikely fashion but it's incidental to the central themes of desperation and hope so we'll forgive that.
What's most interesting about the whole exercise, though, is that it was financed by Genesis Entertainment, a company set up by the owners of the Genesis independent cinema in London's Whitechapel. It was there that I saw Edge during the LFF, and it would have been a lovely occasion for all if it hadn't started twenty minutes late and then played with the soundtrack about ten frames behind the pictures, making it look like a badly dubbed foreign film.
Sexual Equality Corner: Edge was written, directed, produced, shot and edited by ladypeople. Well done girls, treat yourselves to a new pair of shoes!
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