YES

Joan Allen begins a multi-cultural love affair following her husband’s infidelity in writer-director Sally Potter’s latest, YES. Allen’s character, credited as simply “She”, discovers that her husband Anthony has cheated on her the same evening that the two are to attend a major social event. During the event, “She” makes a connection with one of the event’s chefs, a Middle Eastern man played by Simon Abkarian. Their affair begins as a loving one, but becomes complicated when each reveals their thoughts and ideas on politics and religion.

I admire Potter’s ambition in tackling touchy issues in our post 9/11 atmosphere, and the flowing nature of the wordplay, phrasing it in poetic form. Somewhere, though, between her religious and political statements, and the film’s pretentious nature, Potter never really establishes a sense of character. YES is more concerned with its style, which at times works, and at other moments feels extremely ostentatious. Allen has received plenty of acclaim for her work in YES, and much of it is deserved. After playing second fiddle in supporting performances, Allen has established her persona has a strong-willed woman. She conveys this is in YES, but her character seems more like a device than a woman, intent on carrying out a purpose. YES is an ambitious film who’s lyrical and political style flows, but falters in its characterization and emotional connectivity.

Grade: C