Framescourer
It's entirely likely that you may have been tempted to watch this film by the extraordinary line-up of acting talent. Well Ralph Fiennes is excellent as a very Anglican, contained gay art historian matching Ian Holm's suffer-no-fools High Court Judge. I was also impressed by Ben Chaplin's two-faced tabloid journo. The quality slips however with the central couple, Kristin Scott Thomas ideally cast as a sad, self-absorbed mother - but not acting too far beyond that - and Damian Lewis as her equally distracted husband, a sort of posh version of Egg from This Life. The heart of the ensemble is supposed to beat with Rhys Ifans, who I cannot bear unless he's playing some sort of monster (Hannibal Rising, Not Only But Always) opposite a neurotic and excessive Penelope Cruz.The film they have to inhabit though is rather pale. It's dynamic is the culture, bureaucratic firewalls and general failures of the Blair administration. Go and see Notes On A Scandal instead for this subject matter. Here we have a lack of tension, be it dramatic or simply zippy dialogue to help us through. Presumably the title Chromophobia refers to the fear of a diverse cultural palette that is instigated by the litigiously minded administration targeted. It's a pity that the story is told with such a tourniquet as well. It also has the least well thought out soundtrack I've heard in a long time. 4/10
rosemary_ds
So far only seen at Cambridge /Oxford special showings. A visually distinctive, intelligent, beautifully scripted, classy contemporary drama.Marcus, a successful lawyer (Damian Lewis) is the son of a High Court Judge (Ian Holm) now married to a dog-&-garden-obsessed - though emotionally repressed wife, (Harriet Walter). Gloria - an immigrant, single mum and Hep C suffering sex worker is played by Penelope Cruz - who finds herself aggressively resisting the tentative aid of a fragile social services worker, (Rhys Ifans). Marcus's wife, Iona (Kristin Scott Thomas) is a privileged, sexually frustrated, shoppaholic mother who becomes perturbed by her young son's relationship with his godfather, (Ralph Fiennes). At work, Marcus unwittingly discovers a momentous secret - ripe for exploitation by his old friend Trent (Ben Chaplin), a struggling investigative journalist, desperately in need of a break.The stories interweave with others and the film explores the psychology, dynamics and value systems of modern city life. Each character is forced to confront their lives and their disengaged flawed lives they inhabit.A brilliant cast all acting their socks off, the movie is a thought provoking visual feast. This is a thinking, feeling emotional/ psychological film. Gripping and sumptuous. It is a contemporary and challenging.
Marion88
That many reputable actors cannot have fallen for a bad script. Well... I'm not sure what it proves about those actor's judgment. They did attract the financiers and the distributors. I'm not sure what this proves about these people either. The result is quite mesmerizing: a lousy star-studded student film. A new sub-genre of its own. The director tried very hard to be profound and disturbing etc. achieving absolutely nothing except boredom (the film's not even pompous, it does not have enough style), a sad and depressing absence of inspiration which you eventually find revolting because of all the talented film makers out there who do not have access to A list cast and funding. Nepotism rules in the movie industry. Chromophobia is another proof.
michelbaartmans-1
I had the unique chance of watching this movie at it's midnight premiere at Cannes, and this engaging story made the evening even more complete. Chromophobia is a depiction of how several upper-class Brits have become so obsessed with material things and their careers that they have become completely detached from the bare necessities: love, professional integrity, friendship and even their own children. Each of the characters will betray one of those ideals, and they will see their lives and relationships come crashing down. But while most of the movie is alienating, depressing and leaves you almost begging for some relief (it is there, you will laugh occasionally), in the end there is redemption: not in a glorious comeback or victory, but in the simple dignity of picking up the pieces and carrying on with a brave face. The train station scene is especially impressive, showing the sudden determination and loyalty in the main characters when faced with the ruin of their lives. Both chilling and warming: this is one solid piece of British drama.
AD
