Graham Greene Director Michael Winterbottom doesn't make conventional British films. His work has the austere demeanour and unrestrictive sense of experimentation that we normally associate with the European aesthetic of filmmakers like Herzog, Kieslowski, Bergman, et al. This ideology is further illustrated by the film in question, with the director employing the esteemed cinematographer of Kieslowski's A Short Film About Killing (1987), Slavomir Idziak, to create the dark, noir-like underworld of disintegrating coastal beach huts and seedy promenades where these mysterious characters come to congregate. It's one of those films that puts atmosphere before everything else; a film in which the long pauses between dialog and the odd sideways glance of a character says more than an explanatory line of dialog ever could. If you have a problem with films of this nature - the kind that leaves questions and images lingering in the viewer's mind for weeks to follow - then this probably won't be the film for you.The plot is, on first glance, a simple one; relying on a series of emotional triggers whilst also playing with the usual cinematic chronology to go backwards and forwards into an event from the past. However, as we further explore the films sub-textual ideologies and the shadowy morals of the central quartet of characters, we discover hidden depths that have more to do with perception, memory and perspective. Winterbottom sets up an idea that each character sees a particular event in a certain way, so that we end up with multiple viewpoints all jostling for our attention. The resulting plot becomes much more of a puzzle, as we are further immersed within the shocking incident that bookends the narrative. Added to this, we are also given a narrator who cannot be trusted, which in turn leads us into a series of twists which expose the characters true intentions. The ultimate pay off comes right out of nowhere and knocks us off our feet, as the director subverts everything that we've previously seen and turns it into an almost epiphany. It's one of the most satisfying pay offs to a crime thriller that I've seen in some time.The photography of Idziak takes us into further labyrinthine realms that perfectly complement the seedy atmosphere and perpetual drive of lust and obsession, with the entire film relying on various colour filters that not only highlight the mood, but also act as a visual anchor to the characters and the emotional context of the moment. The music too is detailed and significant, with Winterbottom using a series of musical motifs to expressionistically represent the emotional underlining of the characters. In a film that relies on sound as such an integral component of the script this is expertly handled. The inclusion of Elvis Costello's eponymous anthem from which the film takes its title is totally relevant, and certainly adds a much-needed sense of abstract, fragmented reality to the self-contained world of the plot. The central performances only help to give the film an even greater sense of added depth, with the two youngsters Luka Petrusic and Lubina Mitevska complementing the more seasoned members of the cast perfectly. In the lead role of Helen, Rachel Weisz exudes a provocative, sexual energy, whilst Alesandro Nivola is a revelation as the broken-down Martin.I Want You (1998) is, for me, one of the most striking and evocative cinematic works of the last decade. An example of British cinema pushed beyond the realms of kitchen-sink and ably demonstrating a sense of visual imagination rare for this kind of genre. This is an exception film for those who enjoy their thrillers with a dark underlining and a distinctly multi-dimensional edge.

Claudio Carvalho In a small coast town in England, the hairdresser Helen (Rachel Weisz) is the passion of the ex-convicted now on probation Martin (Alessandro Nivola). They were lovers in the past before Martin be sent to prison. Although having a restrain order against Martin, he decides to visit Helen and regain her lover. Meanwhile, the dumb teenager Honda (Luka Petrusic), who lives with his nymphomaniac sister, the singer Smokey (Labina Mitevska), develops a platonic love for Helen, spoiling her relationship with her boyfriend. Dark secrets are revealed in the end of this weird story.This suffocating erotic story of love, obsession and crime is not recommended for any audience. It has many positive points, such as the performance of the whole cast, highlighting Luka Petrusic in the role of a mute boy, the beauty of Rachel Weisz, the heavy atmosphere created by Michael Winterbottom and the end of the story with no concessions. The characters are slowly disclosed and in the end they are well developed. My vote is six.Title (Brazil): 'Desejo Você' ('Want You')

chrissage i read all the imdb comments on this movie and looked forward to watching it, enjoying a cerebral flick as much, if not more than the next man. but what a disappointment... the mute 'hero' anywhere else would be just a perverted voyeur. his sister is talented but a tramp. the hairdresser is a prick-tease and her ex-boyfriend is a loser. but who cares? there is nothing here to endear the viewer to anybody. the flesh on display was quite prolific, but gratuitous and not particularly attractive either. i found myself wondering what Rachel Weisz was doing in this film, but the over-riding question was why i had continued watching till the end.

pjcons A typical film which the Festival of Perth company shows at the Sommerville [outdoor/deckchair] Auditorium: But by far one of the best in recent years.Cooky enough to keep people interested, but not over the top so people leave before the film's really started (like what I saw in Lost Highway!).Helen, seemingly innocent, involved herself in something she didn't understand. Got her Daddy killed (Natural Born Killers?) by boyfriend who goes to jail.Honda to the rescue. A Mute who uses all kinds of wonderful instruments to tape all sorts of noises. His rock star nympho sister having sex. Helen and DJ Dave getting into it 500 metres away in a car @ the beach, and most importantly, Helen killing Martin in self defence as he "raped" her. Helen is intrigued by Honda who uses all forms of presents to woo his girl.I really enjoyed this film. It really made me think, which is the reason some of us go to the flicks.VERY small cast and even smaller setting made for great tale to be told. Honda stole the film, my girlfriend thought he was great. Helen stole the film for me. She is the sexiest thing I've seen on screen since Elizabeth Shue in Leaving Las Vegas. Though for all the working out she was portrayed to be doing, when she got her gear off, she had rather less muscular legs than you'd think for an "endorphin junkie"! Minor glitch in an otherwise excellent film...