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| Directed by Patricia Rozema |
| Canada, 1990 (fiction, 90 minutes, colour, English) |
| Also known as "A fehér szoba", "Das weiße Zimmer", "Le secret de la chambre claire", "Valkoinen huone" |
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Film Description: "This 'Grim Fairy Tale' follows the journey of an aspiring young writer, Norman Gentle (Maurice Godin), on his quest for 'honour, action, and, of course, love.' Along the way to self-expression, he encounters three very different women. One night, benignly prowling the backyards of an urban neighbourhood, he witnesses the savage murder and rape of a woman who lives in a large glass house. With the help of a shallow but amusing street performer, Zelda (Sheila McCarthy), he discovers that the victim was the popular singer/poet Madelaine X (Margot Kidder). At her funeral he meets a beautiful and strange woman, Jane (Kate Nelligan) with whom he falls deeply in love. Norm becomes obsessed with a mysterious room that Jane slips into every night. He begins to suspect a bizarre link between Jane and the murdered Madelaine X. This strange, sometimes warm, sometimes harrowing, tale has two endings -- one tragic, one euphoric, both essential." -- patriciarozema.com (source) |
| Film Credits (partial): | |
| Written by: | Patricia Rozema |
| Produced by: | Alex Raffé, Patricia Rozema, Barbara Tranter |
| Principal Cast: | Kate Nelligan, Maurice Godin, Margot Kidder, Sheila McCarthy, Barbara Gordon, Nicky Guadagni, Stuart Aikins, Harold Luft, David Ferry, Tracy Moore, Erika Ritter, Ziggy Lorenc, David Pressault, Dwayne McLean, Sandy Creighton, Les Rubie, Lisa Desmarais |
| Cinematography: | Paul Sarossy |
| Film Editing: | Patricia Rozema |
| Music: | Mark Korven |
| Production Company: | Vos Productions Inc. |
"Energetically drawing on the psychological thriller,
romance and fairy tales, White Room seems equally inspired by Emily Dickinson's poetry as by Hitchcock's Psycho and Rear Window. With this film, Rozema opens up questions about the demands of fiction and storytelling in general, and not only our cultural obsession with happy endings, but also the expectations on filmmakers to provide audiences with neat closure."
-- Agata Smoluch Del Sorbo
(source)
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