“Rose Play Julie” stands out for its unpredictability as far as the #MeToo thriller goes.
A quiet veterinary student in Dublin, Rose (Anne Skelly), has recently discovered that she was adopted and her original name was Julie. She goes to London to find her birth mother, Ellen (Orla Brady), a television actress who wants no memory of the circumstances surrounding Julie’s birth and has no relationship with her daughter. Ellen’s child was born of rape, and she asked that there should be no further contact with Julie after adoption.
“Rose Play Julie,” written and directed by Christine Molloy and Joe Lawler, frames her sexual trauma as an interlude. It contemplates the dual lives of women through ideas of external success and internal suffering, as well as the naïve girl vs. the seductive avenger.
As Ellen plays a character for her day job, Rose plays “Julie” – Julie – costume with a bob wig – when she eventually tracks down her biological father, Peter (Aidan Gillan), who Is a noted archaeologist who repeats his pattern of sexual abuse with Rose. . His disguise is not necessary, because Peter does not know his name or that he exists. The “Julie” identity provides a shield against both her mother’s trauma and a vessel to prevent it. There is a perceived difference between pain and self-preservation in his works.
But this device can sometimes work against the story as well. Amidst the lush greenery of the setting, the atmosphere is completely asymmetric – complete with an extremely high-pitched score – the film seems far and hard to fully embrace. Even with its unusual approach to delayed revenge, “Rose Pledge Julie” remains just a little too cold and calculating.