Mystery and ugliness dominate the movie

'Rose Blaise Jolly' abounds with great trilogy performance and eloquent scenes

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There is something strange, scary, and mysterious about Rose Plays Julie, "Rose in Jolie".

This is not a schizophrenic movie as its title suggests, but about a girl who is searching for her origin and identity.

A girl who came into the world as a result of an ugly act and was created to confront it.

Ambiguity is not only an artistic decision to create the general atmosphere of the movie, but rather is a subtle overlap with the psychological states of the film's three characters, who move in their world like those who walk in their sleep.

Each character lives more than one life, each one conceals a secret, and each one applies a strict system that prevents the mixing of innocent life with the hideous ones, and the ugliness is the master of this movie.

Rose (Anne Skelly), who decides to face the ugliness despite all the pain that it brings, insists on taking it out even if she is in hiding, is like a curse that she wants to nullify.

Written and directed by Christine Molloy and Joe Lawlor, this story touches on basic desires of love, revenge, and curiosity, and these desires give the film the hallmark of popular mythology.

It's like a story from time immemorial filled with symbols and hints about how horrific human behavior is.

"Rose poses as Jolie" is very restricted in his style, and this restriction makes it a very influential movie.

Rose is a veterinary student at a university in Dublin, Ireland, and she is in an identity crisis.

When she was adopted as a child, she was given the name Rose, but Julie's name appears on her birth certificate.

This was like a whisper to her that something happened when she was a child and she must discover it, or as if someone tried to get rid of her after he gave her a name, and she is her biological mother who has never seen her.

"I love the name Julie," says Rose, narrating the film. "When I think of Jolie, I imagine her just like me."

Rose feels she must discover Julie’s story, to find out the life he was supposed to live before her adoption.

Rose tracks her birth mother to find herself pursuing a London-based actress named Ellen (Orla Brady).

Feeling an overwhelming desire to communicate with Ellen, Rose puts on the character of a girl who wants to buy Ellen's house.

There, Eva meets Ellen's teenage daughter.

Eva does not know that the tender, nervous girl in front of her asking her many questions is her half-sister.

Rose then follows Ellen to the location of the photo studio, and begins to observe her from the back of a building.

This scene is very eloquent and clearly indicates that Rose's desire is not just to communicate with her mother but beyond.

When the two women meet face to face for the first time, the mother is stressed and tells her daughter about the circumstances of her pregnancy and why she had to hand her over for adoption.

The story is frightening and it takes Rose to her father, the man who caused the ugliness of the mother.

Her father is an archaeologist named Peter Doyle (Aiden Gillen), but unlike the mother, he was not difficult to find, nor did he require research, and this is another symbol in the story.

Peter supervises employees digging at an archaeological site in the town's countryside.

Rose wears a wig (another symbol in the story) and goes to meet him and asks him to volunteer on his mission, and she tells him her name is Julie.

As the title says, "Rose in Jolie," the entire film is about incognito.

Whether intentional fraudulent stealth, or involuntary voluntary stealth.

And both achieve a purpose, the first harm and the second benefit.

Anonymity or impersonation means concealing one identity and projecting another, one when we are alone and the other in front of others.

When Rose wears a wig and poses for Jolie, she is expressing her true self for the first time.

For her mother, undercover is the secret of her profession, as she is an actress who plays several personalities.

But hiding her father, Peter, is the most harmful, because he is hiding in the most visible places, and no one can imagine the evil inherent in this character.

There is a scene where Rose talks with her mother in a forest, which is the most isolated place from civilization and this is a symbol of disguise.

The scene of their conversation in the car and the mother’s refusal to verbally mention the name of her daughter’s father, and only writing for her on the phone screen, is another symbol of disguise and the ugliness of the act he committed.

The scene of Rose / Julie confronting her father in his house and telling him that he is her father twice, the first in a vague voice and the second clearly, and this is another eloquent scene that dives into the scenes inside the character of Peter who lives in this exact shot exactly on the line between the character of the archaeologist and that human wolf Who did not hesitate to try to assault his liver before you tell him the truth.

The abuse here is sexual, verbal and physical.

Another eloquent scene as it is deceptive is when a deer falls into the pit of the archaeological site that Peter oversees.

We see the pain of the deer in Peter's eye, who hastens to hit and kill him in order to rid him of his suffering.

Then embrace him and cry.

This is another development of Peter's personality that is related to that of his daughter, a veterinary student, who tears his eyes when she sees an animal in pain.

Brady, Skelly and Guillen's performances are second to none. The trio performs conservatively at exactly the same rhythm without overpowering the other.

This is a very painful, beautiful, and worth watching movie.

• Brady, Skelly, and Guillain perform exactly at the same rhythm, without one overpowering the other.

• This is not a film of schizophrenia, as its title suggests, but about a girl searching for her origin and identity.

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