Film Review: "The Party" (2017).

"A comedy of tragic proportions." This is The Party. This British black comedy film written and directed by Sally Potter. Janet hosts an intimate gathering of friends in her London home to celebrate her political ascension. After her acerbic best friend and others arrive, some with dramatic news to share, an announcement by Janet's husband provokes a series of revelations. As the sophisticated soiree starts to unravel, a night that began with champagne soon ends up with arguments, shouting and a pointed gun.

Principal photography took place in West London, England over the course of two weeks. The majority of this show was filmed sequentially. The cast all got paid equally and are using this fact to promote equal pay for women in the film industry.

The film stars an ensemble cast that includes Kristin Scott Thomas, Timothy Spall, Patricia Clarkson, Bruno Ganz, Cherry Jones, Emily Mortimer, and Cillian Murphy. If the performances were more accomplished, or if the dark satirical political comedy storyline were less marginal, or if "the simplest fix", the film were simply shorter, we might not feel as weary about spending time with these fashion insiders. Though the cast still give terrific performances in this dark satirical political comedy about a dinner party hosted by Scott Thomas' politician that goes horribly wrong to the point where a pointed gun is involved.

Almost unbearable emotionally-wrought black comedy about both the political and domestic world. Claustrophobic, repetitive and mostly ludicrous, Potter's would-be satire on the power of the Internet, the fashionistas and the compulsively confessional world of celebrity, might have filled a sketch but does not a feature film make. While it does manage to feature an outstanding lead performance, there's a frumpy sense of dissociation from the proceedings, devoid of kitchen sink realism even as it plunges into domestic drama fussies towards its muted finale. Potter's film lacks enough heart, passion and sincerity to effectively resonate. Eschewing the lazy carelessness of so many misguided digital enthusiasts, Potter's rigor becomes a refreshing reminder of true cinematic values. Potter cares deeply about the characters, a group of degenerates who about to lose it -- it's all over the way she captures her on. The major events in the film are foreshadowed within the story, but the characters often do not do as you'd predict (or hope). The excellent character-driven narrative is propelled by skillful performances that envelope the audience. Potter's sin has been to make a movie that is artistically mannered and overtly political. What the dialogue brings to the film is a certain unstated gravity; it elevates what is being said into a realm of grace and care. The film is beautifully composed and deftly delivered. For those who accept Potter's premise -- and why not embark on a challenging, enriching experience? -- this is a unique, bold adventure of the soul. There is no denying Ms. Potter's skill at versifying -- or for that matter, at composing clear, striking visual images.

Simon says The Party receives:

Also, see my review for Ginger & Rosa.