Reviewed by Robert Horton for Seattle Weekly
As we applaud the wave of women making (still far from equitable) inroads into film directing, let’s pause to appreciate a veteran in the field. Primarily a choreographer, songwriter, and performance artist in the early part of her career, Sally Potter began making experimental films in the 1960s. Her cinematic breakthrough was the surprise 1992 arthouse hit Orlando, an adaptation of Virginia Woolf’s novel, with Tilda Swinton as the gender-hopping protagonist. Since then Potter has sometimes hit the mark, as with her hothouse coming-of-age picture Ginger & Rosa, but more often I’ve found her work insufferable. If you’ve seen the relentlessly politically correct Yes, in which all the dialogue is rhyming iambic pentameter, you know the desperate wish for large wads of ear-stuffable cotton.
It’s a pleasure to report that Potter’s newest, The Party, is a nasty little gem.
