Samantha Morton has a reputation as a fine actress; but to me, she also has a reputation for appearing in "difficult" movies, and 'Under the Skin' is no exception. It tells the story of two sisters who struggle to cope with their mother's death; Morton's character cuts her ties with normal life, while her insecure sister manipulatively attempts to maintain the status she had as their mother's favourite. Of course, in a world of bland thrillers and romances, "difficult" can be a synonym for "good", and the drum-heavy soundtrack, and some disorienting camera-work, are actually quite effective at getting the viewer inside of Morton's head. On the downside, occasionally the film is slightly heavy-handed in making its points, the conclusion seems rather stuck-on, and not following naturally from the climax of the drama; and the world portrayed is, until that conclusion, one almost wholly without joy, so it makes for gruelling watching. It's an interesting film, but in the end, not quite original enough to make watching it an altogether pleasurable experience.
31 Reviews
A Star Is Born
Theo Robertson21 December 2005
After the death of her mother Iris Kelly embarks on a drunken promiscuous lifestyle to numb the pain There that's the plot ( For want of a better word ) to UNDER THE SKIN a typically British film from the mid 1990s . It's rather low budget and character driven and certainly isn't the type of film that would have appeared at the local multiplex alongside the local Hollywood blockbuster and is perhaps a film Britain produces on too much of a regular basis Despite being inspired by the work of such lauded British directors as Ken Loach and Mike Leigh I can't say that Carine Adler is in the same league ( Though I believe Loach and Leigh are overrated as directors anyway ) and her sometimes art-house type of directing can be somewhat irritating . In many ways you get the feeling Adler is stretching out a story that would have worked much better as a short film What everyone can agree on is that the performance of Samantha Morton is riveting in such a challenging role . Critics are always complaining that actresses aren't given good enough parts but think about it - What's a studio to do ? Cast a stunning looking actress in a commercial film or cast someone who can actually act in a movie like this with little commercial appeal ? Despite the very obvious flaws of UNDER THE SKIN Morton saves the film and has been superb in everything from CRACKER to the video of U2's Electrical Storm . She's almost certainly the most talented actress Britain has produced in years and one hopes to see her become a megastar
Realistic and disturbing
The_Triad27 May 2006
Under the Skin is the story of Iris, a young woman who goes off the rail into drink and promiscuity following her mother's death. What follows is a very unpleasant viewing experience, as this character destroys every solid relationship she has around her as a result of her self destructive behaviour. The film is very well acted by all involved, and the director should be commended for maintaining a state of realism without being (to) graphic. One scene in particular did genuinely shock me. Overall, if you're in the mood for a depressing ride watching someone disintegrate into sex and alcoholism, well acted, scripted and directed then it will be worth a watch, but ultimately it may prove a bit too much.
Stunning Performance by Samantha Morton
Scoo6 December 1999
Although I missed about the first 20 minutes of this when I saw it recently on HBO, I thought it was a very interesting film, with a brave, stunning, sexual performance by Samantha Morton. Quite a departure from her role on Jane Eyre, where I had seen her previously.
The sexuality was real and intense, and her desperation as a woman spinning out of control was effective and touching.
Some of the best acting I've seen in quite a while. And I liked the "out there" eroticism aspect of the film. True eroticism is not portrayed well in movies anymore, at least not in the US, basically because the studios lack guts.
And I liked the fact that the film was written and directed by a woman. The scene where she has phone sex with her lover and tells him what she wants to do to him is stunning, only a woman could have written that! A man would have shied away from depicting a woman's sexuality in such a frank and aggressive manner.
The sexuality was real and intense, and her desperation as a woman spinning out of control was effective and touching.
Some of the best acting I've seen in quite a while. And I liked the "out there" eroticism aspect of the film. True eroticism is not portrayed well in movies anymore, at least not in the US, basically because the studios lack guts.
And I liked the fact that the film was written and directed by a woman. The scene where she has phone sex with her lover and tells him what she wants to do to him is stunning, only a woman could have written that! A man would have shied away from depicting a woman's sexuality in such a frank and aggressive manner.
Iris and Rose
jotix1006 August 2012
Warning: Spoilers
Two sisters are at the center of this interesting film, the debut of Carine Adler, who unfortunately has not done anything after this auspicious beginning. Iris, the younger serves as the narrator. Their relationship with their mother is solid, but as the older woman is diagnosed with a terminal disease, the lives of the two siblings seem to fall apart.
Iris, the younger, is the most affected one. She has to deal with realities which she was ill equipped to do. Staying in her home turf, she begins exploring with sex to some bad results. Iris gets sucked into despair after things do not turn the way she wanted. Even the relationship with the man she wants leaves her unsatisfied.
Rose, on the other hand, has a solid marriage. She is expecting a child. Her sister's situation worries her, but there is so little she can do to restore her sibling's peace of mind. Their conflict comes to an end after Iris has fallen deeply into a situation she cannot get out of without Rose's help.
A stunning directorial debut for Ms. Adler, as well as a breakthrough performance for the twenty-year old Ms. Morton, who soon after the release of the film has been working steadily in her native country as well as in American films. The film is set into a depressing background, which bears heavily in what Iris is experiencing after the ill timed death of the woman, whom both daughters adored. Rose's life is serene as she can deal with grief differently, whereas Iris begins a descent into hell.
Ms. Morton shows no fear in giving her all in the film. She proved from the start she had what was needed to create her character. Clair Rushbrook, who we saw in Mike Leigh's "Secrets and Lies" has turned to television work. Her absence from the big screen is missed. Rita Tushingham, who was the darling of the English cinema in the 1960s and has enjoyed a long career, is seen as the mother of the Rose and Iris.
The film has a gritty quality enhanced by the camera-work of Barry Ackroyd, who has collaborated with Ken Loach and other excellent directors. The incidental music is by the talented Ilona Secacz.
Iris, the younger, is the most affected one. She has to deal with realities which she was ill equipped to do. Staying in her home turf, she begins exploring with sex to some bad results. Iris gets sucked into despair after things do not turn the way she wanted. Even the relationship with the man she wants leaves her unsatisfied.
Rose, on the other hand, has a solid marriage. She is expecting a child. Her sister's situation worries her, but there is so little she can do to restore her sibling's peace of mind. Their conflict comes to an end after Iris has fallen deeply into a situation she cannot get out of without Rose's help.
A stunning directorial debut for Ms. Adler, as well as a breakthrough performance for the twenty-year old Ms. Morton, who soon after the release of the film has been working steadily in her native country as well as in American films. The film is set into a depressing background, which bears heavily in what Iris is experiencing after the ill timed death of the woman, whom both daughters adored. Rose's life is serene as she can deal with grief differently, whereas Iris begins a descent into hell.
Ms. Morton shows no fear in giving her all in the film. She proved from the start she had what was needed to create her character. Clair Rushbrook, who we saw in Mike Leigh's "Secrets and Lies" has turned to television work. Her absence from the big screen is missed. Rita Tushingham, who was the darling of the English cinema in the 1960s and has enjoyed a long career, is seen as the mother of the Rose and Iris.
The film has a gritty quality enhanced by the camera-work of Barry Ackroyd, who has collaborated with Ken Loach and other excellent directors. The incidental music is by the talented Ilona Secacz.
Aww, come on, it was better than that!
N.L.14 December 1998
A risky, edgy film which is not easy to watch, but clearly I liked it a whole lot better than these other commentators did and apparently so did the Boston Society of Film Critics. They awarded "Under the Skin" two honors on 12/13/98: best actress for Samantha Morton and best new filmmaker for the director of the film, Carine Adler.
Narcissism runs amok,
paulcreeden22 November 2006
Well, I decided to view this film based on the cast. And the cast was indeed good. The subject matter was quite familiar to me as someone who has worked professionally with the mentally ill. The portrayal of the main character's meltdown as a passing phase was either naive or just plain uninformed. The lack of sympathetic characters bugged me even more. Life can be rough, I will admit, but usually you can find one sympathetic soul somewhere, even if that person is wearing a white coat next to an ambulance. Certainly it is more likely that someone like the main character would have gotten to the people in the white coats in England, where she could have access to universal health care. Anyway, I suppose this could pass as a chick flick for adolescent girls who like wearing black all the time and dwell on their own special brand of angst. I would have liked to have missed this one in retrospect.
A film where the real underneath is suffering
videorama-759-85939120 October 2014
Watching Samantha Morton do her thing here, is one of a few reasons to watch this better than average movie, about how one copes with family loss. Sending Morton's world spinning, her release is through sexual encounters. She even makes the moves on his Sister's husband which was easy to foresee. Simply, Under The Skin is more a realistic situation of the movie, in an aftermath of family tragedy, but really focusing on Morton's character, Iris, who shows many different emotions, some really violent tempered, and some psychologically scarring. One scene has her talking to an empty payphone, feigning a conversation, where another person is fighting for it. A particular funny and guilty moment. Her chubby girlfriend is doing her ex where a little bit of fight ensues. This is one of those films, where you have the lead, who's so powerful and gets their point across, steal the movie. You can't keep your eyes off that actor, as like Joseph Gordon Levitt did with Mysterious Skin, and watching the great Morton is a treat itself. Far from great, Under The Skin, is another Art-house drama, that is enjoyable, with some eroticism, but to a small minority, one can't over look as a time passer. It's a movie you got to look deep under it's story and characters for a real message, but like Kissed, it's beautifully told.
Samantha Morton's Breakout Performance
loyola9529 October 2001
"Under the Skin" could be simply, though inaccurately summarized as simply the story of two sisters dealing with the death of their mother, with one sister becoming sexually loose as a means of escapism.
But the story runs much deeper than that. Samantha Morton plays the British version of a sexually "used" American male. She frets about calling a lover, she is mistreated when she does. She makes bad decisions in choosing lovers, and loses in the end with most of them.
"Under the Skin" presents a realistic portrayal of how sexual escapism only does so much, how it only paints the faintest of illusions of comfort and companionship. It is only a silkscreen for the real problems of the need for emotional as well as sexual fulfillment as part of companionship.
What makes Morton's portrayal so powerful is its complexity of character. Following her mother's death, Morton's character goes through a series of transformations. First she is the doer, the chooser. It is she who walks out on her boyfriend, she who decides to also cheat on him, she who sleeps with whatever man she wants.
It is Iris, Morton's character who is in control, while her sister Rose is an emotional wreck. She is having a baby, she thinks her husband fancies Iris, she is concerned about her appearance, her weight, and she can't find mum's ashes.
All of this is especially sad because she is mum's favorite daughter.
But then everything changes when Iris is mistreated by several lovers, one of whom physically humiliates and abuses her.
She tries to go back to her boyfriend but finds he doesn't want her. She is left without any money and has no one to turn to except her poor sister.
It is during these series of transformations from power to humiliation that Morton shines. It is no wonder many have called this the film that made her a UK star. It is the film's frankness and realism that is attention-grabbing as well. A true window to the world of random hook-ups. Love isn't very easy to find after all.
But the story runs much deeper than that. Samantha Morton plays the British version of a sexually "used" American male. She frets about calling a lover, she is mistreated when she does. She makes bad decisions in choosing lovers, and loses in the end with most of them.
"Under the Skin" presents a realistic portrayal of how sexual escapism only does so much, how it only paints the faintest of illusions of comfort and companionship. It is only a silkscreen for the real problems of the need for emotional as well as sexual fulfillment as part of companionship.
What makes Morton's portrayal so powerful is its complexity of character. Following her mother's death, Morton's character goes through a series of transformations. First she is the doer, the chooser. It is she who walks out on her boyfriend, she who decides to also cheat on him, she who sleeps with whatever man she wants.
It is Iris, Morton's character who is in control, while her sister Rose is an emotional wreck. She is having a baby, she thinks her husband fancies Iris, she is concerned about her appearance, her weight, and she can't find mum's ashes.
All of this is especially sad because she is mum's favorite daughter.
But then everything changes when Iris is mistreated by several lovers, one of whom physically humiliates and abuses her.
She tries to go back to her boyfriend but finds he doesn't want her. She is left without any money and has no one to turn to except her poor sister.
It is during these series of transformations from power to humiliation that Morton shines. It is no wonder many have called this the film that made her a UK star. It is the film's frankness and realism that is attention-grabbing as well. A true window to the world of random hook-ups. Love isn't very easy to find after all.
Morton is astonishing, the movie less so
graycat-126 March 2003
Morton's performance is astonishing, the rest of the team simply cannot keep up or match her intensity. It really only works as a showcase. You will not forget this performance. As for the film itself, the best that can be said is that it has good intentions, and we know where that leads.
Disappointing look at a troubled young woman.
Hermit C-26 November 1999
Samantha Morton stars in this movie as Iris, the younger of two English sisters who worship their mother. When Mom dies early on in the film, Iris is completely knocked off her axis and reacts by shirking personal responsibility and having casual sexual encounters, the result of a suddenly overheated libido. She doesn't want to listen to any suggestion that her behavior is due in any way to her mother's death, either.
After spinning out of control for most of the movie, she apparently resolves her problem with her mom's passing and a conflict with her sister as well. But this film does a lot better job of depicting Iris' problems than it does explaining them, or explaining how things work out in the end. Consequently this viewer felt about as satisfied as one would after one of Iris' sexual encounters. Although this film was written and directed by a woman, produced by another woman and focuses on female characters, it doesn't explain the woman's point of view to my satisfaction. The film had a lot of potential but was ultimately disappointing.
After spinning out of control for most of the movie, she apparently resolves her problem with her mom's passing and a conflict with her sister as well. But this film does a lot better job of depicting Iris' problems than it does explaining them, or explaining how things work out in the end. Consequently this viewer felt about as satisfied as one would after one of Iris' sexual encounters. Although this film was written and directed by a woman, produced by another woman and focuses on female characters, it doesn't explain the woman's point of view to my satisfaction. The film had a lot of potential but was ultimately disappointing.
Depth of Emotion
Aeternox7 February 2003
This is a very good film. It grabbed my attention after seeing the great Morvern Callar last week, which also features Samantha Morton. As said in other comments, Under the Skin is considered her breakthrough. She is a truly gifted actress, I love her depth of emotion.
At one point in this movie she walks along a ribbed fence, while touching it with her right hand: taktaktaktaktak. I don't know if this is a reference, but it reminded me of a scene in one of Kieslowski's Trois Couleurs films (Rouge, I believe.) There an equally tormented woman walks along a brick wall in a similar way, wounding her right hand which starts to bleed heavily.
I wouldn't say those films are really the same, but I would certainly recommend the one if someone would like the other. In both films, as well as Morvern Callar, we follow a female protagonist unable to deal with a traumatic experience, the passing away of someone very close to her. We follow her down the road of estrangement, wondering if she will ever find peace.
At one point in this movie she walks along a ribbed fence, while touching it with her right hand: taktaktaktaktak. I don't know if this is a reference, but it reminded me of a scene in one of Kieslowski's Trois Couleurs films (Rouge, I believe.) There an equally tormented woman walks along a brick wall in a similar way, wounding her right hand which starts to bleed heavily.
I wouldn't say those films are really the same, but I would certainly recommend the one if someone would like the other. In both films, as well as Morvern Callar, we follow a female protagonist unable to deal with a traumatic experience, the passing away of someone very close to her. We follow her down the road of estrangement, wondering if she will ever find peace.
A freshness and vitality difficult to ignore
alpha60-23 November 1999
Current literature surrounding this movie tends to offer critical praise and include words like 'brave' or 'ground breaking'. In actual fact the idea is not at all original and several other movies (Belle de Jour? Last Tango in Paris?)have been down the road of female sexual discovery/destruction, the motivation for which is merely a McGuffin. However, it is notable for having been written & directed by a woman and yet still proffering the concept that sexual promiscuity will inevitably lead to destruction rather than liberation (and hopefully dispelling the ridiculous accusation of misogyny upon male directors tackling this subject, especially with the arrival of Breillat's recent 'Romance').
Despite that it is not necessarily as radical as some would have us believe, it is directed with a freshness and vitality which is difficult to ignore. Morton's performance is superb and the gritty 'television' style camera-work is perfectly apt.
Despite that it is not necessarily as radical as some would have us believe, it is directed with a freshness and vitality which is difficult to ignore. Morton's performance is superb and the gritty 'television' style camera-work is perfectly apt.
is there a special word for BOMB in UK English?
rduchmann31 May 2000
Samantha Morton, second-best daughter in the family, drifts into slut life after her mother's death. After a curious start, with Morton drawing magic marker faces on her nude body, the film really goes nowhere (and not at all fast), although Morton must be the only mainstream actress in the history of English-speaking cinema to perform a scene in which her boyfriend ruins the mood during sex by deliberately urinating on her (I don't write them, I just report them). And you thought all Brit cinema was like MASTERPIECE THEATER! TV print is badly pan 'n' scanned, and there is enough jerky, hand-held camera work to finish off everyone who survived BLAIR WITCH PROJECT. Unlike some UK films, the dialogue is moderately intelligible to listeners who only speak American English.
excellent, deeply moving
sashacd15 February 2001
I saw Under the Skin on TV, very late, desperate to go to sleep, but I just couldn't stop watching it, it gripped me completely. It is a film about bereavment, and how different people cope with it. The film is deeply moving, courageously frank, and with a very strong visual style. The whole cast was excellent, but Samantha Morton was just fantastic. I recommend it fullheartedly.
Grief and it's attendant reactions
barry.giddens12 December 2000
A sympathetic film on human grief. People react differently (although, perhaps, following certain patterns) to different situations, and this work demands that the viewer suspends judgement and simply considers individual pain. Technically flawed perhaps, "Under The Skin" is nether the less an intelligent and understanding movie.
The next English hype: Samantha Morton
rocco sifredi14 May 2001
"Under the skin" is an untypical English movie about the fail to hell of a young woman who has recently lost her mother. It's an untypical English movie because the sense of (black) humour of films as "Full Monty" or "Billy Elliot" it's replaced by not easy images of the sexual nights of the principal actress. But "Under the skin" is a great movie because of the great work of her great revelation, a great actress called Samantha Morton, new muse of Woody Allen and Steve Spielberg (!), which shout out loud to be considered the new Emma Thompson, the new Emily Watson or anyone of the great British actress and ladies.
bare Morton
SnoopyStyle24 September 2016
Iris Kelly (Samantha Morton) adores her mother (Rita Tushingham) but she senses that her happily married pregnant older sister Rose (Claire Rushbrook) is the favorite. Their mother is diagnosed with brain cancer and dies. Rose is devastated but it's Iris who spirals out of control in sexual promiscuity. She breaks up with her nice boyfriend Gary and goes on a string of meaningless sexual encounters. All of her relationships suffer.
A young Samantha Morton really lays bare figuratively and emotionally. It's a devastating performance. The story is a little bare, too. It's not the most complex of plots. This is mostly compelling as a showcase for the future star.
A young Samantha Morton really lays bare figuratively and emotionally. It's a devastating performance. The story is a little bare, too. It's not the most complex of plots. This is mostly compelling as a showcase for the future star.
Exhilarating!
Alexander Worka13 December 2000
This film was shown last night on UK TV. Unfortunately I missed the first 20 minutes or so but the rest was so good I feel it is still worth commenting on. The film centres around the different reactions of two sisters to their mother's death - don't however get the impression that this is a film to be endured rather than enjoyed. Although the subject matter is serious and the film very emotionally moving, there are flashes of humour throughout and it is not boringly earnest for one moment. I read somewhere that the director is an admirer of Mike Leigh's "Naked". While it is no poor relation, if you appreciate the work of Mike Leigh you would probably also enjoy "Under the Skin".
wrenching, stunning
isseydauphin27 February 2002
writer & director carine adler does an admirable job in telling this story of how two sisters are affected by their mother's death. it avoids the sugary sentiment of most sibling films while exposing the frailties and faults of these characters in such an honest way. samantha morton is superb as a lonely young girl spiraling downward. i was touched and amazed by her performance. claire rushbrook (also in secrets & lies) is great as the maternal Rose.
i watched this late one night not knowing what to expect and was fascinated by the slow disintegration of the main character Iris. definitely a film to watch for anyone who appreciates movies that reveal things about life rather than offer mawkish fairy tales to pacify viewers.
i watched this late one night not knowing what to expect and was fascinated by the slow disintegration of the main character Iris. definitely a film to watch for anyone who appreciates movies that reveal things about life rather than offer mawkish fairy tales to pacify viewers.
Incredible talents supporting a thin and obvious plot
etnier3 February 2010
Warning: Spoilers
Samantha Morton is one of the most beautiful women on earth and a stunningly consistent, engrossing and vital actress. "Under the Skin", however, is a sad contradiction: wonderfully produced and shot, with fine performances from all involved (including the director and cinematographer), but all supporting a thin and obvious story which resolves so quickly as to be unsustainable.
I'm all but sure they shot two endings, and went for the 'safe' one late in production without making that ending's dynamics clear or believable.
About a third of the way into the film you begin to realize that you're watching a gloss on "Waiting for Mr. Goodbar" and start to fear for Iris' future. No worries there: in a snap everything that's been going on is reversed, Iris' future is secure and her psyche restored.
Again: real and substantial talent all around. Arguably worth the watch, even with its flaws.
I'm all but sure they shot two endings, and went for the 'safe' one late in production without making that ending's dynamics clear or believable.
About a third of the way into the film you begin to realize that you're watching a gloss on "Waiting for Mr. Goodbar" and start to fear for Iris' future. No worries there: in a snap everything that's been going on is reversed, Iris' future is secure and her psyche restored.
Again: real and substantial talent all around. Arguably worth the watch, even with its flaws.
Lovely little movie that stays with you
ctowner116 November 1999
I was surprised at the fact that this movie has stayed with me several days after I saw it. The plot isn't anything special- and the writing didn't really affect me either. But somehow two elements of the movie HAVE remained: Samantha Morton's sweet and strirring performance as a young girl dealing with the pain of a lost mother and the music. I don't know who wrote the score, but it really helps to complement to sort of melancholy mood that embraces Ms. Morton. Ms. Morton's performance, which ranges from joyful, to needy, to desperate, to erotic is powerful. And her rendition of Alone again Naturally at the end of the movie is soulful. Surprisingly, the movie works.
Absorbing and disturbing
davek2828 January 2001
I'm not sure why I found this film quite so fascinating. I assume it was all about Iris' problems in coming to terms with her mother's death.
I agree with another comment on here that the music was especially good. It would be nice to have a soundtrack album available. Some of the ambient stuff was worth playing again.
In a way, this was a kind of magical realism. Iris certainly had some mental health problems and I think this was brilliantly portrayed by the director and by Samantha Morton. I can't believe I already saw her in Emma. I must revisit that one.
I recorded this off Channel 4 and only recently got around to watching it. I think it deserves a second viewing.
I agree with another comment on here that the music was especially good. It would be nice to have a soundtrack album available. Some of the ambient stuff was worth playing again.
In a way, this was a kind of magical realism. Iris certainly had some mental health problems and I think this was brilliantly portrayed by the director and by Samantha Morton. I can't believe I already saw her in Emma. I must revisit that one.
I recorded this off Channel 4 and only recently got around to watching it. I think it deserves a second viewing.
Carine Adler's (so far) one hit wonder is an impressive feature debut
dr_clarke_217 October 2021
Warning: Spoilers
In 1997, Brazilian-born Carine Adler wrote and directed her debut feature film, Under the Skin. Distributed by the British Film Institute, the film received critical acclaim and soon began appearing on lists of "Best British Films"; Adler hasn't made another film since. And this is a shame, because by and large, the film succeeds in living up to its hype.
Under the Skin stars Samantha Morton and Claire Rushbrook as sisters Iris and Rose, as they cope with the death of their otherwise unnamed Mother (Rita Tushingham). Whilst Rose's grieving process is conventional, Iris descends into a self-destructive orgy of drunken promiscuity, alienating her sister, her boyfriend Gary and her friend Ron in the process. Morton and Rushbrook are both very convincing as bickering sisters Iris and Rose, but Morton is undoubtedly the star and her central performance is key to the film's success. She takes the audience with Iris on a journey that is often painful to watch, as she throws herself at a variety of men, some interested only in sex and one abusive, as she tries to find something to fill the emotional void left behind by her mother. In a nice demonstration of the fact that Iris doesn't know what she is actually looking for, Morton provides a voiceover that doesn't entirely elide with what we see on screen, demonstrating Iris' skewed perspective on reality.
Adler explores grief and family relationships with a raw, down-to-Earth grittiness that recalls British kitchen sink dramas, and has an honesty that makes the film feel real, despite the - almost unexpected - optimistic ending, which sees the two sisters reconciling and the future looking brighter. In truth, there are no world-changing revelations to be had here, but Adler's perceptive look at people's ability to implode and push everybody else away has resonance. Iris is a sympathetic character for the most part, as the viewer is invited to share her pain, but at the same time some of her behaviour is so spiteful that her rejection by her friends and family is painfully understandable.
Part of the film's appeal is undeniably due to its direction, as Adler creates an alluring visual aesthetic. Undeniably art-house in approach, the film is made with confidence and verve. The film is shot on grainy film stock, whilst cinematographer Barry Ackroyd makes extensive use of handheld camerawork, and coupled with the extensive location filming, the resulting low-budget look lends the film an air of gritty realism. At the same time however, it's often quite beautiful in its use of close-ups, soft focus, and colour. When Iris has dreams in which she talks to her dead mother, those scenes have an appropriately dream-like quality. There's also a studied eroticism in the many sex scenes, with the film often going into slow-motion and soft-focus.
Ilona Sekacz provides the elegant score, which becomes more fractured and urgent as Iris spirals out of control, and Ewa J. Lind edits in a way that similarly reflects Iris' state of mind. Notably, the ending sees Iris visiting a beach, a far more scenic and serene location than the grubby urban arena in which most of her excesses is filmed. Under the Skin has the rough edges of a first-time director's work, but it also has an artistry and maturity that make the praise heaped upon it entirely understandable. Nearly two-and-half decades on, it seems increasingly unlikely that Carine Adler will make a second film, but if she does it won't be unwelcome.
Under the Skin stars Samantha Morton and Claire Rushbrook as sisters Iris and Rose, as they cope with the death of their otherwise unnamed Mother (Rita Tushingham). Whilst Rose's grieving process is conventional, Iris descends into a self-destructive orgy of drunken promiscuity, alienating her sister, her boyfriend Gary and her friend Ron in the process. Morton and Rushbrook are both very convincing as bickering sisters Iris and Rose, but Morton is undoubtedly the star and her central performance is key to the film's success. She takes the audience with Iris on a journey that is often painful to watch, as she throws herself at a variety of men, some interested only in sex and one abusive, as she tries to find something to fill the emotional void left behind by her mother. In a nice demonstration of the fact that Iris doesn't know what she is actually looking for, Morton provides a voiceover that doesn't entirely elide with what we see on screen, demonstrating Iris' skewed perspective on reality.
Adler explores grief and family relationships with a raw, down-to-Earth grittiness that recalls British kitchen sink dramas, and has an honesty that makes the film feel real, despite the - almost unexpected - optimistic ending, which sees the two sisters reconciling and the future looking brighter. In truth, there are no world-changing revelations to be had here, but Adler's perceptive look at people's ability to implode and push everybody else away has resonance. Iris is a sympathetic character for the most part, as the viewer is invited to share her pain, but at the same time some of her behaviour is so spiteful that her rejection by her friends and family is painfully understandable.
Part of the film's appeal is undeniably due to its direction, as Adler creates an alluring visual aesthetic. Undeniably art-house in approach, the film is made with confidence and verve. The film is shot on grainy film stock, whilst cinematographer Barry Ackroyd makes extensive use of handheld camerawork, and coupled with the extensive location filming, the resulting low-budget look lends the film an air of gritty realism. At the same time however, it's often quite beautiful in its use of close-ups, soft focus, and colour. When Iris has dreams in which she talks to her dead mother, those scenes have an appropriately dream-like quality. There's also a studied eroticism in the many sex scenes, with the film often going into slow-motion and soft-focus.
Ilona Sekacz provides the elegant score, which becomes more fractured and urgent as Iris spirals out of control, and Ewa J. Lind edits in a way that similarly reflects Iris' state of mind. Notably, the ending sees Iris visiting a beach, a far more scenic and serene location than the grubby urban arena in which most of her excesses is filmed. Under the Skin has the rough edges of a first-time director's work, but it also has an artistry and maturity that make the praise heaped upon it entirely understandable. Nearly two-and-half decades on, it seems increasingly unlikely that Carine Adler will make a second film, but if she does it won't be unwelcome.
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