By Roger Costa
THE BOOKSHOP
For the past two decades, internationally acclaimed Spanish-born director Isabel Coixet has been crafting sensitive and powerful stories focused on the many obstacles, (physical, emotional, financial and so on) modern women have to deal with and how they manage to survive (or not) their individual battles. Films such as “My Life Without Me”, “Secret Life of Words” and “Learning to Drive” deeply investigated fragile issues related to how women react and overcome different challenges. Going back to late 50’s, the award-winning director now sets eyes on Florence Green (a heartwarming turn by Emily Mortimer), an ahead-of-her-time literature enthusiast who will step forward on her small village in England as she pursues the desire to open up the store of the title.
Though such event would be opportune to enrich the community’s knowledge and promote wisdom and entertainment, the conservative folks are not really amused by her idea, fearing a social dysfunction, or sensing the early signs of women’s self liberation and artistic revolution. Her biggest opponent is an influential socialite majestically played by the great Patricia Clarkson, who will try to convince the town’s authorities to sabotage the reading business, as she believes the place would fit better for something else.
Florence finds support from very few people, a group of kids who help her setting up the store, a smart young girl with whom she shares fantastical, passionate moments of literary imagination and observations, and especially she finds essential support from a widower (another finely crafted, enigmatic performance by Bill Nighy) who also cultivates his devotion for books. Massively awarded at Festivals around Europe, and winner of 3 Top Prizes- Best Film, Best Director and Best Screenplay- at this year’s Goya Awards (the Spanish version for the Oscars), Coixet conceived an uplifting drama about fighting for your dreams, despite societal standards and men-generated manipulation.
Its impeccable visual aesthetic, such as the luminous cinematography, the gorgeous costumes, and precisely sharp editing, also contributes to the film’s satisfying delicacy and success. Very affecting, refreshing and a tender commentary on women’s incomparable ability to overcome, create and renovate, Coixet maintains herself on top of the game, as one of the most prolific (and accurate) contemporary female filmmakers. (Greenwich Entertainment. 8/24. Quad Cinemas, Angelika Film Center, Landmark 57.)
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