A Complete Guide to 'Rosie'

Overview

• Rosie is a 2018 Irish drama directed by Paddy Breathnach and written by Roddy Doyle. The film follows a day and a half in the life of Rosie Davis and her family as they navigate the challenges of homelessness in Dublin.
• The narrative highlights the stark realities of Ireland's housing crisis, focusing on the emotional and physical toll it takes on an ordinary family struggling to find temporary accommodation.

Plot Summary

• Set over 36 hours, Rosie depicts the Davis family's struggle to secure shelter after being forced out of their rental home. Rosie and her partner, John Paul, along with their four children, spend the day calling hotels and driving around Dublin in search of a place to stay.
• Despite their relentless efforts, they face constant rejection, leading to growing tension and despair.
• The film poignantly captures their deteriorating situation as they grapple with maintaining a sense of normalcy for their children amidst uncertainty and instability.

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Key Moments

• Opening Scene

  • The film opens with a voiceover on the radio discussing the housing crisis, immediately establishing the central issue.
  • Rosie is seen in the car, making phone calls to various hotels, desperate to find accommodation. This sequence introduces the film's primary conflict and sets the tone for the struggle that follows.

• Rosie's Conversation with the School Principal

  • Rosie's meeting with Mrs. Hennessy reveals the extent of their hardships. When the principal asks, "Rose, are you living in your car?", Rosie's defensive response, "We're not homeless, we're just lost," highlights her denial and the stigma associated with homelessness.

• The Trampoline Scene at the Old House

  • In the trampoline scene, Rosie struggles to convince her son, Alfie, to leave their old home's garden, where he is playing on the trampoline.
  • This moment symbolises the family's painful detachment from their previous life and home. Rosie, visibly exhausted and overwhelmed, physically removes Alfie from the trampoline, highlighting the emotional burden she carries.
  • Her frustration and subsequent apology to Alfie capture the tension and heartache of their situation, emphasising the impact of homelessness on both parent and child.

• Darren's Realism vs. Rosie's Denial

  • When Darren suggests they should consider themselves homeless, Rosie's refusal to accept this label—"We're not homeless, we're just locked out,"—reveals her struggle to maintain dignity and control over a situation that is increasingly slipping away from her.

• Closing Scene

  • The film ends with Rosie and her family sleeping in their car, highlighting the ongoing nature of their struggle.
  • John Paul's reassurance, "I'm sorry. It's supposed to be my job to look after you and I can't even do that," underscores the emotional toll and sense of failure felt by both parents. The final scene has John Paul looking over his family's car from outside in the cold.

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Main Character Overview

• Rosie Davis
  • Rosie is the central figure of the film, a devoted mother desperately trying to protect her family from the harsh realities of homelessness.
  • Her character is defined by resilience and love for her children, despite her growing frustration and despair. She is insecure about her role as a mother because of their situation: "Rose, you're a wonderful mother." "Thanks very much, can I have that in writing?"
• John Paul Brady
  • John Paul, Rosie's partner, is depicted as supportive and optimistic, though increasingly worn down by their situation. His role as a provider is challenged by their circumstances, leading to moments of vulnerability.
  • He is capable of keeping up his love for Rosie and humour during their adverse situation too: "Do you remember when we used to think it would be great to stay in a hotel? We're living the dream now, hun!"
• Kayleigh
  • Kayleigh, the eldest daughter, experiences tension with her mother, reflecting the strain on family relationships caused by their situation. Her silence and distance in the final scenes suggest her awareness of the gravity of their circumstances.
• Millie
  • Millie represents the innocence of childhood, but her experiences of bullying at school—where she is called "Smelly Millie"—highlight the stigma associated with homelessness, even for children.
• Rosie's Mother
  • Rosie's strained relationship with her mother adds another layer to the film's exploration of family dynamics. Her refusal to help unless Rosie retracts her statements about her father reveals deep-seated family conflicts: "Not until you take back what you said about your father."

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Film Techniques

Technique	Example/Explanation
Cinematography	The use of close-ups, particularly on Rosie's face, emphasises her emotional turmoil. Establishing shots, like the dark, empty car park, underscore the family's isolation.
Sound Design	The background noise of ringing phones and busy streets emphasises the chaos and uncertainty of their situation. Soft music during moments of brief joy, such as Millie's picnic in the car, contrasts with the harshness of their reality.
Lighting	The use of dim, grey lighting in scenes like the car park reinforces the bleakness of the family's situation, while warmer tones are used sparingly to highlight moments of connection and hope.
Editing	The film's pacing reflects the relentless nature of the family's struggle, with quick cuts between phone calls and scenes of driving around Dublin, emphasizing the constant pressure Rosie faces.
Dialogue and Overlapping Sound	The overlapping sound of Rosie's phone calls in the opening scene conveys the overwhelming nature of her task, as she struggles to secure accommodation in an increasingly dire situation.

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General Vision and Viewpoint (GVV)

• The general vision and viewpoint of Rosie is one of resilience in the face of overwhelming hardship. The film presents a stark portrayal of homelessness and its impact on a family's dignity and unity.
• Despite the bleakness of their situation, moments of tenderness and love, such as Rosie and John Paul's interactions, offer a glimmer of hope.
• However, the persistent struggle to find shelter, as seen in the line "We can't stay here, Millie. It's not our house." underscores the film's tragic realism and the pervasive sense of denial and desperation.

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Theme or Issue

• Homelessness and Dignity:

  • The central theme of Rosie is the struggle to maintain dignity amidst homelessness. Rosie's refusal to accept the term "homeless" and her efforts to shield her children from the harsh reality of their situation highlight the emotional toll of losing one's home: "We'll find a hotel, then I can start looking for a new place. A house, like."
  • The film emphasises the psychological impact of homelessness, especially the stigma attached to it, as seen in Rosie's interactions with others.

• Family and Resilience:

  • The film also explores the theme of family resilience in the face of adversity. Despite the immense pressure and challenges, Rosie and John Paul work together to provide a semblance of normalcy for their children, demonstrating the strength of familial bonds.
  • This theme is captured in the moments of tenderness between them, even as they face impossible choices: "Relax, don't worry, we'll get somewhere. Love ya."

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Cultural Context

• Rosie is set against the backdrop of contemporary Ireland, highlighting the severe housing crisis and the inadequacies of the social welfare system.
• The film critiques the bureaucratic obstacles that prevent families from accessing basic needs, as seen in Rosie's repeated, futile calls for accommodation.
• The social stigma associated with homelessness is also a significant cultural issue, with Rosie's defensive response to being labelled as homeless—"We're not rough sleepers, John Paul,"—reflecting societal attitudes towards those who find themselves without a home.
• The film's portrayal of this crisis offers a poignant commentary on the growing inequality and the failures of governmental support systems in modern Ireland.

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