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Established 1995 filmfestivals.com serves and documents relentless the festivals community, offering 92.000 articles of news, free blog profiles and functions to enable festival matchmaking with filmmakers.

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The Constant Gardener by Fernando Meirelles London opening

Following City of God with his first (largely) English language film, Fernando Meirelles proves an inspired choice to direct screenwriter Jeffrey Caine's adaptation of John Le Carré's acclaimed novel, bringing modernity and visual brio to the multi-layered and deeply affecting story.

In a remote area of Northern Kenya, passionate human rights activist Tessa Quayle (Rachel Weisz) is found brutally murdered. Her travelling companion, a local doctor, appears to have fled the scene, and the evidence points to a crime of passion. Sandy Woodrow (Danny Huston), Sir Bernard Pellegrin (Bill Nighy) and the other members of the British High Commission assume that Tessa's husband, their mild-mannered and unambitious colleague Justin Quayle (Ralph Fiennes) will leave any investigation of the matter in their hands. But haunted by remorse and stung by rumours of Tessa's infidelities, he begins to look in to what took her to the region where she was killed. What he discovers is a trail of conspiracy and corporate greed which has claimed innocent lives and will threaten his own.

At the heart of The Constant Gardener is a series of contrasts, encapsulated in cinematographer César Charlone's strikingly beautiful images - vivid red hues for the vibrancy of Kenya, chilly blues and greys for London. The film's non-linear structure moves freely between times and places, constructing the retrospective love story between Justin and Tessa with tenderness and a palpable sense of intimacy, thanks to the very fine performances of Ralph Fiennes and Rachel Weisz. The supporting cast are strong too, including the ever impressive Bill Nighy as the suavely insidious Pellegrin. Topical and socially relevant, The Constant Gardener is not just the most original adaptation of a Le Carré novel we've seen, it's a visionary piece of film-making in its own right.

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Chatelin Bruno
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