In a recent interview, we explored the new film “Portraits of Dangerous Women,” a dramedy directed by Swiss filmmaker Pascal Bergamin. Set in a rural British landscape, the film aims to weave together the narratives of three unlikely women but ultimately falls short, lacking both dramatic tension and comedic moments.
Bergamin, who divides his time between Zurich and London, has previously dipped into English-language cinema, but this project feels quite different. It features British characters, played by British actors, yet the dialogue often comes across as awkwardly translated from a separate European script. Interestingly, the film places an unusual emphasis on two art dealers from Cottbus, Germany—characters who are never seen on screen and who contribute little to the overall narrative.
The story focuses on a central trio: Steph, a discontented teacher brought to life by Jeany Spark; Tina, an overqualified caretaker at Steph’s school played by Tara Fitzgerald; and Ashley, a troubled but artistic teen portrayed by Yasmin Monet Prince, who adds her own complexities to the mix. The film kicks off with a chaotic scene where Steph, in a heated argument with her father Jon (played by Mark Lewis Jones), accidentally hits a dog, only to discover that Tina was also involved in the incident. This confusing opening sets a tone that lingers throughout the film.
While the intertwining of these three characters is intended to form the backbone of the narrative, the movie stretches a tedious 93 minutes, filled with bizarre misfires instead of compelling moments. Although there are standout performances—especially from Lewis Jones, who brings warmth and confidence to his role—they struggle against a script that feels unconvincing, resembling a Sunday afternoon drama crafted by someone detached from authentic human experiences.
“Portraits of Dangerous Women” is set to debut in cinemas across the UK and Ireland on October 11, but it remains uncertain whether audiences will find the film engaging.
