Candid remarks from her siblings -- who paint a warts-and-all picture of their parents' occasionally rocky marriage -- are intercut with startling home-movie footage that's so prescient you'll start to wonder if someone was filming every moment of the family's lives.
We meet actors who worked with Polley's mother, and they attest to the fact that she was a free spirit who charmed those with whom she came into contact.
Even-tempered and peace loving, she is not easily ruffled and is rarely given to emotional displays.
Sarah Polley has a calming effect on more high-strung or volatile people, and an emotional steadiness that others find soothing.
Then, just as it seems the film can't get any deeper, Polley begins to play with the idea of narrative itself, exploring not just how different people perceive the same events, but how whom we hear a story from affects how we process it.
It's a remarkably ambitious theme to tackle in a documentary that's already so close to the director, and Polley pulls it off, turning what could easily have been little more than a tabloidy, self-serving autobiographical doodle into an engrossing declaration of her artistic mission.
A great deal of physical affection, closeness and touching is crucial to Sarah's well-being, and she has a tendency to overindulge in sensual comforts and pleasures. However, I rested easy in the knowledge that movie starring Michelle Williams and Seth Rogen would probably find distribution and now it has.Magnolia has sent out a press release announcing their acquisition of the relationship drama and plan to run it through the festival circuit before releasing it into theaters in early summer 2012.The sad sack copywriter Margot, played by a strawberry-blond Michelle Williams, must decide between her friendly but bland husband (played by Seth Rogen) and the sexy rickshaw driver/artist (played by Luke Kirby) with whom she is reluctantly falling in love.The film is set primarily in the middle of a sweltering Toronto summer, but seems as though it were lit with Christmas lights. The film portrays Toronto as the kind of place where new lovers, instead of immediately jumping into the sack, go for a late-night romantic dip in a public pool that’s devoid of lifeguards and other swimmers, and lit, enchantingly, from within.