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him he was right when he said that they already were a family and that what they had together was too special to lose. Jake walks out abruptly leaving Elena in tears. He goes to stay with his dad and talks to him about Elena. He tells his dad that he doesn't know what to do, he and Elena had a perfect relationship just like his dad and mum did and he doesn't know how to get that back. His dad explains to Jake that perfection is just an illusion. He asks Jake if he still loves Elena and Jake nods. He then asks him what he will do if they never have children together; Jake covers his face with his hands. In the penultimate scene Jake sits alone, thoughtful.
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as saying “You’re grieving the loss of a future and you’re grieving the loss of nothing. People are still keeping it very secret... I think it’s more acceptable to talk about miscarriage than not being able to bear a child.” Wootliff was interested in subverting stereotypes, “I loved that he’s the one who’s open and she’s less into wearing her heart on her sleeve... I wasn’t pedaling this notion of a deranged woman pushed by her hormones to meet a man and have a baby.”
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trying for over six months and Elena is over 35 years of age, they should put themselves on the list for an IVF date in another six months’ time. Elena has a horrible sense of foreboding. They have already embarked on a journey from which there is no turning back. Jake is optimistic. He is convinced that they will manage to conceive before the months are up. Elena is uplifted by Jake's optimism and buys into the idea that they will manage to have a baby naturally.
432:" twice in the film. Mark Kermode made note of the soundtrack more broadly: "Musically, the piano and cello themes of Emilie Levienaise-Farrouch's sparse score are counterposed against an eclectic jukebox selection of tracks, most notably the anguished vocals of Elvis Costello's 'I Want You' – one of the most emotionally astute deployments of a pop song in a movie since
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with Elena and she reveals a secret: for fear of rejection she lied about her age. She's not 29, she's 32. Jake doesn't care and says she's gorgeous. A little later she's 33 'or 34 or 35?' Jake puts the light on and points out she has aged six years in four hours. She says he'll be 30 when she is 40, and he might want to break up with her, but he says he doesn't care.
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up by his father who was devoted to his wife, and has not had another relationship since her death. Jake has inherited a surety about love and commitment which Elena cannot resist. Jake tells Elena he wants nothing more than to make a family with her and he doesn't want to waste any time. They start to make love.
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Wootliff is interested in the subtlety of female experience, as opposed to two-dimensional representations, “I sometimes think it’s all about showing women to be very strong. I like my character because she’s a lot of things: she’s vulnerable, irrational, funny. That’s a woman. We have qualities that
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They both begin to privately doubt the possibility of ever having a family. They take out their disappointment on each other. Elena has a growing paranoia that Jake will leave her if she doesn't give him a child. A second round of IVF fails. An explosive argument leads to Elena telling Jake to leave.
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After time apart, Elena attends her best friends wedding and when she returns home that evening she gathers Jake's remaining belongings and texts him suggesting they meet so she can deliver them to him. They meet in a cafe and Elena breaks down. She is still profoundly in love with him and she tells
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Harry
Wootliff was primarily interested in telling a modern love story, that explores how life and people's expectations of love are in conflict. Yasmin Omar interviewed Wootliff alongside writer-director Tamara Jenkins, discussing whether infertility is the last taboo in cinema, Wootliff is quoted
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Six months later Elena isn't pregnant. A casual trip to the GP to check things are okay leads to tests at the hospital and a tense appointment during which Elena also reveals she had an abortion as a teenager, they are told that there is nothing wrong with either of them, but because they have been
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Elena insists the age difference is a problem - her parents' divorce has given her a fundamental mistrust of relationships. She pushes Jake away professing that she is ready to have children and he is too young – their relationship will not last. Jake's mum died when he was seven and he was brought
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Elena, 35, is a cynic about relationships. Jake, 26, is a romantic. They meet randomly and have what they both presume to be a one-night-stand. They meet again, and consumed by infatuation, they spend day and night together, missing work, and talking into the early hours. Jake seamlessly moves in
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The months go by. Sex becomes strategically timed. It leads to nothing but disappointment and IVF starts to feel inevitable. Elena and Jake try to face it with optimism. They put it to the back of their minds that the odds of IVF resulting in a pregnancy are low. They embrace the injections and
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Pamela
Hutchinson reflected Wootliff's storytelling ability, 'a beautifully written screenplay, with a subtly symmetrical structure signposted by two spins of the mournful, urgent I Want You by Elvis Costello, but primarily driven by two recognisably familiar, fully realised characters'
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felt Only You was 'a perfectly realised story of love and longing' and 'a terrifically engrossing drama about two wholly believable characters, made with the kind of wit, honesty and raw emotional intimacy that pierces right to the heart of their relationship'. In the
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as "that rare effort that could go toe-to-toe with its
American counterpart, a passionate, moving love story told with nuance and heart". Similarly Peter Bradshaw described it as "a poignant and compelling Venn diagram of passion and heartache". Phil de Semlyen in
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In the final scene, we see Elena walking through the park on an autumnal afternoon. She eventually comes to Jake who stands waiting for her. They walk towards and embrace each other tenderly.
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won The
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traces the arc of a relationship with refreshing honesty -- and marks Harry
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are deemed as less admirable – perhaps because we are in a male-dominated society – so why shouldn’t we see them?”
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appointments and interventions. It is an opportunity to have a baby. It will be worth it. But it fails.
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Only You review – a perfectly realised story of love and longing
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the film has a 96% approval rating on review aggregator website
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New talent: the rising stars of culture, science and food 2019
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Lemercier, Fabien (30 September 2019) Cineuropa, Dinard
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2018 juries announced for 62nd BFI London Film
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Jake tells Elena if he goes he will never come back.
763:'Only You review: a love forged in childlessness'
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695:October 30,
533:The Numbers
383:Development
353:Peter Wight
225:119 minutes
131:Tim Fulford
74:Produced by
39:Directed by
839:2018 films
833:Categories
680:"Only You"
515:References
430:I Want You
378:Production
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274:drama film
255:Box office
209:2019-07-12
194:2018-10-19
157:The Bureau
147:Production
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454:Reception
447:Moonlight
355:as Andrew
258:$ 161,285
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810:Only You
743:Time Out
690:Fandango
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266:Only You
247:Language
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22:Only You
486:called
396:Filming
349:as Jake
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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