Yes this tale unfolded with a methodically slow narrative with intermittent splashes of scenes that make one start but it does not satisfy the viewer with a clear cut explanation of the preceeding seemingly ceaseless turmoil, pandamonium, yet above the din of the main plot ensued the reticulate threads that serve to perhaps "hint" or intimate the powerful undercurrent surging faster than the actual plot we see develop before us. I personally feel this is a story that wants to expose the hypocricy, the absurdity, the injustice of this academic institution. The girls firstly, were getting their periods at the same time, then they begin to faint by the by most of them, at the same time yet the older "mature" adult figures do not suffer from these ailments. But what they do suffer from is the "refractory" uniqueness, vitality, virility, and everything that stands for youth, The Matrons lofty aims crave indolence, self-aggrandizement, self-righteousness, indignation, anything that forces them to "work" or think outside the box, god forbid they see these girls delicately or outright eclipse them in any aspect of their lives. So they maintain this authoritarian rule under the yoke of their self-gratified hatred misplaced sadly upon the students as an easy effigy. This is why it did not happen to other students, it is because their souls had already been crushed "as good students who care about their future should", thusly their precious youths were extrapolated from them without a chance, so what you have are young students assuming the role of an adult to ingratiate themselves with their superiors, or slave-masters. There is no satisfying ending, we can only guess that the protagonist will be OK, that she can overcome, we are not privy as in a novel to a 20 year leap into the continuity of her life, no it ends harshly and stark like it began, but where the idea, the unique tale , the crafty stylistic writing subsists is where the heart of the tale presides over the abstract beginning and the so called "un-satisfying" ending, the soul, and it is beautiful. I thought it was a brave and triumphant attempt at telling it how it is, but in a more artistic way with the vehicles it chose it only showcases the raw talent of the writer/director... I would love to see more work from this highly intelligent super creative person.

When a charismatic classmate dies, her school-friends start to suffer from a mysterious mass fainting fit. Is it supernatural, grief or just a cry for attention? The headmistress (well-played by Greta Saatchi) just wishes it would all go away. It's a nice concept, but the film seems too obviously sympathetic to the girls, without really letting us inside their heads. Oddly, they don't seem to be so freaked out by their condition. Also, the soundtrack is absurdly intrusive, and deflates rather than enhances the natural atmosphere. And there's just a little too much in the way of extraneous plot - budding sexuality, a troubled mother - daughter relationship - to truly build the sense of claustrophobia which would be needed to make the film a success. Overall, it's just a little bit blander than one might have hoped.

****MASSIVE SPOILER***(The film and this review is spoiled and terrible) I saw trailers for this film last year and thought, this film looks like the sort of thing I'd like. The cinematography appeared ethereal and dreamy. The cast was interesting and I thought I'd found another independent gem for my collection of pseudo intellectual DVDs and blu-Rays I leave lying around to show how clever I am.This film is weak. Area Stark is vapid and stares off into space a lot. Maxine Peak is good, she's literally the best thing in this film. The film is not scary, don't be fooled by the trailers into thinking this film has some sort of supernatural haunting quality. It's literally a film about two girls, one is slutty, the other one isn't, and then the non slutty has really gross sex with her brother and her mum catches them. So I guess they're both slutty. Oh and there is some fainting at school. Then non slutty brother sexer gets expelled (maybe she was excelled before the sex? Who cares, it doesn't matter) The end.So yeah, spoilers, but I've really just saved you two hours of your life that's you'd never get back, k.

English screenwriter, producer and director Carol Morley's second feature film which she wrote, is inspired by her pervasive research into mass psychogenic illness. It premiered in England, was shot on locations in England and is an English production which was produced by producers Cairo Cannon and Luc Roeg. It tells the story about a student named Lydia whom has been raised by her mother named Eileen who in every sense of the word lives inside and whom whilst studying at a girls school in England where skirts should be no more than two inches from the ground when kneeling, starts experiencing unintentional and intangible mental states which gradually turns into physical symptoms.Distinctly and precisely directed by English filmmaker Carol Morley, this quietly paced fictional tale which is narrated from multiple viewpoints though mostly from the main character's point of view, draws a diversely re-educating portrayal of what happens to an adolescent daughter who sometimes blinks with her right eye and some of her fellow students after her friend named Abigail finds herself in a situation. While notable for its mysteriously atmospheric milieu depictions and distinct cinematography by French cinematographer Ágnes Godard, this character-driven and narrative-driven story about accidents in the home where a character named Miss Alvaro utters: "This generation, they think they're so misunderstood. If they had any idea what it is like to be a middle-aged woman, they'd know what misunderstood meant." and which was made one-hundred and seven years after a French-Jewish 19th century thinker who once lived in London, England created a term called Élan vital or vital force, fifty-seven years after an American journalist named Faith Augustine was born, forty-five years after the death penalty for murder was abolished, the Representation of the People Act 1969, the Matrimonial And Proceedings And Property Act 1969, the Divorce Reform Act 1969, an English professor of sociology and social policy named Ann Oakley attained a Doctorate of Philosophy at Bedford College, University of London, forty-three years after an Australian professor emerita said in an interview: "It is only impossible to castrate a woman because it's assumed that she has no sex from the outset. Because she is assumed to be a castrated thing from the outset. I mean I didn't castrate women, Freud did." thirty-four years after women's rights activists made a day for a state of peace, thirty-two years after Englanders sang: "… Don't help them to bury the … Don't give in …" and eight years after an English-Jewish revolutionary feminist and member of the English Women's Liberation Movement named Linda Bellos received the OBE for services to diversity, depicts an authentic study of character and contains a great and timely instrumental score by composer Tracey Thorn.This perspicacious mystery which is set in England in the late 1960s a decade before the first Aldermaston march and during the decade when an English typist named Myra Hindley (1942-2002) was sentenced to life imprisonment and taken to the HM Holloway Prison in Islington, London, England and where a peaceful existence becomes a rationally spiritual transition into conscience, is impelled and reinforced by its cogent narrative structure, substantial character development, rhythmic continuity, masterful screenplay, fragmented flashback scenes, interesting cinematic reference, scene where Lydia is questioned by a psychiatrist and the eminent acting performances by English actress Maise Williams, Australian actress Greta Scacchi and English actress Maxine Peake. An advanced narrative feature.