SLIDING DOORS

SYNOPSIS:
Helen (Gwyneth Paltrow), a London PR hot shot is suddenly fired from her job. On her miserable way home, she misses the tube, is mugged, and tries rebuilding her life by working as a waitress and trying to come to terms with the possibility that her live-in lover (John Lynch) is not the philanderer she suspects. But what if she'd got on that train? Her life could be quite different? In this scenario, Helen meets a witty, Scottish guy (John Hannah) on the train, who loves to sprout Monty Python, and in fact DOES discover her boyfriend in bed with an ex-flame (Jeanne Tripplehorn), thus her own life begins rebuilding in a different direction, both professionally and personally, until fate invokes tragedy on both Helens, simultaneously, with different conclusions.

"Beguiling and seductive, Sliding Doors is a cinematic jewel: an intelligent, thought provoking film that defies classification. Peter Howitt’s intriguing concept is beautifully brought to the screen by faultless execution and seamless integration. The film canvases fate, coincidence, chance, circumstance and premonitions - all fascinating issues in themselves. The philosophical questions raised in the chance split-second occurrences in our lives are ones which confront us all every day. The film divides like a fork in the road of life, smoothly and effortless compelling and engaging in the two ensuing stories. A bright star shining throughout, Gwyneth Paltrow delivers screen magic, captivating every nuance of her very full and complete character. At times, her facial features are reminiscent of a young waif-like Mia Farrow. Enigmatic and engaging with a perfect London accent, her performance makes us want to jump aboard the emotional rollercoaster with her. The other leads are terrific, especially John Hannah, who complements Paltrow perfectly. I worry only about John Lynch’s character, so unappealing that his relationship with Helen doesn’t ring true. Beautifully structured and deliciously tantalising, Sliding Doors is a special film, whose complexities and intrigue intensify long after the film has finished. Nostalgic, reminiscent, but never overtly sentimental, the production values are tops, with focused direction and a music soundtrack that complements the mood."
Louise Keller

"All too rarely a film creeps up on the unsuspecting viewer, completely captivating one with its originality and wit. Sliding Doors is such a film, a charming, clever, faultlessly written masterpiece about human relationships, fate, betrayal and life’s possibilities. We all, at some time in our life, have questioned our own destinies. We ask ourselves, ‘wonder what would have happened if ---‘. First time feature director and writer Peter Howitt takes that question, embellishes it and transforms it into a compelling and deliriously inventive tale, one of deeply etched characters with witty, wise dialogue and perfect performances by an accomplished cast. Paltrow is simply luminous as Helen, a complex being on a most extraordinary emotional roller coaster ride. Funny, gorgeous, real, painstakingly emotive, Paltrow gives the kind of intricate performance she’s capable of. Her perception of a modern English character is remarkable in the way she uses the language as part of her character. Yet, it’s not a simple technical performance, but one that is far richer and real than that. John Hannah is also a delight as James, the bloke whose meeting with Helen on the train transforms their lives. He, too, is both hilarious yet deeply moving; he’s a joy to watch and listen to. Ireland’s John Lynch is superb as the two-timing boyfriend seeking moral guidance from his caustic bar-room buddy, while Jeanne Tripplehorn shines as the major villain of the piece. Smartly and crisply directed Howitt, featuring a resonant score by Australia’s David Hirschfelder, Sliding Doors is the kind of film one would never get from mainstream Hollywood. For starters, it’s a work that demands the attention of the audience. This is an exquisite gem of a film not to be missed."
Paul Fischer

"No-one can ever know in advance how a film is going to turn out. It often turns on small things; a bit of luck on the shoot, a single idea that illuminates some part of the script, or a single casting decision. In this case, I think Howitt has been blessed with all these things falling into place for him. This is not to detract from his writing, the beginning without which none of it would have happened. The film takes us on two journeys, and makes them both feel real, giving us a bitter sweet experience and the realisation that our lives can go in any direction at any time, and it hardly matters. Chance rules, OK."
Andrew L. Urban