Before We Saw the Trailer, We Thought: After catching the film at its world premiere at the Telluride Film Festival, we found that with this story of two young British women transitioning into adulthood against the backdrop of sixties countercultural and nuclear paranoia, Sally Potter “brings a raw energy to the material that deepens its possibilities.”
And Now? The trailer reflects the movie’s brooding visual style and intimate mood without giving away some of its key plot points. It’s no great spoiler to point out that the friendship between Ginger (Fanning, whose performance has already yielded the best reviews of her career) and Rosa (Alice Englert), forged by their parents before the girls were even born, gets seriously tested by a series of events; the trailer, however, shows neither the fallout of those events nor specifies them. Instead, we see glimpses of the larger forces that begin to shake up Ginger’s worldview, including the words of encouragement from poet Bella (Annette Bening), who turns Ginger onto the women’s rights movement.
Meanwhile the shadow of apocalyptic dread hangs over the proceedings and bears down on Ginger’s somber perspective. “The whole world could be blown to pieces at any minute,” she says, baffling the middle aged gay couple (Timothy Spall and Oliver Platt) friendly with her family and tasked with comforting her. And while the literal realization of her fears are unfounded, Ginger’s world as she understands at the beginning of the story — a gentle, innocuous playground — truly does crumble by the final scenes, glimpsed in the final third of the trailer when Ginger breaks down into tears.
The trailer is also coy about Ginger’s tempestuous relationship to her parents, including only a fleeting conversation between her and her radical intellectual dad Roland (Alessandro Nivola), whose cold perspective on society’s constraints plays a crucial role Ginger’s awakening. Meanwhile, a melancholic Christina Hendricks, as Ginger’s mom, mainly casts dejected looks at her daughter; there’s much more to their relationship than that.
But that’s neither here nor there. The “Ginger and Rosa” trailer accurately reflects the two qualities outlined in the pull quote it uses from Indiewire’s review — it’s both “viscerally charged” and contains “gripping performances” that make it a must-see. But the trailer’s one certainty is that it unveils the logo for A24 as the distribution company heads into its first full year of releases with a slate that also includes Harmony Korine’s “Spring Breakers.” Now that’s diversity for you.