Midway through Frances O’Connor’s “Emily,” the title character finds a note. It’s been left for her, discreetly, with the time and place to meet the man she loves.
O’Connor holds on a close-up of Emily as she registers her considerable excitement at the invitation, then tries to hide it, then gives up because she simply cannot.
It’s like a little clinic in screen acting, in what the camera can pick up but another person often cannot, and O’Connor holds and holds and holds on her and lets her play the moment for all it’s worth.
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