Joan Allen is getting older. It's not that her face - which, since Pleasantville, has been inseperable for me from the mental image of Reese Witherspoon-all-grown-up - has changed, so much that age is using the actress like a chalkboard. Joan Allen today looks like Joan Allen of ten years ago, with wrinkles scribbled on.
It's striking to see an actress in such an obviously advancing state of ... um ... maturity, take on back-to-back roles that deal with sexuality, as Allen has done with The Upside of Anger and, now, Sally Potter's Yes. Allen's presence as an erotic subject in Potter's film is a brave and powerful one; it's too bad the film neglects that presence for a linguistic gamble that, somewhat sadly, the actors don't really pull off.