THE PARTY - a comedy wrapped around a tragedy – unfolds in real time in a house in London in the present day. Janet is hosting an intimate gathering of friends to celebrate her promotion to Shadow Minister of Health in the party of opposition. Her husband, Bill, seems preoccupied. As their friends arrive, some of whom have their own dramatic news to share, the soirée gradually unravels. An announcement by Bill provokes a series of revelations that rapidly escalate into all-out confrontation. As people’s illusions about themselves and each other go up in smoke, along with the canapes, THE PARTY becomes a night that began with champagne but ends with blood on the floor.
“A deliciously heightened, caviar-black comedy that sets up its brittle, bourgeois characters like bowling pins and gleefully knocks them down in 71 minutes flat.” - Guy Lodge, Variety, 13.02.17
“The film’s intelligence, entertainment factor, and fine performances from a prestige cast will win The Party ample hospitality.” - Jonathan Romney, Screen International, 13.03.17
“Full of cheeky narrative twists and delightful surface details. Alexey Rodionov’s sumptuous black-and-white photography reinforces the sense of classic ingredients repackaged in a contemporary context. Likewise the sublime musical backdrop of antique jazz, blues and reggae from the likes of Bo Diddley, John Coltrane and Albert Ayler.” - Stephen Dalton, The Hollywood Reporter, 13.02.17
“Observant and smart…. It plays out in real time with elegance and dispatch, cantering up to a cheeky punchline twist which leaves you laughing over the final credits.” – Peter Bradshaw, The Guardian, 13.02.17
“What matters is whether the film’s critical portrait of a certain sector of modern British society succeeds dramatically and comedically; and with a deftly constructed, fast-moving real-time storyline, credibly vivid characters and deliciously barbed exchanges coming thick and fast, it unquestionably does.” – Geoff Andrew, Sight & Sound, 14.02.17
“Potter’s wicked drawing-room farce had the audience howling with laughter, and who knew that she could be a writer of Wildean quips, pricking the pomposity and insincerity of every member of the ensemble cast?” – Kate Muir, The Times, 15.02.17