The trailer for Sally Potter’s new film GINGER & ROSA has just been released following its World Premiere at the Toronto Film Festival.

Critics describe the film as “intimate and sensual” (Indiewire), “with a gleaming intensity” (The Guardian) and a central performance from Elle Fanning that is “simply extraordinary” (Hollywood Reporter).


Posted on August 18, 2012 by

Sally Potter’s new film, GINGER & ROSA, will have its world premiere in Toronto on Friday 7, September.

GINGER & ROSA is also invited to the New York Film Festival in October.

Here’s the piece on the film from the NYFF programme

In 1962 London, two teenage girls, best friends since they were toddlers, are driven apart by a scandalous betrayal. Making her NYFF debut, writer-director Sally Potter has crafted an intimate, riveting coming-of-age story – one made all the more powerful by a revelatory performance by Elle Fanning as the bright, anxious Ginger, increasingly affected by both the misery of her parents (deftly played by Alessandro Nivola and Christina Hendricks) and the era’s all-too-real fears of nuclear destruction. As her private dramas unfold against the backdrop of broader historical terrors, Ginger proves to be one of cinema’s most fascinating and formidable young heroines. Talented newcomer Alice Englert, the daughter of filmmaker Jane Campion, makes her impressive feature film debut as the troubled Rosa.

Full cast and crew details on IMDB 


Posted on April 19, 2012 by Photograph of Alice Englert and Elle Fanning by Nicola Dove © Adventure Pictures Ltd

Principal photography on Sally Potter’s new film has been completed after a five-week shoot on location in and around London.

This new project is Sally’s seventh feature film, with an exceptional cast, including Elle Fanning, Alessandro Nivola, Christina Hendricks, Timothy Spall, Oliver Platt, Jodhi May, Annette Bening and Alice Englert.

Written and directed by Sally Potter, the producers are Christopher Sheppard and Andrew Litvin.

Here is the synopsis:

London, 1962.  Two teenage girls – Ginger and Rosa ­- are inseparable; they play truant together, discuss religion, politics and hairstyles, and 
dream of lives bigger than their mothers’ frustrated domesticity. But, as
 the Cold War meets the sexual revolution, and the threat of nuclear
 holocaust escalates, the lifelong friendship of the two girls is shattered 
- by the clash of desire and the determination to survive.

Photograph of Annette Bening and Elle Fanning by Nicola Dove © Adventure Pictures Ltd

The film is an Adventure Pictures Production, presented by the British Film Institute and BBC Films in association with The Match Factory, Ingenious, Media House Capital, the Danish Film Institute and Miso Film.

Co-producers are Peter Bose, Jonas Allen, Lene Bausager and Michael Weber with the following as Executive Producers: Reno Antoniades, Aaron L Gilbert, Goetz Grossman, Joe Oppenheimer and Paula Alvarez Vaccaro.

The Match Factory is handling international sales on the film, and pre-sales have been completed for Australia (Transmission) and Scandinavia (Future Film), with Concorde Filmverleih set as the German distributor.

Photograph of Alice Englert, Elle Fanning, Sally Potter and crew by Nicola Dove © Adventure Pictures Ltd

Sally Potter directed her first feature, THE GOLD DIGGERS, starring Julie Christie, in 1983. Potter then made a short, THE LONDON STORY, and several documentaries before the internationally acclaimed and multi-award winning ORLANDO (1992), starring Tilda Swinton, which Potter adapted from Virginia Woolf’s classic novel. This was followed by THE TANGO LESSON (1996) and THE MAN WHO CRIED (2000), starring Christina Ricci, Johnny Depp and Cate Blanchet. In 2004 Potter made YES, starring Joan Allen, Simon Abkarian, and Sam Neill. Potter’s last feature film, RAGE (2009), starred Judi Dench, Jude Law, Steve Buscemi, Simon Abkarian and Dianne Wiest and was the first film to premiere simultaneously in cinemas and on mobile phones.

Full Cast and Crew 

All Press Enquiries 

Mobile Filmmaking

…Michelangelo was there first.

Sally Potter filming Lily Cole as Lettuce Leaf in 'Rage'

In RAGE, Sally’s 2009 film which defied all the usual conventions of cinema, the character Michelangelo, unheard and unseen throughout, managed to film his interviewees using only his mobile phone, before secretly posting the interviews on his website.

Throughout the film, the characters begin to open up to their interviewer, naively mistaking his age and lack of professional equipment as a sign of unimportance. The worry of minding what is said in front of the camera all but disappears, it’s a phone after all. If what was being filmed were being seen somewhere important, he’d be using a better camera, surely?

At the time of filming, back in 2008, the possibility of actually shooting the film on a mobile phone was strongly considered. Tests were shot, and a number of different phones and their capabilities were looked at, but at the time the technology just wasn’t able to produce a watchable film on the big screen (though it certainly would have been possible for Michelangelo’s needs). In the end, for creative reasons, it was decided the film be shot on the Panasonic HVX-200, a mid-range professional camera that produced the clean, almost amateurish look of digital that Sally and Steve Fierberg, the Director of Photography, were trying to achieve, while still feeling cinematic enough that an audience could stand to watch an entirely handheld ninety minutes of interviews in a cinema.

Jude Law as Minx in Sally Potter's 2009 film 'Rage'

Three years on, and as technology has advanced, so has the possibilities. The chips and lenses required to achieve a high-quality image have gotten smaller, and the feature-set of phones has rapidly expanded. South Korean filmmaker Park Chan-wook, director of critically acclaimed Oldboy, Lady Vengence and I’m a Cyborg, But That’s OK, joins the fast growing list of filmmakers who have produced films entirely on a mobile phone. For his latest short film, Paranmanjang, or ‘A Life Full of Ups and Downs’, Park made use of the iPhone 4.

“The new technology creates strange effects because it is new and because it is a medium the audience is used to,” Park explains, “There are some good points of making a movie with the iPhone as there are many people around the world who like to play and have fun with them”.

Park isn’t alone in this endeavor, a growing number of filmmakers are making the most of the possibilities this technology has created. You can view a number of music videos shot on the iPhone here.

RAGE was made on a budget of $100,000, quite a feat considering the end product and the cast involved. It was branded as a new style of filmmaking, ‘Naked Cinema’, and the point was to prove that films can be made on a budget, without being wasteful with your spending. The iPhone, and a number of other phones on the market, are staying true to this claim, making it possible for any filmmaker to make the project they want to make, without needing the budget of a blockbuster.

Casting Call – CLOSED!

We are in the process of casting Sally Potter’s new film and are looking for two teenage girls, aged 14 to 18, for the leading roles.

If you want to be considered in the casting process, we invite you to contact us. The film will shoot in the UK and Ireland over the summer holidays.

To begin with we want you to post a short video of yourself performing part of a scene from the film, and if we like what we see, we will invite you to come to an audition.

About the audition

The story is set in London in 1961 at the time of the “Ban the Bomb” movement. Ginger and Rosa are nearly 16 and lifelong best friends who do everything together. Ginger is the “brainy” one who wants to get involved in the antinuclear protests while Rosa is more interested in boys.

You can choose to be either Ginger or Rosa in your video: it doesn’t matter which and will not affect your chances of being considered for both roles. You can do the whole scene sitting down and we only need to see you on the video. The other part can be read for you by someone else – a friend, someone from your family or a teacher – who we will not see in the video.

Please start by introducing yourself to camera. Please face the camera and make sure we can see your face and hear you clearly. A head and shoulders shot is best. There is no need for any costume or special location.

Tell us your name, your age and where in the country you are from. Then tell us one interesting fact about yourself.

You can download the audition scene (NOW REMOVED)

Below are instructions on how to send us your video privately via YouTube.
All videos will be treated in the strictest of confidence.

If you would like to tell your friends about this opportunity please check out ourfacebook page.

Good luck!

How to submit your audition video:

1) Go to

2) In the top right, click Create Account, you will need an email address. Or log in if you already have an account.

3) Once you’re account is active, you can upload your video. To the right of the search bar, click Upload.

4) Choose Upload Video and select the file from your computer.

5) While the videos uploading, give the video a title. The title should be the name of the character you’re auditioning for, followed by your name.

6) Under description, you’ll need to provide a contact detail email for us to get in touch with you should you be successful.

7) Tags and category can be left blank.

8) Under privacy, select Private.

9) Click Save Changes, and wait for you video to finish uploading.

10) Once completed, click on your username in the top right hand corner and go to My Videos

11) You’re video will appear, select Edit

12) Scroll down to Broadcasting and Sharing Options, select Private.

13) When asked who to share the video with, enter the username spinteractive1.

14) Click Send, and the video will come to us.

Sally Potter at MoMA

The Museum of Modern Art (MoMA) in New York presents a retrospective of Sally’s film and video work, opening on July 7 with the US premiere of a digitally-remastered version of the Oscar-nominated ORLANDO, followed by an onstage conversation with Sally Potter and Tilda Swinton.

The MoMA exhibition also includes world premieres of a number of newly-restored early works, among them COMBINES, a dual screen film originally created in 1972 as part of a performance by the London Contemporary Dance Theatre, choreographed by Richard Alston.

See the full programme

Waiting for Godard

It rained in Cannes the day I left; the Croisette and the open-air cinema on the beach suddenly desolate and deserted.

I had queued for an hour the day before in hot sunshine to see the new Godard film “Film Socialisme”, only to be turned away. But then Godard didn’t turn up to his screening either, and I have rarely managed to see any films at these festivals unless I am on the jury.

The real purpose of Cannes for most people working in the film industry, in any case, is not to see films but to meet people. Relying on chance encounters as one hurries back and forth along the seafront is almost as good a way of organizing your schedule as any other. In this way we managed to connect with past collaborators and co-producers from many countries. This was not, however, a hard-sell mission. Though armed with two new screenplays, one more ‘finished’ than the other, my real purpose was to take an open-eyed, if fleeting, look at the industry which has formed a backdrop to my adult working life.

Cannes is a notoriously commercial, market-driven festival, though looking back nostalgically to the ghosts of New Wave cinema and all it signaled. Godard is still fighting his rearguard action, shamelessly intellectual and global in his concerns, uninterested in glamour and acclaim.

But the pursuit of glamour remains a preoccupation of many on the Croisette. There are still, after all these years, young women trading on their looks, balanced on precarious and ever higher crippling heels; there are still insecure older women looking like casualties from a burns unit – the quiet horrors of cosmetic surgery – there are still confident men with long lenses searching for the new face. Critical opinion is still formed by a handful of individuals writing reviews for Variety and Screen International, which everyone devours at breakfast each day; the die is cast.

Some say sales are picking up, some say film financing will never be the same again. Piracy, digital distribution, the recession itself; all have changed the economics of filmmaking drastically, and no-one seems to really know where it’s going. At moments like these it feels like an advantage to be something of an outsider, able to take risks and embrace the new in ways that more heavyweight companies or corporations with huge overheads cannot.

With the next film, however, I intend a different strategy altogether. Even being an ‘outsider’ can become a habit.