User reviews

The film starts with the message that it is based on true events. Although you might wonder what was changed for the film, you soon forget that and accept it as a whole. In short it was brilliant. It could have been a predictable story but instead it had other dimensions and took unexpected directions with strong characters and some humour. I thought I knew an outline beforehand and was pleasantly surprised when that part was covered in the first twenty minutes. It was intriguing where the story would take us and that happened a few more times later. In addition to Philomena's journey, there was also Martin Sixsmith's journey from the beginning as just a detached journalist doing a human interest story on someone, whom he thought was beneath him, to being totally involved and offering not to publish it. To illustrate the depths of this film you can see how it attacks cruel, narrow-minded, sanctimonious Catholicism and at the same time shows how the faith gave strength to Philomena and the ability to forgive rather than to wreak vengeance. The acting was totally convincing. It is going to be a competitive year but Judy must be up for another Oscar. Just watching Steve Coogan's almost imperceptible expressions of irritation as Philomena told him the interminable plot of the book she had just been reading, was wonderful. This is definitely the best film I have seen all year. After writing this I read the interview with Martin Sixsmith on the Guardian web-site. It fills in more detail about Michael Hess (Anthony Lee) but confirms the whole truth of the story.

As several critics have observed, this wonderful film, just shown at TIFF, is destined to become this year's King's Speech (which began its Oscar run in Toronto too, though Philomena has already picked up accolades in Venice). Both British films have strongly emotional undercurrents leavened by wry humour, feature outstanding performances from the leads and are based on true stories.

Judi Dench, as the Irish woman whose out-of-wedlock son is taken from her by Catholic nuns and sold to a rich American couple in the 1950's, has never been better. She imbues the role with a mix of wisdom (after all, as she reminds us repeatedly, she was nurse for 30 years) and naiveté that would seem to be impossible were it not so deftly handled. While the cynical atheist portrayed by Steve Coogan rarely misses an opportunity to poke fun at her, more often than not she enjoys the last laugh.

Despite the consummate acting, and Frears' slick directing, the greatest treat of the film is Steve Coogan's screenplay. Given its subject matter, the story could easily have veered into melodrama, but just when it is on the verge of doing so Coogan pulls us back from the edge. Thankfully, Coogan himself is there to convey precisely the proper blend of sarcasm and compassion.

Steve Coogan deserves utmost respect for producing and writing this film. His script is excellent, consistently witty and engaging on the surface whilst spinning many more layers beneath the surface which became unconsciously stirring. Normally with these kinds of films I find the humour becomes contrived, forced or inappropriate, like the writers/director buckle under a need to impress and please the audience. You won't find those jarring moments here - Philomena is expertly judged and balanced. The story itself is fascinating, and again Coogan's script steers clear from overt sentimentality to allow the humanity to speak for itself. A gentle, funny, heartbreaking and unforgettable film. I actually much prefer it to the Kings Speech.

My wife talked me into going, I wanted to see Captain Philips but she was adamant this time. We both grew up in Ireland and I didn't want to see another one of those movies focused on stereotypes, the marketing blob types like the Quiet Man and Ryan's Daughter...stereotypical nonsense that lampoon our history and our culture. Steve Coogan and Judy Dench, especially Judy got it just right from the very start. They were smart, witty, serious and most of all, Judy was 'Irish' They really got the spirit of an Irish mom, that cocktail of guilt, generosity, inferiority and a heart to care for the entire world spot on. Dench in the hotel thanking everybody for being 'so nice' and getting who her son was as a child as others were today trying to 'break the news' to her...she wasn't just a step ahead, she was years ahead. Really excellent, really well done. Beautiful!

Having lived the mother-baby home experience in Ireland (born at another of the Sacred Heart homes, Bessboro, in Cork in 1960, and trafficked to the US in 1961) and working as an advocate for the rights of adopted people and survivors of Irish Magdalene Laundries for more than twenty years, I'm always prepared to be either underwhelmed or angry at the film industry's ineptitude with subjects like this, I have to say I have not been as pleasantly surprised since Mike Leigh's excellent 'Secrets and Lies' and Peter Mullan's superb 'The Magdalene Sisters'. Frears, Coogan, Dench et al give Philomena's very true story such punch, truth and pathos, a heady accomplishment given the subject matter.

I look forward to the film's US release and urge my fellow 'Banished Babies' to see it, although I recommend going with support as it's very triggering. Let's hope Philomena's strength and tenacity, so powerfully portrayed by Dame Judy, coax more mothers living in shame and denial to reach out to their lost children before it's too late.

Philomena is undoubtedly a film and a story that pulls at our heartstrings. (Do hearts have strings? Seems I'm falling back into old fashioned rhetoric.) It's the story of great injustice, cruelty, that was doled out to young girls of 50+ years ago who had the misfortune in society's eyes to become pregnant out of wedlock. It's easy enough to say that this attitude is a byproduct of the Irish Catholic Church, but that would be like saying that antisemitism was German. It would be a misreading of both history and the facts. Thus, although the nuns and priests who were complicit here are not given a pass (you should have heard the quiet condemnatory outbursts from my fellow audience members) this is not a story of the Catholic Church vs. the more caring world, but rather a look back in time to a series of widely played events whose ramifications still echo today.

This is the story of one woman, Philomena, as portrayed in her old age by Judi Dench. She is a stoical, quiet, but yet lighthearted woman who has an undercurrent of great sadness. We begin the story with her finally telling her daughter about the son she had at age 18 who was taken from her and adopted away. She had never spent a day in the ensuing 47 years without thinking of him and at last admits that she desperately needs to seek him out, "I just want to know that he was loved." We follow along on her journey, driven along by her daughter catching the attention of a journalist, Martin Sixsmith, who is at loose ends and rather reluctantly agrees to help her in her search using all the considerable skills of a long professional career. This is a true story in that there really is a Philomena Lee, whose son, Anthony, was taken from her at age three by the same nuns who had been sheltering them, and using her for free labor. And there really is a Martin Sixsmith, the journalist who helped her. The story takes some flights of fancy, playing with the facts as I understand from interviews with Philomena Lee herself, to keep it watchable, but the underlying story elements are correct and the emotions are authentic.

But what makes this film so very watchable are the performances. Judi Dench once again proves that she is one the finest working actors of our age. Her performance is absolutely exquisite. I found myself almost holding my breath in a few of the emotion laden closeups of her face. Steve Coogan, as Sixsmith, is also very, very good. And very much worth mentioning is Sophie Kennedy Clark who plays Philomena as a young woman. But as I frequently find with a film which contains such stellar leading actors, the supporting actors also all do a very fine job. I even like the glorified extras who played the hotel staff.

Much effort has been made to assure that this film is entertaining. It has humor, twists and turns, and real drama. I don't think anyone will be leaving the theater with a happy little gait. However, I think I can promise you will be profoundly moved as well as thoroughly entertained.

Like the friend I watched this with, we thought Steve Coogan was the 'son' for the first 30 minutes of the movie! The promo trailers had probably given us that impression...

On reflection, the cruel removal of child from mother does seem almost barbaric in these days and times. Back then of course, in conservative catholic Ireland it would have been normal, accepted practice for under-age 'girls' to give up their babies for adoption.

Elsewhere in the world backstreet abortion might have been society's preferred 'option'?

Which option was the more moral? The pro-choice and pro-life brigades of today would argue both points. Abortion wasn't mentioned in this movie and thank heavens for that.

Today of course, under-age mothers are given choices and 'society' does provide safety-nets.

Dame Judi gives it her best and this could be Steve Coogan's first serious success at straight acting. He'll need a few more serious roles under his belt before he exorcises his Alan Partridge persona...

It was a beautiful movie, the lead actors are fantastic, as they are in every movie, they are in.

I just got to say this, i'm not Christian, I am from Estonia, which is a former Soviet Union country, which means we are pretty much agnostics..the religion has been rooted out over 50 years of occupation

While it was a great movie I absolutely got enraged over the ending. How can someone have no backbone??? How can you not want to avenge what has been done to you? While i can agree on the subject of being a bystander in your life and let events take its course this story is in no way about that. That young boys' life and that of the lead lady was clearly influenced by the people at the monastery, what they did was in no way Christian and it should have consequences. How someone can accept that kind of wrong-doing is beyond me. The movie was great, the ending sucked!

This is my first review ever! And that's cause over hundreds of movies I have never been that enraged over and a dumb-ass ending!

This was a great film. I haven't stopped thinking and talking about it since I saw it earlier today. This is a story that needed to be told: so much better than the typical blockbusters we are force-fed day by day. A very meaningful and poignant tale about what goes on in the heart of man and the secrets that can change lives if only known. My husband and I hugely enjoy the British style of acting with its dry humour and evident realism. A movie which portrays a reality that would be very close to home for thousands of people. Steve Coogan played his part very well. Judi Dench has excellent comic timing, which I haven't forgotten, having watched her in UK sitcoms in the old days. A must see. Well done to all involved.

Review: I really enjoyed this heart warming tale about a woman trying to search for her long lost son. The thing that made this film work was the chemistry between Dench & Coogan ho played there roles extremely well. You can't help getting caught up with the emotional storyline which is touching in a comedic way. After finding out that this was a true story, I couldn't believe that the nuns were so cruel towards the little girls. Anyway, the the movie well put together by the director and it very well written. I wasn't expecting that much from this film, which was what made me enjoy it even more. I just fine that people give this small independent movie a chance. Enjoyable!

Round-Up: Steve Coogan is more popular in the comedy world, which was why I thought that it was a weird choice to cast him in this role, but after watching it, I could see why he was there first choice. I much prefer him in serious roles because he still adds a touch of wit which worked well in this film. Judi Dench just can't do any wrong. The older she gets, the better she gets, and I don't think that this film would have worked without her. She has a sweet but firm way to acting and with such a deep storyline, her style worked extremely well. I'm sure that the real life Philomena can't complain about the way that her life has been portrayed.

Budget: $12million Worldwide Gross: $100million

I recommend this movie to people who are into there deep drama's/comedies about a lady who is looking for her son with a journalist who wants to tell her story. 7/10

Sometimes I get the feeling filmmakers have lost their way. Formulas work and make the basics irrelevant so we get carbon copy blockbusters appealing to the masses clearly showing a reckless disregard for what filmmaking is all about: visually telling a story. And then a film like Philomena comes along and reminds us of the magic that can happen when a true craftsman and artist skillfully blends the basic ingredients of story, character, camera, and music into an exhilarating and powerful work of art. This film is satisfying at every level and gives me hope that some people still know what they are doing when they take the money and do their job effectively. The folks on this one should be extremely proud of their efforts.

Greetings again from the darkness. Two people telling the same story can sound infinitely different. Two people united in their efforts to solve a mystery can have vastly different reactions to the same situations. Such personality and attitudinal differences are the real core of this story ... even more than the true life inspired story of a quest to reunite a mother and child after 50 years.

Peter Mullan's startling 2002 film The Magdalene Sisters provided us a look into the dark side of Ireland convents in the 1950's. Here, director Stephen Frears brings us the very personal story of Philomena Lee - one of the unwed teenagers sent to the convent to deliver her baby and work off her debt to the nuns and church, after signing away all access to her child. It's a heart-breaking story of the times, of the church, and of a singular woman. Philomena struggles with guilt and regret over 50 years until her daughter arranges a meeting with journalist Martin Sixsmith. This begins their journey to uncover the truth and find Philomena's son.

Dame Judi Dench plays Philomena and Steve Coogan (also co-writer and producer) plays Martin, resulting in a very "odd couple" road trip and personality test. Dench is remarkable is her role as the simple woman who reads romance novels, gets excited about salad bars, is thrilled with mints on her pillow, and has lived a lifetime with a hole in her heart created by having her young son ripped from her world. Coogan is effectively restrained as the snooty Brit journalist who thinks human interest stories are a waste of time. She has maintained her religious faith and faith in people, while he has long ago given up on God and flaunts his cynicism in most every situation.

Some will view the movie as anti-Catholic ... it is difficult to defend the painful childbirth, isolated mothers, selling of children and lack of assistance in reconciling the parties. Others will view this as a victory of faith over intellect. It's the world-weary journalist with the $5.00 words who ends up learning a life lesson. It can be a reminder that life is going to throw some difficult situations your way. It's your attitude and approach that will determine how you deal with it ... and how much emotional pain follows. This is another entry into gray cinema that will generate much debate a discussion ... a sure sign of success for a movie! www.MovieReviewsFromTheDark.wordpress.com

Stephen Frears and Steve Coogan succeeded in integrating to a poignant drama a good dose of humour and this mix of genres is really the strong point of the movie. You surprise yourself laughing, during serious scenes, at the spicy remarks of the endearing Philomena, embodied by a flawless Judi Dench.

Unfortunately, the scenario still remains very linear and though the story itself is moving and the stakes high, the movie seems to lack a real dramatic dimension, you never feel emotionally involved in this tragic but also predictable quest.

All in all, you can't say Philomena is a bad movie, but it suffers from a certain classicism inevitably prejudicial.

Steve Coogan has said that Philomena is his reaction against cynicism - his attempt to make an honest and fundamentally sincere film. The biggest compliment that can be paid to him is that, in these goals, he has succeeded.

It tells the story of Philomena Lee (Judi Dench, who is as brilliant as ever), an elderly Irish woman whose child was taken away from her 50 years ago by an austere Catholic convent. Martin Sixsmith (Coogan) is the cynical, know-it-all journalist turned government spin doctor, recently sacked, who is on the look out for a story. After a chance encounter at a party, Sixsmith reluctantly takes up the 'human interest' story of Philomena's search for her son, Anthony.

The key to Philomena is the relationship between the titular character and Sixsmith. And it works. It really works, in fact. His cynicism, bordering on arrogance, is matched perfectly by her simple and completely sincere belief in common human decency. It could easily have been overly sentimental, but Judi Dench in particular does a remarkable job of keeping it grounded.

There's some very dark stuff here, and it's a testament to the script that the film does not become overwhelmed by it. The Magdalene laundries were awful places, yet this story is not about revenge. I was almost cheering when, at the end, Sixsmith gives one particularly odious nun a piece of his mind. But moments later Philomena accosts him and gives me a slap on the wrist. She does not want revenge or angry confrontation. She just wants the truth. It's a remarkable act of forgiveness, and one that, like Sixsmith, I could not agree with. But then, I'm just another cynical and bitter atheist. I have to say, this film made me angry at myself for being one. And yet it also made me pleased I wasn't a Catholic. Go figure.

Philomena is an incredible and heartfelt story. It's desperately sad, yet never overly sentimental. There's some genuinely funny moments, mainly emanating from the contrast between the wide-eyed and refreshing simplicity of Philomena's world view and the weary wryness of Sixsmith. If you get a chance, see it.

The film is about Philomena, an Irish lady living in the UK (Judi Dench). When she was young, she had an unwed pregnancy and went to live at a Catholic program for young mothers. The goal was to get help but to keep her child. However, the good Sisters tricked her out of her son and she never saw him again. Now, decades later, she's looking to find him and enlists the help of a down and out journalist (Steve Coogan).

The film features some terrific acting, a nicely written script, lovely mood music and will keep your interest from start to finish. It was nominated for various Oscars (including Best Picture).

I know that some feel that "Philomena" is seen by some as anti- Catholic and I would certainly agree that it is, at least in part, anti-Catholic. BUT, considering what happened to the real life Philomena, how could it not be anti-Catholic?! After all, the woman was treated abominably by representatives of the church and her story is very, very sad. This doesn't mean ALL Catholics are bad-- but some of these folks certainly were pretty awful (even if the confrontation scene at the end never actually happened this way).

This is the type of crowd-pleasing film that Saving Mr. Banks should have been. It's true, the film is Hollywoodized to an extent, but it's so carefully written and so meticulously structured that it doesn't matter. It makes a tremendous impact. Judi Dench is simply one of the best working right now, and the best of her generation at the moment (she continues to deliver natural performances while Meryl Streep continues to ham up everything she's in). Dench is simply brilliant here, and if it were not for Cate Blanchett she should be winning that Oscar. The film also has a heavy dose of comedy, and all of it works. This is a brilliant film, and so glad it's been recognized as much as it has.

Philomena Lee was a woman that due to what she was taught to believe gave up her first born son as a punishment for her sin. But the thing is she wouldn't have allowed it had she known about it or even had the power to decide. And here is where a person like Philomena rises above it all. She does not show hate towards the nuns that took her child away because she understands their position. In the end though her mother instinct is always present and she can't help but feel incomplete. With the chance to make things right Philomena sets out on a journey to not only find her son but also complete herself.

Judi Dench is up to the task as she plays the emotions of this Irish woman to near perfection. You could really feel she tackled the character with great concern and it payed off in the end. Steve Coogan looks really confortamble in this role as he plays his usual comical nature in some scenes and also showcases some more serious tones in more grounded scenes. Stephen Frears (Dangerous Liasons,The Queen) directs this screenplay, written by Coogan himself, and ultimately does a nice job in which the actors shine the most. Also worth referencing is the decent cinematography and gentle soundtrack that compliment the film well.

Rating 7/10

The most remarkable thing about Stephen Frears' remarkable film "Philomena" is just how unsentimental and just how funny it actually is. Human Interest stories, the phrase Martin Sixsmith, (played superbly here by Steve Coogan), uses to describe exactly what it is he is doing in taking on the case of Philomena Lee, usually leave me cold for the very reasons Sixsmith describes in the film. But this is no ordinary 'human interest' story but a study of goodness triumphing over evil in a very real sense for surely Philomena Lee, as portrayed here, is a truly good person and the system she found herself fighting, though hardly by choice, namely the Catholic Church in Ireland, is in this instance anyway, evil. It's a heart-wrenching story but told with a good deal of natural humour and a distinct lack of lachrymation, (though you would need to have a heart of stone or no heart at all not to be moved to tears). The director is Stephen Frears who almost takes a back seat and lets the tale tell itself. The script is by Coogan and Jeff Pope and it beautifully encapsulates the book that Sixsmith wrote about Philomena Lee's search for the son who was taken away from her by Irish nuns and sold to an American couple simply because she had given birth out of wedlock at a time when such 'sins' were considered almost unforgivable. But Philomena never displays bitterness nor does she feel hatred. It simply isn't in her nature and in the end it is she who forgives rather than feel the need to ask for forgiveness. All the performances are first-rate and in the title role Judi Dench is simply phenomenal. This could so easily have become a display of actorly histrionics but Dench underplays almost to the point of invisibility. We certainly never see Dench up there on the screen but the incredible woman she is playing. Her performance is heart-breaking but then so is the whole film. Oscars are just not good enough.

After the terrible 'Lay The Favorite', Director Stephen Frears comes back to his standard of movies; I've really liked his movies in the past. Co-written, co-produced and co-starred by Steve Coogan, the movie has an intriguing true story of a mother in search of her son, who was taken away from her decades ago. It's Dame Judi Dench as the central character Philomena Lee who gives the movie direction and strength with her portrayal of innocence, wonder, excitement, heartbreak, and all the emotions in between. Steve Coogan forms a wonderful support as the reporter helping Miss Lee.

An incredibly religious nun and and atheist reporter go on a journey which makes them question their beliefs. The movie boasts of an mesmerizing music score, which steers the story forward with a sense of hope.

"We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time." - This T. S. Eliot quote is used quite beautifully towards the end of the movie, and gives some food for thought.

I really commend Steve Coogan and Stephen Frears for bringing this informative, thought-provoking and heartbreaking true story to the screen.

'Philomena' had so much going for it. An incredible true story, an attention-grabbing trailer that immediately made me want to see it, a talented director responsible for some good and more projects and a talented cast on board (doesn't get much better than Judi Dench).

Am so glad about seeing 'Philomena'. It is one of the classic examples of films based on true stories/real events that treats its subject with respect and honesty, rather than any rose-tinting, "Hollywood-ising" or taking sides. It is also a classic example of a film that makes me proud to be a Brit, really like these kinds of films so never doubted that 'Philomena' would be good. It is a film that balances pathos, a little humour, insight and truth perfectly while executing the individual elements every bit as much, something that not many films do as successfully, and one that can be enjoyed by any age or gender, pretty much anybody really, without any prejudice or generalising.

It is a lovely looking film, not flashy, gimmicky or over-cinematic (a good thing because it is not that kind of film) but the beautiful scenery and slick photography is effective and elegant in its simplicity without being simplistic or TV film quality. It suits the gentle tone beautifully. Stephen Frears' direction is tightly controlled and sympathetic, bringing his own personality while doing an even better job at accommodating the two leads and their chemistry together. The music is pleasant and understated, not bombastic or intrusive which considering the subject would have been the completely wrong approach.

Steve Coogan's script is one of 'Philomena's biggest strengths. Of all the films seen recently, the script here is one of the cleverest and most beautifully balanced. Particularly standing out elements-wise are the heart-breaking pathos and the thought-provoking insight. Everything here feels very honest and there is even some gentle ironic humour to stop things from being too serious that brings a smile to one's face and makes one laugh.

The story, an incredible story done justice, is told beautifully, having some breathing space to give depth to the characters and content while also being alert that things never become dull. It refrains from artistic license to try to appeal to younger viewers which was appreciated. There are some nicely done and genuinely surprising twists and the ending just about rang true, although there may be some viewers questioning the moral aspect.

'Philomena' excels in not taking sides or being one-sided, the characters are charming while not shown to be too perfect and nobody is vilified or painted unfavourably. In lesser hands or given the Hollywood treatment this would most likely not be the case, love biopics but they have not always had a track record at sticking to the truth.

Other than the script, it's the cast that's also particularly good. The supporting cast are all strong and well-suited but it's the two leads that shine most. Their chemistry sparkles and Coogan is amusing but also very compassionate, a remarkably nuanced performance. Even better is Dench, who is simply outstanding in every sense and allows one to root for her character every step of the way and relating to her in a terrible situation.

In conclusion, a beautiful film in every meaning of the word. 10/10 Bethany Cox

Stephen Frears seems to be the champion of the above-average middle-ground cinema. At the very least, he's consistent, Philomena is my fifth 7/10 from him (only disappointing me once with My Beautiful Laundrette, 6/10, and surprising me once with High Fidelity, 8/10). But it's a good film to add to the pile anyway. Philomena is lovely and simple. Perhaps too simple to be anything more than mildly satisfying. It hinges on Judi Dench's terrific performance. She's created a thoroughly charming character and through her acceptance and determination one we can't resist to follow. Although I haven't watched Alan Partridge, I've always been a fan of Steve Coogan from The Parole Officer. While here he's better as a writer than an actor, his performance is good too despite some off-moments. The script diligently follows the script- help books and efficiently lays out the plot in that moment-to-moment guide. But this restrain isn't a distraction, in fact it's admirable in its economy. The only thing that holds back the script is the dramatic appeal of the material, but it makes great use by taking an indisputable injustice into a detective story with an unlikely pairing.

However, while it makes great use of its limitations, it doesn't feel ambitious in scale. Instead, it feels like it's prepackaged to be adapted to the stage in some form or another. It would benefit the story greatly as the film suffers from poor editing. Shots are left noticeably too short or too long among distracting continuity errors and it affects the pacing severely. Although, I must admit, the key moments are in Dench's heartbreaking-or-making closeups. It has a theme in its design of bouncing around binary oppositions. The cinematography is simple and minimal, focusing on contrasting shades of blue and orange. The oppositions are most apparent with the pairing of Coogan and Dench and the past with the present. It deliberately serves little meat but it chews it with confidence. However, as a relevation-driven film, it does take a little bit out of the experience to know anything beforehand. I loved how it has self-aware ideas on storytelling, whenever the film hits a lull, it re-evaluates itself and decides what kind of step it needs to take next. With an only-sometimes preachy religious argument, the film's dignity is in its fascinating climactic note. A film more worth watching than I expected.

7/10

Fabulous piece of work by all concerned. We get to see all sides of a single story without excessive back flips, cartwheels and other cinematic tricks. Coogan has got the measure of this story and pulls off a truly convincing performance as Sixsmith whilst Dench almost manages to do an entire film with a dialect....occasionally lapses but you may not notice. This is a real tear-jerker at points, thought provoking at many junctures and full of ironic humour. That's quite a feat and the more enjoyable for being so. I presume the timescale is roughly ten years ago so attempts at getting tech right for the period is still possible - amazing that so recent history can seem like centuries ago when we see old technology in use. I can see this film being a 'classic' long before it reaches any real age. Its the 21st century version of a 19th century Dickens tale, that it is.

There comes something worth noticing.......the story is fine and screenplay was appropriate , but i came here to mention Judi Dench ......... she was Philomena , a nun searching for information about her child but she was amazingly real. The innocence and naturality in her acting took the film above the ground........Coogan seems appropriately fitting face in the movie with his nice acting performance but it cant be noteworthy if it wasn't for Judi Dench.The make up was simple and realistic hence go and watch this film if u have time because it gives us the glimpse of a completely different world and problems persisting there .......... people suffering and helping the world somehow. The film is adapted from The Lost Child of Philomena Lee by journalist Martin Sixsmith does deserve the Oscar nominations.....again don't judge anything through the film but just observe the problem in our world and societies.