Thirteen-year-old Rosie (Aranka Coppens) struggles through a rough home life with her negligent mom, Irene (Sara de Roo), and her uncle Michel (Frank Vercruyssen), whose all-consuming passion for gambling often finds him in trouble. With no stable role models, Rosie looks for guidance from her non-judgmental friend Jimmy (Joost Wijnant). However, when the girl yearns for more care than he can give, her growing angst leads to a series of decisions that lands her in juvenile detention.
Rosie is a 1998 drama film written and directed by Patrice Toye. It was screened at the 1998 Toronto International Film Festival. It received the Andre Cavens Award for Best Film given by the Belgian Film Critics Association (UCC). Rosie was selected as the Belgian entry for the Best Foreign Language Film at the 71st Academy Awards, but was not nominated.
In a juvenile lockup, a new ward answers questions: she's Rosie, 13, no parents, a sister Irene, a brother Michel. In flashbacks we find out what happened. She lives with Irene, who's 27, whom Rosie knows is in fact her mother, but that's their secret. Irene's brother Michel, unemployed, a compulsive gambler, comes to stay with them. Around then, Irene meets Bernard; they come to care for each other. This leaves Rosie without attention, so she puts all her adolescent hopes and romantic fantasies into a relationship with Jimi, a good looking kid she sees on a bus. Is it adventures with Jimi that land her in juvie? Once she's there, why doesn't he answer her letters?
Rosie, a teenage girl in Belgium, attempts to deal with her dysfunctional family and an adult world that she does not understand.Aranka Coppens as Rosie
Sara de Roo as Irene
Dirk Roofthooft as Bernard
Joost Wijnant as Jimi
Rotten Tomatoes, a review aggregator, reports that 67% of six surveyed critics gave the film a positive review; the average rating was 6.1/10. Glenn Lovell of Variety called it "the most incisive look at adolescent angst since Peter JacksonÃ¢â‚¬â„¢s Heavenly Creatures". Janet Maslin of The New York Times wrote that films decision to hide plot details until the climax "adds suspense, and eventually chills, to what would otherwise be an all too familiar tale of domestic dysfunction".