An eccentric and dogmatic inventor sells his house and takes his family to Central America to build a utopia in the middle of the jungle. Conflicts with his family, a local preacher and ... See full summary »
Veronique, living with her divorced mother, is going on holiday to Mauritius with her father. To impress a local boy, Benjamin, she manages to complicate the situation by making up stories ... See full summary »
Guests arrive at an expensive private guest house on a remote island near Sydney. The guest house and weird activities, like theatre sports and orienteering, are run by a leery eccentric. ... See full summary »
George Faure is a Frenchman who has been offered a job in the U.S. But in order to get the job he must obtain a work permit - green card, and the easiest way is to marry an American. Bronte Parrish is a New Yorker who is a keen horticulturist and just found the perfect flat with its own greenhouse. Unfortunately the flat is for married couples only. A marriage of convenience seems the ideal solution to both problems. To convince the immigration officers they are married for love, they must move in with each other. As the mismatched couple attempt to cope with life together, they start to fall in love. Written by
Sami Al-Taher <email@example.com>
Second and final [to date, June 2015] collaboration of director Peter Weir and director of photography Geoffrey Simpson who had both previously worked together on the Australian classic feature film Picnic at Hanging Rock (1975) where the latter had not worked as a cinematographer but actually as an electrician. See more »
Georges repeatedly tells immigration officers about his Africa trips. The script overlooks that fact that INS would have or request a copy of his passport to process his case. In real life, INS would have realized immediately that the Africa story was not real: no entry/departure stamps in his passport. See more »
[trying to shift all the blame for their bogus marriage onto Georges]
Brontë Mitchell Faure:
You stroll around my apartment, touching my things. Do you know what trouble you've gotten me into? Do you?
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Green Card is a good movie. Worth watching. The first time I saw it I wasn't impressed, but then watching it again I found it realistic and refreshingly charming, in that "simple/against the tide" sort of way that is so Peter Weir. He's also done The Witness, Dead Poets Society, and The Truman Show; and Green Card, most certainly, is another of his films about people who don't quite fit in their environment or in the world of their aspirations but are drawn into finding life where probably they were not looking for. The scene about finding the bathroom is both hilarious and very suspenseful. It's funny how in a house, or even in a small apartment, we're never quite sure where the bathroom is. Our first instinct is to ask, even though it probably wouldn't be a difficult move to find that on our own. Now imagine having to deal with that bathroom situation (something you only care about when you need it) pretending that the place where you're in is your house. It's almost like in those nightmares where there are so many doors but which one is the one that will take you to that next level you so much need but have not the slightest idea of what it might really be? I guess the metaphor here is that you keep on opening a chain of wrong doors until you find the right one for you. It's frustrating, but the door was always there, always, with the exception that you never noticed it. Just like in everyday life, love and spirituality might flash into your face as banal sight at first, but they're made of hopes and fears that are always bigger than us, unexplainable, maybe fate. We don't have control of it (the Greeks knew it), we're still the same but again we're not. And here we are, groping, surviving. How do you relate to people and to your present circumstances -- whatever they might be --that is what Green Card is about.
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