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Hereafter (2010)

 -  Drama | Fantasy  -  22 October 2010 (USA)
6.5
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Ratings: 6.5/10 from 72,795 users   Metascore: 56/100
Reviews: 313 user | 309 critic | 42 from Metacritic.com

A drama centered on three people -- a blue-collar American, a French journalist and a London school boy -- who are touched by death in different ways.

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Nominated for 1 Oscar. Another 5 wins & 11 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
Marie Lelay (as Cécile de France)
...
Cyndi Mayo Davis ...
Lisa Griffiths ...
Stall Owner
...
Island Girl
Ferguson Reid ...
Rescuer
Derek Sakakura ...
Rescuer
...
Billy
...
Christos
...
...
Photographer
...
...
...
Jackie
...
Social Worker
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Storyline

A drama centered on three people who are haunted by mortality in different ways. George (Damon) is a blue-collar American who has a special connection to the afterlife. On the other side of the world, Marie (de France), a French journalist, has a near-death experience that shakes her reality. And when Marcus (Frankie/George McLaren), a London schoolboy, loses the person closest to him, he desperately needs answers. Each on a path in search of the truth, their lives will intersect, forever changed by what they believe might-or must-exist in the hereafter. Written by Warner Bros. Pictures

Plot Summary | Plot Synopsis

Taglines:

Touched by death. Changed by life.

Genres:

Drama | Fantasy

Motion Picture Rating (MPAA)

Rated PG-13 for mature thematic elements including disturbing disaster and accident images, and for brief strong language | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

22 October 2010 (USA)  »

Also Known As:

Más allá de la vida  »

Box Office

Budget:

$50,000,000 (estimated)

Opening Weekend:

£601,728 (UK) (28 January 2011)

Gross:

£1,151,807 (UK) (4 February 2011)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

| |

Color:

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

For a time it seemed that Matt Damon would be unable to appear in the film due to his commitment to The Adjustment Bureau (2011) so he suggested to Clint Eastwood to consider Christian Bale, Casey Affleck, Hayden Christensen or Josh Brolin in his place. Instead, Eastwood was able to adjust the filming schedule so that Damon could appear in both films. See more »

Goofs

Just after the underground explosion a third generation Volvo V70 English police car is standing outside the metro station. However, this car was unveiled by Volvo on 2 February 2007. See more »

Quotes

George Lonegan: Sometimes, I mean you know, knowing everything about someone, it seems nice, but really, maybe it's better to hold stuff back.
See more »

Crazy Credits

The mid 80s-late 90's Warner Bros. shield is used and is in black and white at the beginning of the movie, and at the end of the credits, the same Warner Bros. Shield is used alongside the Amblin logo, also in black-and-white. See more »

Connections

Referenced in Richard Roeper & the Movies: Fall Preview 2010 (2010) See more »

Soundtracks

Una Furtiva Lagrima
(1832)
from "L'elisir D'amore"
Written by Gaetano Donizetti
Performed by Peter Dvorský
Courtesy of Cobra Entertainment LLC
By Arrangement with Source/Q
See more »

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User Reviews

 
Here is a Film Before its Time...
24 October 2010 | by (United States) – See all my reviews

For some bizarre reason, marketers opted to make Clint Eastwood's latest work look like a rejected script to an M. Night Syamalon movie in its trailers. What with its catastrophic events and plot centric imagery, you'd think Eastwood had made a disaster movie rather than what the reality turns out to be. This is a much more thoughtful film about death that examines how living characters deal with the aftereffects. Matt Damon's character, Lonegan, is not a protagonist but one character in a larger ensemble piece. Naturally, it benefits marketing to try to isolate this certain aspect of the plot to make this look like a thriller, but it is a impressionist character piece by all means. Even the psychic aspect is played down, and never truly explained.

What that reality turns out to be is something akin to one of the time centric French minimalists like Chantal Akerman and Jacques Rivette. While it never of course becomes a four hour movie about household chores like Jeanne Dielman, it nevertheless is one of the most jarringly French art-house-like films to ever be released as a mainstream American film. Eastwood's decision to leave Peter Morgan's script as a rough first draft is likely part of what's drawing criticism, but this is arguably what makes it so effective as well. Narrative coherence is spurned in favor of genuine CINEMA, people behaving on-screen and showing the effects of great turmoil in every little nuance. Eastwood, known for stripping down rewrites to maintain a certain spontaneous quality in his films (and for shooting very few takes) saw something in this script that he knew wouldn't make it to the final draft. This is how it maintains such a minimal quality.

Of course, such methodology is in tune with French filmmakers like Bresson, a filmmaker who would likely be criticized today for his deadpan performances when what he's really doing is drawing attention to actions rather than performances. Eastwood puts a lot of stock in gesture: hands in particular. Hands are prominently shown whenever a character embraces, and they are also the method through which Lonegan is able to make contact with the afterlife. He tries to make connections through a cooking class, in which he must make use of his hands (and which inevitably leads him to touch the hands of others when he wants least to). There's also a generous use of exteriors, with the running theme of loneliness in crowded locations which anybody whose experienced such trauma (or even lesser traumas) can relate to. It sounds like Eastwood is employing the dreaded preference of "things" to "people," but in reality this is a perfect melding of characters to their environment.

None of this is the kind of post-Elia Kazan acting our country is used to, but each of the actors do a remarkable job in communicating in this way. Damon gives the finest performance of his career, and each of the supporting cast is remarkable as well in the way they REACT, rather than act. A jarring change for the star of Gran Torino, perhaps, but one which works for the material.

And that, I think, is why such mixed reactions come out of those who view this film. Eastwood is not making a heightened film about death, but an understated (despite its moments of sensationalism, which serve as counterpoint) exploration of how people deal with death. What makes it even more difficult is that, despite an optimistic conclusion, no definite resolution is ever reached. We never learn the nature behind Lonegan's abilities, we only get hints at how it may have come about. No religious agenda is preached, nor is religion rejected. Such open ended filmmaking is vastly beyond even limited releases, and is usually the kind of stuff found on the Criterion Collection decades after its completion. To have a release like this is astounding, but has likely doomed the film financially.

That would be a shame. In a year that has produced solid work ranging from Sorkin and Fincher's The Social Network, Martin Scorsese's woefully underrated Shutter Island, and the hype-driven juggernaut that was Inception, I think Hereafter ranks among the very best of the year. I would even go so far as to call it the first bonafide masterpiece of the decade. I suspect this places me at odds with many people, some of whom have tried to logically argue with me why this was an incompetent film (to them, I would explain that film is not meant to be dictated by plot logic, the most superficial aspect of filmmaking at best) but as this film goes to show, some things just can't be easily explained away.


205 of 301 people found this review helpful.  Was this review helpful to you?

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what do you all think about the actress 'cécile de france' jenniferzerbib
Frankie/George McLaren's performance (The Twins) VivaIbiza
What did he mean by 'One cell.'? bokensdorf
American Directors do love playing visual tricks with London... peteste
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Same score as 'Gran Torino' gabriel_sandler
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