A motorcycle stunt rider turns to robbing banks as a way to provide for his lover and their newborn child, a decision that puts him on a collision course with an ambitious rookie cop navigating a department ruled by a corrupt detective.
Jep Gambardella has seduced his way through the lavish nightlife of Rome for decades, but after his 65th birthday and a shock from the past, Jep looks past the nightclubs and parties to find a timeless landscape of absurd, exquisite beauty.
Adele's life is changed when she meets Emma, a young woman with blue hair, who will allow her to discover desire, to assert herself as a woman and as an adult. In front of others, Adele grows, seeks herself, loses herself and ultimately finds herself through love and loss.
Georges and Anne are an octogenarian couple. They are cultivated, retired music teachers. Their daughter, also a musician, lives in Britain with her family. One day, Anne has a stroke, and the couple's bond of love is severely tested.
In the 1850s, Ellen Ternan is a minimally talented actress who catches the eye of the hailed British author, Charles Dickens. Bored with his intellectually unstimulating wife, Dickens takes the educated Ellen has his mistress with the cooperation of her mother. What follows is a stormy relationship with this literary giant who provides her with a life few women of her time can enjoy. Yet, Ellen is equally revolted by Charles' emotional cruelty and determination to keep her secret. In that conflict, Ellen must judge her own role in her life and decide if the price she pays is bearable. Written by
Kenneth Chisholm (firstname.lastname@example.org)
Ralph Fiennes and Felicity Jones, who play lovers in this movie, also worked together in Cemetery Junction (2010), in which they played father and daughter. In a 2013 interview with Jones and Fiennes on NPR, Jones said that it was "weird" and "very Freudian" to go from playing one relationship to the other, but Fiennes disagreed, saying "It's just a job. Come on." See more »
Here we go again. Let's rewrite history using modern day morality to define the dialogue shall we? This doesn't work, never did work and won't ever work in the future. Writers/producers/directors please take note. No wonder the cinema was near enough empty, people know to give this kind of tripe a wide berth. Factually, very little about this 're-imagining' of the Dickens/Ternan tale fits. Its all topsy turvy and all the more unbelievable for being so. The story as told here has no dramatic tension, fails to use the real emotional 'turning points' (and instead moves rapidly past them as if they were embarrassing episodes not to be referenced like nervous farts at a Premier). Couldn't get out of the auditorium fast enough. Consign to bin.
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