A reflection about what makes everyone's life unique, through the story of Noah's family. Noah is an adjuster, having sex with his customers. His wife Hera watches pornographic movies for ... See full summary »
A photographer and his wife take photographs of Armenian churches for use in a calendar. Their driver, a local resident, expounds on the history of the churches while the wife translates. ... See full summary »
A struggling actor's job as a hotel custodian is a front for his real job: being rented out as a gigolo by his supervisor. A co-worker is obsessed with him, but he ignores and avoids her. ... See full summary »
Van's father, Stan, is fond of video, always taping scenes of daily family life. But he does not take care of Van's grandmother, Armen. Although he could afford having her at home, she is ... See full summary »
A small community is torn apart by a tragic accident which kills most of the town's children. A lawyer visits the victims' parents in order to profit from the tragedy by stirring up their anger and launching a class action suit against anyone they can blame. The community is paralyzed by its anger and cannot let go. All but one young girl, left in a wheelchair after the accident, who finds the courage to lead the way toward healing.Written by
Matthew Tichenor <email@example.com>
In at least one scene, speeds were mentioned in "miles per hour". For a film set in British Columbia, km/h would have been much more likely. See more »
I remember wrenching the steering wheel to the right and slapping my foot against the brake petal. I wasn't the driver anymore. The bus was like this huge wave about to break over us. Bear Otto, the Lambston kids, the Hamiltons, the Prescotts, the teenaged boys and girls from Bartlett Hill Road, Pete, Suzy, Laura, Rick, Sean Walker, Nicole Burnell, Billy Ansel's twins, Jessica and Mason... all the children of my town.
Then what happened?
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"The Sweet Hereafter" was arguably the best film of the 1990s and is one of my twenty favorite movies of all time. Everything comes together perfectly: fine characterization and acting (especially by Ian Holm), beautiful photography, and a hypnotic musical score featuring Armenian folk instruments. The mood is deeply elegiac but never maudlin or weepy. There's not a false note in the movie.
But don't worry; I'm not going to start screaming, "If you don't like this movie, you just don't understand it! Go back to your Hollywood pablum, you cretinous moron!" That's a stupid argument in any case, and especially so here. There are going to be some people -- including a few art-house fans -- who will find this movie slow and tedious. For me and many others, however, the film is a masterpiece.
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