A young boy attempts to convince a woman that he is her dead husband reborn.A young boy attempts to convince a woman that he is her dead husband reborn.A young boy attempts to convince a woman that he is her dead husband reborn.
- Awards
- 2 wins & 18 nominations
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaOne of Nicole Kidman's favorites among her filmography. She also believes it's one of the most overlooked and misunderstood films of her career, saying the controversies surrounding the bathtub scene eclipsed the themes of grief and vulnerability in the film.
- GoofsNicole Kidman's hair colour changes from reddish to blond several times.
- Quotes
[last lines]
Young Sean: I guess we'll meet in another life.
- ConnectionsFeatured in Nicole Kidman: An American Cinematheque Tribute (2003)
Featured review
Operatic
There's a scene in this that will feature in film school classes for a long time to come.
Nichole is an uneven actress, only sometimes rising to the world class of Kate and Cate and the old Julianne. The smallest part of this is the process of inhabiting a character, rare enough as it is.
A film exists on several layers depending on its architecture. (I'm only talking here about films that live.) Almost never are the higher levels accessible to the actors in the project: few actors even know they exist. This film is a great example of an actress knowing and inhabiting those higher levels.
What we have here is a director who spins a space of awareness around what we see. The story specifically addresses this and supports it. Into this space, the director and composer have poured a score. This score fits that space as being within the movie proper instead of being an annotation as the usual case.
In this space, the score is something between the film and us the audience, the space where the waystations for reincarnation take place (at least in the story). Nichole acts to the score. It is a remarkable feat because as with green screen acting one has to anticipate what is to come into being later.
The first scene introduces us to that space the score creates. It is a very long shot of the adult Sean running, dying and entering the fog of the score. The scene I mentioned above is later, when Nichole knows she is entering that space: she has literally just sat down to watch an opera... the music comes up from the movie/opera/limbo space we have already entered and it washes over her and changes her reality.
This shot isn't just of a character, but of an actress, her character, and a dialog among them and us about the reality of this space, this layer of the film.
Later, she is getting married and the music (this time by players on screen) draw many of the watchers in as well.
There are lots of flaws in this; it isn't a lifealtering experience. But that one thing is a special experience, the idea that the filmmaker spins an extra space which Sean infers and Nichole, the composer and we inhabit.
Ted's Evaluation -- 3 of 3: Worth watching.
Nichole is an uneven actress, only sometimes rising to the world class of Kate and Cate and the old Julianne. The smallest part of this is the process of inhabiting a character, rare enough as it is.
A film exists on several layers depending on its architecture. (I'm only talking here about films that live.) Almost never are the higher levels accessible to the actors in the project: few actors even know they exist. This film is a great example of an actress knowing and inhabiting those higher levels.
What we have here is a director who spins a space of awareness around what we see. The story specifically addresses this and supports it. Into this space, the director and composer have poured a score. This score fits that space as being within the movie proper instead of being an annotation as the usual case.
In this space, the score is something between the film and us the audience, the space where the waystations for reincarnation take place (at least in the story). Nichole acts to the score. It is a remarkable feat because as with green screen acting one has to anticipate what is to come into being later.
The first scene introduces us to that space the score creates. It is a very long shot of the adult Sean running, dying and entering the fog of the score. The scene I mentioned above is later, when Nichole knows she is entering that space: she has literally just sat down to watch an opera... the music comes up from the movie/opera/limbo space we have already entered and it washes over her and changes her reality.
This shot isn't just of a character, but of an actress, her character, and a dialog among them and us about the reality of this space, this layer of the film.
Later, she is getting married and the music (this time by players on screen) draw many of the watchers in as well.
There are lots of flaws in this; it isn't a lifealtering experience. But that one thing is a special experience, the idea that the filmmaker spins an extra space which Sean infers and Nichole, the composer and we inhabit.
Ted's Evaluation -- 3 of 3: Worth watching.
helpful•1513
- tedg
- Jun 4, 2005
Details
- Release date
- Countries of origin
- Official sites
- Language
- Also known as
- 靈異緣未了
- Filming locations
- 1136 Fifth Avenue, Manhattan, New York City, New York, USA(Anna's apartment building exteriors)
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $20,000,000 (estimated)
- Gross US & Canada
- $5,095,038
- Opening weekend US & Canada
- $1,282,000
- Oct 31, 2004
- Gross worldwide
- $23,925,492
- Runtime1 hour 40 minutes
- Sound mix
- Aspect ratio
- 1.85 : 1
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