Present-day Chad. Adam, fifty-five, a former swimming champion, is pool attendant at a smart N'Djamena hotel. When the hotel gets taken over by new Chinese owners, he is forced to give up ... See full summary »
The lives of an English working-class family are told out of order in a free-associative manner. The first part, "Distant Voices", focuses on the father's role in the family. The second part, "Still Lives", focuses on his children.
A place: Theresienstadt. A unique place of propaganda which Adolf Eichmann called the "model ghetto", designed to mislead the world and Jewish people regarding its real nature, to be the ... See full summary »
While on a train, a teenage boy thinks about his life and the flamboyant aunt whose friendship acted as an emotional shield from his troubled family. This film evokes the haunting quality ... See full summary »
Three women - grandmother, mother and daughter - live hidden away in an old building in Damascus. They have chosen to live in voluntary imprisonment, cutting themselves off from a city in a... See full summary »
They talk about the beautiful game, but for Laurentiu Ginghina, it's not enough. Football must be modified, streamlined, freed from restraints; corners are to be rounded off, players ... See full summary »
Lila wants to emulate the sexual exploits of her more experienced best friend. She fixates on a tough older guy who will "sleep with anyone" and tries to insert herself into his world, putting herself in a dangerously vulnerable situation.
Terence Davies read six biographies of Emily Dickinson prior to making the film and he believes that she is a genius. Cynthia Nixon also read a lot of biographies of Emily Dickinson in order to get into the role and she detected contradictions, but she found it interesting because she had the chance to choose her favorite versions. See more »
The Bahn Frei polka played in the dance scene had not been written at the time. See more »
Emily Dickinson lived her entire life (1830-1886) in Amherst, Massachusetts, rarely leaving the town and, in middle age, not even leaving the family home. She never married and, in this biopic, only once falls seriously in love – with a married vicar who almost certainly did not know of her "quiet passion". A young man who courts her later in the movie has to talk to her unseen at the top of the stairs.
Dickinson's life lacks the stuff that might make a substantial movie. Cynthia Nixon does a valiant job of giving her substance – in conversations and arguments with her sister (Jennifer Ehle), her father (Keith Carradine, looking like a Mount Rushmore effigy) and visitors and relatives – but what little drama there is here comes from illness and death scenes, of which there are many, long drawn out. The overdone manners of the era are parodied in drawing-room scenes borrowed from Jane Austen and Oscar Wilde, scenes that are pleasingly comic but seem more than a little contrived. Nixon reads some of the verse in voice-over but the early efforts, celebrating Nature, are not in Walt Whitman's league and only the later poems anticipating (almost inviting) Death have any real resonance. It is for these that Emily Dickinson is mostly remembered.
The cinematography is splendid, and the costumes and the over- furnished sets convey a stifling sense of the period. A moment in which portraits of the younger Dickinsons morph into their older selves is exquisite and there's another nice one at the end. The script – and the direction – struggle to make a mountain out of the molehill that was Emily's life. I was constantly thinking how much more 'oomph' there is in an Austen or a Brontë adaptation.
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