Adèle's life is changed when she meets Emma, a young woman with blue hair, who will allow her to discover desire and to assert herself as a woman and as an adult. In front of others, Adèle grows, seeks herself, loses herself, and ultimately finds herself through love and loss.
A fictitious love story loosely inspired by the lives of Danish artists Lili Elbe and Gerda Wegener. Lili and Gerda's marriage and work evolve as they navigate Lili's groundbreaking journey as a transgender pioneer.
An Irish immigrant lands in 1950s Brooklyn, where she quickly falls into a romance with a local. When her past catches up with her, however, she must choose between two countries and the lives that exist within.
A woman returns to her Orthodox Jewish community that shunned her for her attraction to a female childhood friend. Once back, their passions reignite as they explore the boundaries of faith and sexuality.
In an adaptation of Patricia Highsmith's seminal novel The Price of Salt, CAROL follows two women from very different backgrounds who find themselves in an unexpected love affair in 1950s New York. As conventional norms of the time challenge their undeniable attraction, an honest story emerges to reveal the resilience of the heart in the face of change. A young woman in her 20s, Therese Belivet (Rooney Mara), is a clerk working in a Manhattan department store and dreaming of a more fulfilling life when she meets Carol (Cate Blanchett), an alluring woman trapped in a loveless, convenient marriage. As an immediate connection sparks between them, the innocence of their first encounter dims and their connection deepens. While Carol breaks free from the confines of marriage, her husband (Kyle Chandler) begins to question her competence as a mother as her involvement with Therese and close relationship with her best friend Abby (Sarah Paulson) come to light.Written by
The Weinstein Company
Director Todd Haynes creates image books as a guide to the visual feel of his films, going back to his drama Safe (1995). The compendiums are culled from photographs, film stills, paintings, periodicals and other sources to generate ideas for the film's style. They are meant initially for the cinematographer. (The books are not to be confused with storyboards, the shot-by-shot breakdowns he has made since his first feature, Poison (1991).) His image books are "a way of communicating beyond words that gets to the crux of what the mood, temperature and stylistic references would be." For Carol "it becomes great reference for clothes, hair, makeup, the way women carry themselves in the period and the specificity of how they're being created from the outside in." The image book includes, for example, references to other films such as: Brief Encounter (1945) and Vertigo (1958) for their sense of period, and The Sugarland Express (1974) for its innovative cinematography by Vilmos Zsigmond; Lovers and Lollipops (1956) for the locations and The Pumpkin Eater (1964) for the interiors; and urban photography by Ernst Haas, Helen Levitt and Vivian Maier. Haynes assembles his image books almost as a kind of visual mixtape, pulling photos and movie screen grabs of his inspirations and laying them out in pages of collages to create a kind of virtual movie. Haynes created more than 80 pages of photo collages for "Carol" that served as a road map through the production. It took him two months to compile. [from N.Y.Times 1/28/2016 "Todd Haynes Collects Images to Guide the Feel of His Films"] See more »
When Abby closes the door on Harge following their confrontation on her porch, she turns out the interior light. In the next shot, as we see Harge walking away from the porch, the interior is on. See more »
I loved this film for the subtleties. Lots of lingering, carefully framed shots and closeups. Lots of quiet scenes. Lots conveyed through looks and innuendo.
Rooney and Cate captured what it's like to be nervous yet excited while falling in love. It felt real. It felt like two people unsure of themselves, offering up just a bit of their true feelings at a time and waiting for the other person to do the same before revealing more.
Kyle Chandler's performance hasn't been commented on as much as the leads, but he was just as excellent. He played the part of tortured husband well without coming off as a mere villain. I sympathized with him and even understood where he was coming from.
I thought the film captured the time period in a very unique way. Nothing was overtly flashy or Normal Rockwell 50s, and at times it even felt gritty compared to most depictions of the era, but it was really beautiful.
The film stayed with me on the ride home, and I drove in silence while I reflected on it. That's how I judge a movie. If you are the type that loves character driven films, I'd very much recommend it. If you don't handle slow burn movies well, it might not be for you.
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