El Muerto is the story of a Spanish man in Argentina who one day becomes aware on the upper floor of a hospital in Buenos Aires of his approaching death. He decides to escape, to flee ... See full summary »
Set in 1973 Spain, a struggling encyclopedia salesman and his wife take advantage of an offer to make adult films. The act turns him into an aspring legit filmmaker and her into an international sex symbol.
Natalia and Carlos, both aged 20, are in love and struggling to survive in today's Spain. Their limited resources prevent them from getting ahead as they'd like to. They have no great ... See full summary »
Ingrid García Jonsson,
A teenager who went missing and was presumed dead returns home after eight years to find a family deeply affected by his disappearance. Gradually, doubts arise about whether he really is the missing boy or an impostor.
It is summertime in a blue-collar, marginal district of a city in the South of Spain. Tano, a teenager currently serving a sentence in a juvenile reform center, is given a 48-hour leave to ... See full summary »
Juan José Ballesta,
Lola's a single mom, broke, working as a janitor and maid. Silvia is pregnant, and her lover (her boss) won't leave his wife. Maite, newly a widow, discovers she's penniless but wants to ... See full summary »
Nearly twenty years after the events of "The Girl of Your Dreams", in the 1950s, Macarena Granada, who has become a Hollywood star, returns to Spain to film a blockbuster about Queen Isabella I of Castile.
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
The film received a 10-minute standing ovation at the 2015 Cannes Film Festival (Festival de Cannes) international premiere. See more »
The camera Therese uses when she first photographs Carol is an Argus C3 with rangefinder. The C3 has a geared coupling between the rangefinder and the lens, creating one-step focusing.
When Therese is first photographing Carol she is looking through the viewfinder, and the image goes into focus when she focuses the camera. This camera would not have that type of viewfinder. See more »
CAROL sweeps with virtuosity as an compelling indictment to a jaundiced society and an ode to the undying strength of love!
An eight-year gap from his last feature movie I'M NOT THERE (2007), during which he dabbles in the TV sphere to direct a quintessential five-part miniseries MILDRED PIERCE (2011) starring Kate Winslet, Todd Haynes is back in the groove. Adapted from Patricia Highsmith's pioneering novel THE PRICE OF SALT published in 1952 by screenwriter Phyllis Nagy, who wrote the first draft as early as in 1997, CAROL makes headway as the most audacious and empowering addition to the US queer cinema, notably to the rather barren lesbian territory.
New York, 1952 , Therese Belivet (Mara), a shop-girl whose real interest is photography, meets Carol Aird (Blanchett), an elegant woman who is experiencing an unpleasant divorce with her possessive husband Harge (Chandler). Therese's presence sheds a light in her life just as hers does in Therese's. Their romance has been intensified through an itinerant journey they embark on during the new year, but the thorny legal procedure to fight the custody of her young daughter forces Carol to unilaterally put their relationship on hold, an ultimate question remains what a downcast Therese will do when a second chance emerges?
Predominantly, CAROL is an all-around artistic treasure, the incredible period art production, under the low-key, slightly desaturated tint, precisely reconstructs an alluringly sentimental ambiance of the era to foreground the exquisite undercurrents experienced by Carol and Therese; the sophistication of Carol's gorgeous wardrobe and make-up contrasts the self-revealing honesty and consciousness of Therese's drabber outfits and unadorned countenance; Edward Lachman's breathtaking cinematography is quaintly evocative to reflect Carol and Therese's understated emotional orbits, his sleight-of-hand is at its most potent with those shots behind glasses, immaculately sublimates the blurry equivocation of human's impenetrable sentiments, and the impact multiplies with Carter Burwell's unobtrusive but permeating score.
The two leading performances are priceless, it is heartfelt restraint versus enigmatic swank, where the unfathomable attraction burgeons mutually, Mara and Blanchett diligently engage in their two- hander, with minute gestures and body languages and expressional finesse. Blanchett is graceful, alluring, and indecisive, the dramatic soliloquy about her resolution of the custody is beyond question one of the highlights of her illustrious career; whereas Mara is stolid on the surface, watchful and unapologetically true to her feelings, more admirably conveys her true grit against the tentacles of a prejudiced society which reaches into every nook and cranny of her and Carol's lives. In the supporting category, Sarah Paulson as Abby, Carol's confidant, is the ballast of their perilous affair, apart from an awkward former love identity, which could make the mind-game more intriguing if her role were extended.
An out-and-out victory from Haynes and his cast, CAROL sweeps with virtuosity as an compelling indictment to a jaundiced society and an ode to the undying strength of love, and beckons a bullish prospect for Haynes' next project, reportedly to be a reunion with another muse Julianne Moore in WONDERSTRUCK, based on the book by Brian Selznick.
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