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The Seagull (2018)

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In the early 20th century, an aging actress and her lover visit the estate of her elderly brother.

Director:

Michael Mayer

Writers:

Anton Chekhov (play), Stephen Karam (screenplay)

Saoirse Ronan Through the Years

Take a look back at Saoirse Ronan's movie career in photos.

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Cast

Cast overview, first billed only:
Annette Bening ... Irina
Corey Stoll ... Boris
Glenn Fleshler ... Shamrayev
Billy Howle ... Konstantin
Brian Dennehy ... Sorin
Elisabeth Moss ... Masha
Mare Winningham ... Polina
Jon Tenney ... Doctor Dorn
Michael Zegen ... Medvedenko
Saoirse Ronan ... Nina
Ben Thompson ... Yakov
Angela Pietropinto ... Irina's Dresser
Barbara Tirrell Barbara Tirrell ... Olga
Elsie Brechbiel Elsie Brechbiel ... Natalia
Pippa Pearthree ... Eugenie
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Storyline

An aging actress named Irina Arkadina pays summer visits to her brother Pjotr Nikolayevich Sorin and her son Konstantin on a country estate. On one occasion, she brings Trigorin, a successful novelist, with her. Nina, a free and innocent girl on a neighboring estate, falls in love with Boris Trigorin.

Plot Summary | Add Synopsis

Genres:

Comedy | Drama | Romance

Motion Picture Rating (MPAA)

Rated PG-13 for some mature thematic elements, a scene of violence, drug use, and partial nudity. | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

26 July 2018 (Portugal) See more »

Also Known As:

A Gaivota See more »

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Box Office

Opening Weekend USA:

$79,016, 13 May 2018, Limited Release

Gross USA:

$1,252,960, 16 August 2018
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Saoirse Ronan and Billy Howle previously starred together in On Chesil Beach (2017). See more »

Goofs

During the lotto game in the final scene, "26" is counted twice. See more »

Quotes

Medvedenko: Why do you always wear black?
Masha: I'm in mourning for my life.
Medvedenko: Why? You're healthy. You have enough money to get by. Life's a lot harder for me. I'm a schoolteacher. I hardly make anything. You don't see me all in black.
Masha: It's not about money. Even a poor man can be happy.
Medvedenko: Every day, I meet with nothing but indifference from you.
Masha: Stop it, Medvedenko. I'm touched by your love. I just can't return it. That's all.
See more »

Connections

Remake of The Sea Gull (1968) See more »

Soundtracks

Étude in C-Sharp Minor, Op. 2, No. 1
Written by Alexander Scriabin
Arrangement by Brian Usifer
Piano by Brian Usifer
See more »

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User Reviews

Enjoyable Chekov adaptation about the circus of love.
19 June 2018 | by jdesandoSee all my reviews

In 1896, the great Russian story teller, Anton Chekov, couldn't have foreseen his plays being produced through moving pictures over a century later. This classy film adaptation of The Seagull shows that not only does the master translate to the screen well, but also his works are enhanced by a roving lens that carries nuance better that any Victorian stentorian could have hoped.

Relatively-new film director Michael Mayer lyrically highlights with close-ups, quick cuts, and manipulated time the agony of unrequited love in a household where count can be lost of who loves whom, who doesn't love back. The most prominent mismatch is between aspiring and rich young actress Nina (Saoirse Ronan) and aspiring, idealistic young writer Konstantin (Billy Howell).

Their innocence is compromised by an adult world, for instance, by the acclaimed writer Trigorin (Corey Stoll), who steals her from Konstantin, who is jealous but remains doggedly devoted to her. (Ronan and Howell do their anguished young lovers bit even better in On Chesil Beach.)

And on and on as the web of lies and loss ensnares them all. Yet, an air of civility covers the entire proceedings, hallmarked by Konstantin's vain, acclaimed actress mother, Irina (Annette Bening), herself in a relationship with Trigorin. Irina stands best for Chekov's theme of the clash between classical theater and modernist imagination, exemplified by her son Konstantin's work, redolent of symbol and allegory and, oh, so self important. His outdoor play with a makeshift curtain evokes The Fantasticks with a little Midsummer Night's Dream but hardly the genius of either.

Because Irina is not impressed with Konstantin's creativity, her young writer son is filled with despair. Everyone else seems to be able to go on, albeit with cascading tears and gloomy resignation.

Although this drama may be dark, and Chekov is not known, after all, for his hilarity, witnessing it is a pleasant theatrical experience because we are all so darn fascinating when we become fools for love. Beyond that, the acting is some of the best you will see in cinema all year-even if it is grounded in 19th_ century Russian theater. Chekov lives on.


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