In May 1940, the fate of Western Europe hangs on British Prime Minister Winston Churchill, who must decide whether to negotiate with Adolf Hitler, or fight on knowing that it could mean a humiliating defeat for Britain and its empire.
Kristin Scott Thomas
Double crosses, adultery, murder, mistaken identity, and revenge ensue when a mysterious power player and his sultry wife hire a disgraced Los Angeles property broker to discreetly market and sell their Malibu villa.
Set in the glamour of 1950s post-war London, renowned dressmaker Reynolds Woodcock (Daniel Day-Lewis) and his sister Cyril (Lesley Manville) are at the center of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants, and dames with the distinct style of The House of Woodcock. Women come and go through Woodcock's life, providing the confirmed bachelor with inspiration and companionship, until he comes across a young, strong-willed woman, Alma (Vicky Krieps), who soon becomes a fixture in his life as his muse and lover. Once controlled and planned, he finds his carefully tailored life disrupted by love. Written by
Shooting on this film was completed on April 26, 2017, the same day that Paul Thomas Anderson's close friend and mentor Jonathan Demme passed away from cancer. The film is dedicated to Demme. See more »
in the film's opening scene with reynolds leaving a room; he is shown putting a cigar to his mouth. in the next shot with him on the other side of the door, the cigar has immediately vanished. See more »
Reynolds has made my dreams come true. And I have given him what he desires most in return.
Dr. Robert Hardy:
And what's that?
Every piece of me.
Dr. Robert Hardy:
He's a very demanding man, isn't he? Must be quite a challenge to be with him.
Yes. Maybe he is the most demanding man.
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The title is the very first thing shown in the film following the production company logos. There are no other opening credits. See more »
I've always had mixed feelings about P.T. Anderson -- on the one hand, he has a brilliant touch as a director, and as a fan of his dad's role as "Ghoulardi" on local Cleveland television growing up, I always had a soft spot for the kid. But this film is a puzzle: its gender politics are stuck in the 1950's along with its fashion choices (at one point, Day-Lewis's Woodcock crows "Don't say the word 'chic'!"), its main characters are utterly flat, and the only interesting changes are brought about by poisonous mushrooms. No one grows, no one really steps out of themselves; trapped within Anderson's brilliantly-framed shots, they talk, argue, raise their eyebrows, and sometimes noisily crunch their toast, world without end, amen. A film must go from one place to another; someone in it must grow or experience change; we have to be somewhere different at the end than at the beginning. Here all we have is beautiful stasis -- which ultimately make this film, despite its rich artfulness, an ugly one.
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