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A world-renowned opera singer becomes trapped in a hostage situation when she's invited to perform for a wealthy industrialist in South America.


Paul Weitz


Paul Weitz (screenplay by), Anthony Weintraub (screenplay by) | 1 more credit »
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Cast overview, first billed only:
Julianne Moore ... Roxanne Coss
Ken Watanabe ... Hosokawa
Sebastian Koch ... Messner
Ryo Kase ... Gen
Tenoch Huerta ... Comandante Benjamin
Noé Hernández Noé Hernández ... Comandante Alfredo
Johnny Ortiz ... Gilbert
María Mercedes Coroy ... Carmen
Ethan Simpson ... Cesar
Gabo Augustine ... Ishmael
Carmen Zilles ... Beatriz
Eddie Martinez ... Ruben Ochoa (as J. Eddie Martinez)
Christopher Lambert ... Simon Thibault
Olek Krupa ... Fyodorov
Bobby Daniel Rodriguez ... Father Arguedas (as Bobby Rodriguez)


A world-renowned opera singer becomes trapped in a hostage situation when she's invited to perform for a wealthy industrialist in South America.

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English | Spanish | French | Japanese

Release Date:

14 September 2018 (USA) See more »

Also Known As:

Bel Canto See more »

Filming Locations:

Mexico City, Mexico


Box Office

Opening Weekend USA:

$12,421, 16 September 2018, Limited Release

Gross USA:

$80,134, 18 October 2018
See more on IMDbPro »

Company Credits

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Technical Specs



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Did You Know?


Demian Bichir was initially cast as General Benjamin, before being replaced by Tenoch Huerta. See more »


Death Becomes You
Written by Brian Tichy & Marc Ferrari
Courtesy of FirstCom Music
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User Reviews

22 September 2018 | by ferdinand1932See all my reviews

This is a meretricious and pretentious piece of kitsch.

The artistic faults are not the filmmakers, nor the actors, because the film is a perfectly well-made piece of middle-brow entertainment. The moral and artistic failure lies in the writing. Not even Renee Fleming's signature piece, 'Song to the Moon', as mimed by Moore, can amend the dreadful experience of this film.

Firstly the title which does not refer to the style of bel canto opera, nor is there a piece of Donizetti or Bellini through which it could string a reason in order to use the term. There is not much singing of any kind apart from Puccini's 'Vissi d'arte', another typical name-checking aria which makes it clear that the use of bel canto is a silly irrelevant borrowing in order to add a vestige of style.

Then there is the drama itself which follows a predictable and sentimental course in which the leads fall for each other. Their bond is abbreviated, and it is not polite to say how, but it is a piece of deliberate and unsubtle manipulation, as well as very hackneyed plotting which ought to have been excised before it had been written.

Of course, as is the nature with this comforting vacuous work, love strives to conquer all, and all the struggles by the protagonists are in the name of love. This bromide, this stupefyingly simplistic nonsense, is incapable of providing drama beyond the stale and bland product it is.

It pretends to assume a form of drama with guns and noble gestures and a conflict of ideas but that pseudo battle and tragedy is elided with Dvorák's song. It's probable that the meaning of that song in the opera Rusalka evaded the understanding of all involved too.

For real bel canto drama, Donizetti's Tudor Queens operas (Maria Stuarda, Anna Bolena and Roberto Devereux) are much better.

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