Every film that has ever been nominated for an Academy Award in any category. Enjoy!
The drama based on the three-year romance between 19th century poet John Keats and Fanny Brawne, which was cut short by Keats' untimely death at age 25.
Who knew a man stroking a woman's hand could be so sexy? I've seen this movie seven or eight times now and it never fails to invade my soul and senses with its beauty and glorious sadness. It's the cinematic equivalent of smelling a lovely perfume, gazing at a field of lilac bushes or tasting a delicious wine...everything about it is full of sensuous texture and utter longing...longing to be touched, longing to be inspired, longing to love and create art. It leaves a mark on every part of your being and, like a person's first love, is incredibly difficult to forget about once it's over. You don't know until the end of the movie how tightly it wound itself around your heart.
I tend to dislike watching movies with my girlfriend’s family as they quickly hide behind iPads, reading the film’s synopsis, yelling how the plot will turn out when I’m still enjoying the picture. That’s what happened today as well, apart from the fact that I wasn’t caring that much about what I was seeing this time. It was boring. Four out five scenes didn’t add anything to the story and for something that holds an eighty plus metacritic score I was really expecting more from the actors and screenplay. Didn’t help much that the final minutes were missing from the recording, obliging me to watch the finale from a French stream (I don’t speak or understand French sufficiently, so I guess it came in handy that the plot was yelled at me earlier).
Jane Campion's film about the love affair between young poet John Keats and his neighbor Fanny Brawne is both achingly sad and tenderly romantic, delicately presented with patience and reserved sensuality. It is beautifully photographed, the outdoor scenes especially are shot with the sort of sensitivity a wildlife photographer might employ to avoid startling his subjects. The screenplay serves the story well... the relationship lasted about four years and is presented here with admirable faithfulness to existing documentation of Keats' illness and premature death, but without the fragmented, episodic feel that often results from such a time span. Reserved pacing and restrained emotion seem to reinforce our impressions of polite society of the period but only intensify the wrenching, heartbreaking climax of this doomed romance.
Heated poetry recitations exchanged between longing gazes and chaste kisses. Just give it to Campion for her refusal to compromise thematic depth and labour two hours with this lushly filmed, micro-detailed little beauty. I found Bright Star to be mostly sublime. While there's a far more substantial focus on Keats' verse as opposed to a blossoming romance, that still doesn't completely disallow Campion in creating other ideas to express her passionate visual medium. None of that is more evident than during one of Keats' occasional absences: Brawne lies on her bed grieving for his return so flush with the fervor of first love. A breeze ruffles through an open window, rippling under her skirts as sunlight gently plays across her…
"Bright star, would I were steadfast as thou art —
Not in lone splendour hung aloft the night
And watching, with eternal lids apart,
Like Nature's patient, sleepless Eremite,
The moving waters at their priestlike task
Of pure ablution round earth's human shores,
Or gazing on the new soft-fallen mask
Of snow upon the mountains and the moors —
No — yet still stedfast, still unchangeable,
Pillow'd upon my fair love's ripening breast,
To feel for ever its soft swell and fall,
Awake for ever in a sweet unrest,
Still, still to hear her tender-taken breath,
And so live ever — or else swoon to death."
I always did really admire Campion's period pieces. For me they could always put…
A sweet and stylistic portrayal of a love affair between the characters of Abbie Cornish and Ben Wishaw. This film is effective storytelling and brutally heartbreaking.
Wishaw is particularly good as the poor author, John Keates. Everything in this movie is so polite and subtle, I just love the reserved British nature of it all.
Overall, a great watch, but one can get sick of watching hopeless bohemians by the end of this...
It started out quite slow, and to be honest, a few times I was wondering if it was worth enduring. But the cinematography - that is worth it. Every scene and backdrop is lovingly portrayed and added into the fold of the film. It shocked me at the end when I was a little choked up.
“It is certainly a particularly ironical paradox that the lady irritatingly associated with [Keats’] name should be the least congruous of all the many commonplace women transfigured by the genius they could not understand, and the love of which they were not worthy.” - Richard Le Gallienne, 1924
How dare you, sir. How dare you judge a woman as being unworthy of being loved. This movie is a gorgeous, delicate, incredibly moving 'fuck you' to sexist assholes like this guy who proudly ignore or belittle the lives of women in favor of deifying more famous men. Fanny Brawne was as full a person as John Keats - artistic, witty, passionate - who loved deeply and was deeply loved in return. So there.
Moving, beautiful, with a quiet dynamic energy that makes for a poignant yet pleasant experience.
I'm not a big or even a slight fan of poetry. I'm also not all the interested in British cinema. So you can imagine how excited I am to see a movie like Bright Star. I do try to set aside personal discrepancies when watching movies, but this is a case in which no interest or attention span could have helped me enjoy the film.
Bright Star is about John Keats, who is apparently one of the most prominent poets of his time despite the fact that I didn't realize the movie was based on any sort of true events until the epilogue cards at the end. But it's not actually about him, rather it's about Fanny Brawne, a woman…
I truly love it. Might be my favourite by Jane Campion so far.
The women in this film are truly remarkable and rich with characters. Here we are, being introduced to a desirable 18 year-old woman named Fanny Brawne (Abbie Cornish), and she is crushing so hard on John Keats (Ben Whishaw). The game of poetry masked with coquetry begins by how Fanny wants to learn poetry, how she wants to breath and acknowledge it but also want to conquer John. And how John replied with such subtle hostility, as it hints a little charm as if he's going to drawn to her. It was flawless, it was perfect. It was beautiful. It was painful.
Jane Campion do the most…
The thread of a needle, the handing of a book, there are so many delicate small observations in this film. It looks stunning and Abbie Cornish is divine.
The first hour is just magical and then the second hour is just :-(
There's nothing wrong with Bright Star, really, it's just that movies about people quietly, tragically pining for each other while wearing Oscar-nominated costumes are never going to do all that much for me. (But hey Mark Brendanawicz!)
As poetic as a Keats's poem. I'm not a big fan of Jane Campion, but this truly made a big impression on me.
Part of the reason why this film packs such a wallop is how closely it sticks to Cornish's perspective. This isn't dainty costume drama, but an often passionate tale of first love that (like Scorsese's Age of Innocence) is enacted through and sticks to the social codes of its setting. It's intimate and it often feels undeniably beautiful precisely because of what doesn't happen. Its explication of how a poem works invariably describes the mode this film operates in, preferring sensations, textures and emotional logic to a clean and tidy progression of plot details. That final quick fadeout is as enigmatic as anything else in cinema.
Originally a list made prior to Cannes 2014.
This is every Palme d'Or nominee since the festival began in 1946.…
A list of films directed by women, in alphabetical order by director. The notes show the director's country, name and…