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...
"I have failed John Keats. I failed John Keats. I failed John Keats! I failed him! I failed him! I did not know til now how tightly he'd wound himself around my heart."
Beautiful movie. Great performances all round, well shot and very engaging.
An evocative, romantic meditation on art and love. It also manages to be a period drama that feels natural and organic.
John Keats and Jane Campion? Perfect. She melds the beauty of poetry and imagery seamlessly. I can't believe I'd never heard of it.
A girl dreamed to be a designer and a boy who loves to write a poet.
As I said before, that only true story can give you the whole great story of the movie that you can't expect nothing more great than the real one. But this time, some people love it, some people don't.
It almost like Jane Eyre's.
The three-year romance between 19th century poet John Keats and Fanny Brawne.
Well-produced and all in good taste, but the romance misses any spark in order to create some empathy.
Like every other Quentin Tarantino movie to date, INGLOURIOUS BASTERDS (2009, 153 min, 35mm widescreen; Friday, December 26, 7:30pm and Tuesday, December 29, 6:30pm) was marketed as entertainment, achieved prominence through widespread debate, and then was begrudgingly accepted as an art movie--a trajectory only confirmed by this end-of-the-year return to the Film Center. While it took a few years for JACKIE BROWN and DEATH PROOF to yield insightful analysis, the accelerated pace of web discourse in 2009 allowed BASTERDS to resemble a major work within months of its release. Central to the discussion were several questions that, in retrospect, should have been asked a long time ago: Is it possible for big Hollywood productions to honor history--especially war history--considering they're…
Ho visto Bright Star per la prima volta a quindici anni, in un cinemaccio, con due amiche che hanno chiacchierato per tutto il tempo. Mentre loro ridevano e si lanciavano popcorn, la signora di fianco a noi le ha apostrofate a voce alta con un sonoro "stronze!", e beh, tutti i torti non ce li aveva. Nel frattempo io piangevo raggomitolata sulla poltrona, abbagliata dalle parole d'amore di Keats alla sua amata Fanny. L'ho rivisto solo oggi, dopo ben sei anni, e l'ho trovato dieci volte più bello della prima volta. E' struggente, è triste, è romantico, è inebriante, ed è un inno alla bellezza e al coraggio di amare. Meraviglioso.
Abbie Cornish is fantastic as Fanny Brawne, Keats' love interest, and the film effectively portrays their strong feelings for one another. Keats however is disappointingly portrayed; he's a far weaker dish, there for Fanny's brilliant fire to have a focus.
So, Thursday I hit opening night and local auteur queen Jane Campion's latest: Bright Star. Being as I'm a sucker for period films and non-cheesy romance this was right up my alley but I think has broader appeal than those narrow labels might make it seem.
Bright Star is a beautifully shot and constructed film - even the opening sequence with its stunning dance of thread - though it took a little while to find its rhythm. Or maybe it took me a little while to find its rhythm? Whatever the case it did seem a little disjointed until it occurred to me that it was following a similar structure to a poem not unlike one the central character (English…
Originally a list made prior to Cannes 2014, now updated every mid-April.
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