Synopsis
I want them to see what they have done to Jack.
An account of the days of First Lady, Jacqueline Kennedy, in the immediate aftermath of John F. Kennedy's assassination in 1963.
2016 Directed by Pablo Larraín
An account of the days of First Lady, Jacqueline Kennedy, in the immediate aftermath of John F. Kennedy's assassination in 1963.
Natalie Portman Peter Sarsgaard Greta Gerwig Billy Crudup John Hurt Richard E. Grant Caspar Phillipson Beth Grant John Carroll Lynch Max Casella Sara Verhagen Hélène Kuhn Deborah Findlay Corey Johnson Aidan O'Hare Ralph Brown David Caves Penny Downie Georgie Glen Julie Judd Peter Hudson John Paval Bill Dunn Vivienne Vernes Craig Sechler Rebecca Compton Bryan Ashby David DeBoy Stéphane Höhn Show All…
David Shumbris Christopher Place Michael Ahl Rick Kain Roy Farfel Owen Holland Don Whatley Frank Bal Robert Lee Harvey Jeff Milburn Robbie P Smith Alistair Whitton
Alexis Kinebanyan Sylvie Aid Valérie Chapelle Odile Fourquin Fabienne Gervais Betty Beauchamp SaraÏ Fiszel
Wild Bunch LD Entertainment Fabula Why Not Productions Bliss Media Endemol Shine North America Protozoa Pictures
Джаки, 第一夫人的秘密, 第一夫人:积琪莲甘迺迪, 재키, ژکی, جکی, Jackie: Die First Lady, ג'קי, ジャッキー/ファーストレディ 最後の使命, Zaklina, Džekija, Джеки, Џеки, หม้ายหมายเลขหนึ่ง, Джекі, Đệ Nhất Phu Nhân, 第一夫人, 第一夫人:積琪蓮甘迺迪
end-credits have no music: a missed opportunity to play national anthem by lana del rey
this is monumental. like Under the Skin and Marie Antoinette swirled together in a kaleidoscope of American history. such a dense tapestry of ideas and emotions, all of which fit into the scale of a single woman enduring the worst week of her life. so smart on the balance between life and legacy, between being and performance, between grief and guilt... not only the first Larraín that i've loved, but the first time i — an american jew for whom the kennedys have always felt like royalty from another country — feel as though i've understand their myth in any real way.
what a movie.
WHAT A WOMAN!!!
natalie portman's performance was fucking majestic, i love emma stone and i'm glad she won best actress but natalie was on screen 95% of jackie and carried the movie all by herself, she deserved that oscar.
it’s so funny to me that the guy who plays jfk looks so much like jfk because you know he’s been told he looks like jfk a million times before so you know he’s been waiting his whole life to become an actor and play jfk in his own big blockbuster probably steven spielberg directed jfk movie and he finally gets to hollywood and his dream is so close he could almost touch it and instead what he gets is to play jfk for a total of about 8 minutes in a film completely about jackie
I've never seen such beautiful camera work in my entire life. The best acting in a film I've seen this year, especially from the gorgeous Natalie Portman. The score was fucking brilliant. Jackie is perfect.
crying is the shedding of tears in response to an emotional state. the act of crying has been defined as "a complex secretomotor phenomenon characterized by the shedding of tears from the lacrimal apparatus, without any irritation of the ocular structures". a related medical term is lacrimation, which also refers to non-emotional shedding of tears. crying is also known as weeping, wailing, whimpering, and bawling-
I’ve been meaning to/needing to watch this forever, and truly think about doing so every few weeks, but it wasn’t until I heard about Lorrain’s new movie (K. Stew + Jonny Greenwood + Claire Mathon good lord bury me now) that I finally jumped on it. Wow. Had heard how wonderful the score was, but what I really love is the way it looks. Like a cloudy, overcast dream. A lush but dreary and unstable recollection of memory. Not sure this makes sense but I’ve never seen a movie whose look so adequately captures a feeling and a time so well. Incredible.
How is no one talking about the fact that Emma Stone won over Portman?
I'm livid.
47/100
Feel like I'm being punk'd here, à la the psych experiment that has half a dozen people give an obviously incorrect answer to a simple question, following which many subjects then also give the wrong answer so as to avoid looking stupid. Good one, colleagues, pretending that the dude who wrote The Maze Runner and Allegiant somehow miraculously discovered subtlety and subtext, turning the final week of November '63 into a finely etched portrait of high-visibility grieving that's also an incisive study of legacy construction. I mean, that sounds great, as you describe it. I would like very much to see that film. Instead, I saw a "prestige drama" written by someone who specializes in adaptations of dystopian YA…