Фрагменты женщины (Pieces of a Woman)

В конкурсе 77-го Венецианского кинофестиваля

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Одним из исполнительных продюсеров стал Мартин Скорсезе

Scorsese commented: “It’s lucky to see a movie that takes you by surprise. It’s a privilege to help it find the wide audience it deserves. Pieces Of A Woman for me was a deep and uniquely moving experience. I was emotionally invested in it from the first scene, and the experience only intensified as I watched, spellbound by the filmmaking and the work of a splendid cast that includes my old colleague Ellen Burstyn. You feel as if you’ve been dropped into the vortex of a family crisis and moral conflict with all its nuances, drawn out with care and compassion but without judgement. Kornel Mundruczo has a fluid, immersive style with the camera that makes it hard to look away, and impossible not to care.”

 

Mundruczo added: “When I first was contacted by Martin Scorsese after he saw Pieces Of A Woman, time stopped for a second. It is an utter privilege that someone, who has seen and experienced filmmaking inside and out appreciates what we’ve created. One always feels more vulnerable with intimate and “close to your heart” materials, but Martin Scorsese joining Pieces Of A Woman, on top of an already fantastic cast and crew, is a deeply appreciated validation of the risks one takes when going forward to make something truly personal.”

Ванесса Кирби в интервью DHD

В конкурсе 77-го Венецианского кинофестиваля

Премьера — 4 сентября

Martha and Sean Carson are a Boston couple on the verge of parenthood whose lives change irrevocably during a home birth at the hands of a flustered midwife, who faces charges of criminal negligence. Thus begins a year-long odyssey for Martha, who must navigate her grief while working through fractious relationships with her husband and her domineering mother, along with the publicly vilified midwife whom she must face in court. Pieces of a Woman is a deeply personal, searing domestic aria in exquisite shades of grey and an ultimately transcendent story of a woman learning to live alongside her loss.

Отрывок

Awards Analysis: Well-Acted 'Pieces of a Woman' a Tough Sell

The most unusual Oscar season in history launched on Wednesday with the opening of the 77th Venice International Film Festival, complete with facemasks on the red carpet. With this season's finish line — the Oscars ceremony itself — pushed back two months to April 2021, there are, perhaps, fewer filmmakers than usual who are willing to unveil an awards hopeful at the fall film fests. But there are still some, not all of which are arriving on the Lido with distribution but are perhaps hoping to leverage awards buzz to gain it.

 

An interesting case will be Pieces of a Woman, the first English-language feature from the Hungarian White Dog director Kornel Mundruczo which was written by his wife Kata Weber and is, according to the director's statement posted on the fest's website, inspired by "one of our most personal experiences." The drama, which had its world premiere at the fest on Saturday and will next screen as part of the Toronto International Film Festival, centers on a young Boston couple — played by Vanessa Kirby and Shia LaBeouf — who, over the course of a gutwrenching 30-minute one-shot pre-title sequence, lose their child moments after it is born, and then spend the rest of the movie struggling to move on.

 

As The Hollywood Reporter's review by David Rooney indicates, this is an extremely well-acted film, particularly by Kirby, a Lady Gaga look-alike who is best known for playing Princess Margaret on the first two seasons of The Crown and for starring opposite Tom Cruise in the most recent Mission: Impossible film, and who is also the star of another film in this year's Venice lineup, Mona Fastvold's The World to Come. She gives a largely internal performance but one can't take one's eyes off of her, and I suspect the Academy's actors branch would be impressed.

 

Additionally noteworthy, as always, is grand dame Ellen Burstyn, in a part that is underwritten but highlighted by her powerful delivery of a monologue that is overwritten and yet elevated by her artistry. She is the kind of performer who — and that is the kind of scene that — fellow actors, in particular, take notice of. And she has been (Emmy) nominated for far less.

 

But, as Rooney's review also acknowledges, it is hard to imagine who the audience is for a two-plus-hour film as oppressively dark as this one, which sometimes feels better suited for the stage (think Eugene O'Neill) than the screen, and which, beyond its impeccable performances, is a bit clunky (the courtroom scene) and heavyhanded when it comes to metaphors (bridges, apple seeds, etc.).

 

The Academy hasn't recognized many very dark films about grief (Who's Afraid of Virginia Woolf and Ordinary People are among the most celebrated examples), but when it does it tends to recognize one standout performance — for example, in 2011 Nicole Kidman and Michelle Williams were both best actress Oscar nominees for Rabbit Hole and Blue Valentine, respectively, for which no other nominations were accorded. More often than not, though, the Academy takes a pass altogether on such films — even in 2012, when We Need to Talk About Kevin's Tilda Swinton was nominated for SAG, Golden Globe, BAFTA and Critics' Choice awards, the Academy did not follow suit.

 

If the film, which counts Martin Scorsese as an executive producer, gets picked up and released this Oscar season, Kirby could wind up in the mix. Also deserving of serious consideration would be the great Howard Shore for a gorgeous (if overemphasized) score and cinematographer Benjamin Loeb for the aforementioned oner.

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Интервью с Кирби и Бёрстин

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Кирби хорошая, но всё это ужасно монотонно, с клише и перекосами, хотя интересные режиссёрские штуки тоже есть. Но их кот наплакал, как и актёрского материала для ЛаБафа. Последнее обидно, я бы посмотрела, как они вместе со всем этим справлялись (как, собственно, и было у Мундруцо с Вебер), чем вот так через пять минут пихнуть на аксессуар.

P.S. Лонгшот во второй половине >>>>>>>> лонгшот в первой, он и по задумке поинтереснее.

Честная драма. Без соплей, но и без экстрима.

Кирби - топ. ЛаБаф и Берстин тоже хорошие.

Музыка прекрасная. Создает настроение.

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Вообщем все хорошо. Не верьте хейтерам.

Эх, Бергман с этим сюжетом душу бы вынул. И вернул бы обратно, омытой катарсисом. Мундруцо не Бергман. Он даже не Бергман для бедных типа какого-нибудь Баумбаха.

Не поверил ни во что и ни в кого. Фальшь, ремесло, прагматизм, надувание щёк.

ЛаБаф – бездарность.

.

NetflixFilm

@NetflixFilm

Ellen Burstyn's monologue in PIECES OF A WOMAN was mostly improvised.

 

When she performed it as written, she felt her character hadn’t convinced her daughter go to court, so she ad libbed the rest. “Why?" Burstyn told the LA Times. "Because I needed her to speak her truth.”