Фрагменты женщины (Pieces of a Woman)

[DandyAndy]

 

 

 

                              Режиссер — Корнел Мундруцо

Автор сценария — Ката Вебер

                       Оператор — Бенжамин Лоб

           Композитор — Говард Шор

                   Продюсеры  — Эшли Левинсон

                                      Аарон Райдер

                                   Кевин Турен

 

ВАНЕССА КИРБИ • ШАЙА ЛАБАФ • ЭЛЛЕН БЁРСТИН 

 

Бенни Сэфди • Молли Паркер

Сара Снук • Джимми Фэйлс 

Элайза Шлезингер

  Цитата

Мировая премьера — 5 сентября 2020 (основной конкурс 77-го Венецианского кинофестиваля)

Североамериканская премьера — 12 сентября 2020 (кинофестиваль в Торонто)

Цифровой релиз — 7 января 2021

Показать  

Для Марты Карсон роды на дому заканчиваются трагедией — ребенок погибает. Переживая потерю, героиня проходит через ад, и это сказывается на её отношениях с мужем Шоном и матерью, общение с которой и раньше складывалось не лучшим образом.

  Цитата

Время — 126 мин

Жанр — драма

Рейтинг — R

Показать  

Изменено 04.05.2024 21:00 пользователем DandyAndy

[Julietta83]

Первый англоязычный Мундруцо, интересненько.

[DandyAndy]

В конкурсе 77-го Венецианского кинофестиваля

 

[ATTACH]608170[/ATTACH]

[DandyAndy]

Первый кадр

 

[ATTACH]608279[/ATTACH]

[DandyAndy]

Покажут на TIFF

[DandyAndy]

Одним из исполнительных продюсеров стал Мартин Скорсезе

  Цитата

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.”

[DandyAndy]

Ванесса Кирби в интервью DHD

 

 

  Показать

What was it about Pieces of a Woman that first attracted you?

 

I hadn’t found a character since Princess Margaret in The Crown, really, that I truly wanted to go really deep into. And so, they sent me the script for it, and then I met Kornel, the director, and I just was in love with it. It’s an exploration of grief, and how everyone experiences grief differently. I hadn’t seen a film about this sort of subject before, really. When I met Kornel, we had the best afternoon together, and I just knew that it was something I really wanted to do, so I felt incredibly lucky. Shia was already attached to it, and I had always admired him so much as an actor. Then we started the journey, and it required a lot, really. I had to go very deep into it.

 

How did you and Shia go there together?

 

It was really tough, to be honest. It required so much from both of us, and it required a great trust and respect between us, because we knew that we were essentially creating something in the movie that then had to be completely dismantled and destroyed. A bit like they do in Blue Valentine. We were such good friends because I think we really did it together and created a really safe container to do that and to work in. And I was actually really scared to watch it. I was really daunted to watch it because doing some of those scenes was so painful. Feeling that level of grief. I found that really difficult to watch.

 

There’s an extraordinary scene with Ellen Burstyn, who plays your mother, where she wants you to fight through your grief, and compares it to her own terrible childhood experiences. It’s so tense, it’s hard to watch.

 

Well, it really evolved. God, it was such a privilege to go up against her, she’s just a titan, and we’d got really close and it really deeply explores the mother-daughter relationship.

 

I stayed overnight at her house a few times in New York when we were in production. We really got to know each other, so there was a deep love there, but also, we just thought it was so fun to play such similar and yet antagonistic characters. This movie is essentially a poem on grief, but it’s also specific to Martha as a person, as a character. It’s almost a character study on grief. How this person reacts to this kind of trauma, because of the generations of trauma and unresolved grief that’s been passed down. It was so important to have that between mother and daughter. It’s so unspoken, and I just can’t imagine if you’ve spent your whole life feeling not good enough, then you fail at the one thing your body is supposed not to. There’s a shame in that, I think. The familial shame, the shame that her mother passed down to her daughter in that she’s taught her daughter that, at any cost, you have to stand up, and you have to fight and you have to be strong and you do not share how you feel and you have to keep going, instead of really sitting with it and processing it.

 

I remember Ellen and I, we’d been really, really working on the scene together in the days leading up to it in her apartment. And then, on the day, I was just like, “You know what? I’m just going to shout it. I’m just going to shout at her.” And so, I screamed at her, and I just thought, “Oh my god, Ellen.” And it was so incredible, because in the first take, as I screamed at her, she just stood up and she just hit it straight back. It was just such an amazing day of shooting, because we just truly went head-to-head.

 

Tell me about shooting the birthing scene. You’ve said it was a single long take?

 

Well, right from the beginning, Kornel wanted to shoot it as a one-take, and Shia and I were so excited by it, because it’s like a dream, really, to do that as an actor. Also, it was really important, we really wanted, right from the beginning, to open a bit like Saving Private Ryan because Shia and I talked a lot about, if you don’t have the backup, if you’re not with them during this loss, and you’re not with them in that experience, then the after effects—which is most of the movie—you’re not with them in that.

 

So it was so essential that we got it really right, and it was really complicated as well, because how on earth, over the course of 30 minutes, do you make it seem like the birth is happening before your eyes in real time? I’ve never given birth myself. I thought, I can’t do women a disservice by aiming to do this one continuous take and not make it like as authentic as possible because, you know, half the population are probably watching it, being like, “Well, I’ve done that. That doesn’t feel true.” I felt so nervous. I felt such a duty to it, so I was so lucky in that I found an amazing obstetrician, called Claire Mellon in London, and she allowed me to come and shadow her on the labor ward. I was there with all the midwives, and they were teaching me so much, and taking me through moment to moment. Then I was so lucky that an incredible woman let me watch her give birth, and that, to me, was just a miracle, actually. Honestly, I look back and I couldn’t have acted that. I would have been pretending if I hadn’t really seen someone go through it for five or six hours, which she did. It was the most generous thing anyone’s ever done for me, allowing me to watch. Then also, we were so lucky, we found other incredible woman, our birth consultant, Elan McAllister. Shia and I called her our Samurai, because she just helped us so much.

 

It’s a total honor the film got into Venice, and there are very special things about that film to me, that it’s extremely personal. For Kata and Kornel, it’s their personal story, and it was just really meaningful, very special, for me, that movie. It was so important it was to do justice to the women I had spent time with who had told me their stories, whether it be still birth, miscarriage or neonatal death, who felt that it’s still a really difficult thing for people and society to talk about in general, which was one of the most important things about the film. And that relates to Kata too.

 

[Впечатлительная]

Совершенно ужасный синопсис. Когда уже киношникам надоест снимать кошмар про аборты, семейные скандалы и неудачные роды? Очередной фильм про больные отношения в гетеросемье. Когда что-нибудь вдохновляющее снимут?

[DandyAndy]

  Цитата

В конкурсе 77-го Венецианского кинофестиваля

Премьера — 4 сентября

  Цитата

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.

[DandyAndy]

Отрывок

 

 

[DandyAndy]

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

  Цитата

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.

[DandyAndy]

Лучшая актриса

 

[ATTACH]611102[/ATTACH]

[ATTACH]611103[/ATTACH]

[DandyAndy]

Права на фильм приобрел Netflix

[Green_FOX]

Эх жаль. Думал ремейк "Елены в ящике".

[DandyAndy]

Rated R for language, sexual content, graphic nudity and brief drug use.

[DandyAndy]

[DandyAndy]

Интервью с Кирби и Бёрстин

 

[ATTACH]613946[/ATTACH]

[ATTACH]613947[/ATTACH]

[DandyAndy]

 

[ATTACH]614102[/ATTACH]

[DandyAndy]

Трейлер с субтитрами

[empathy]

извините, вообще не купил эту историю. да, двадцатиминутный лонгшот, да, неплохой, а дальше всё, проходит еще полчаса -- серия клише, мизери порн, глубже и глубже в «европейскую артхаусную драму». похоже на все те неудачные попытки ассимилироваться для англоговорящей публики, типа disobedience лейло. пустота. Изменено 08.01.2021 01:17 пользователем empathy

[Julietta83]

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.

[bigbanan]

Бёрстин просто "уела" Кирби, за исключением этого "баттла", кто кого переиграет, и вспомнить нечего. Лабаф при всех возможностях "эмоционального триггера" вообще считай слит был.

[MysteryMan]

Честная драма. Без соплей, но и без экстрима.

 

Кирби - топ. ЛаБаф и Берстин тоже хорошие.

 

Музыка прекрасная. Создает настроение.

 

---

Вообщем все хорошо. Не верьте хейтерам.

[аррмен]

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.

[EMoushen]

.

  Цитата

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.”