It is one of the biggest nightmares that a single man can imagine. Just when Jude wants to leave the bathroom of a Chinese restaurant after having done a great message, he walks to the woman of his dreams. As if that were not bad enough, the door to the restaurant also shows once again trapped, so he and the Italian beauty Mina trapped in the pungent air of the much too small toilet. As viewers, we are minutes witnessed what is perhaps the most uncomfortable 'meet cute' is in film history. Miraculously, nevertheless strikes a spark between the two. Although the tone at that time is still airy, the opening scene typifies all equal the claustrophobic feeling of the rest of the film.
Then it goes fast between Jude and Mina. The pair becomes madly in love and the usual steps in a serious relationship can not be long in coming. Cohabitation, marriage and a baby. From the birth of their son, the film by Saverio Costanzo (The Solitude of Prime Numbers) is slowly changing tone. The child is unhealthy thin, but will not arrive, while Italian mother very unusual theories about education and health keeping alive. They refuse example for months to let the boy a step outside the cramped apartment and prohibits them emphatically to let the child eat meat. Soon there is a feeling of distrust between the parents, with the continual question is how far the mother would dare to go.
With the continuous oppressive atmosphere between the young couple in the tiny New York apartment, doing Hungry Hearts regularly think of a variant of Roman Polanski ?? s ?? Rosemary's Baby, which in this case the mother seems to be the source of evil are in place of the child. Although the film may proceed a bit biased with this premise, Costanzo manages to keep the audience constantly be in tension. It makes you constantly wonder how you would act in Judes situation. Moreover, the Italian director manages to create the feeling of claustrophobia often slightly more uncomfortable by frequently using striking camera angles and actors to sit close to the skin.
However, it is the strong tie between Adam Driver and Alba Rohrwacher knows to lift the film actually to a higher level. Driver does well as a protective father who are not at a loss to know the terrifying whims of his wife, and Rohrwacher is so convincing as beaten by her mother that you'd almost hate. Yet it remains a mystery after remains how it is that could change the originally so lovely lady suddenly so ?? s insufferable shrew. As in Polanski ?? s classic are here and there some clues left for a possible supernatural explanation, but actually knowing that such owned health freaks roam actually many times more disturbing. Moreover, the film paranormal hints also completely unnecessary, since the phenomenal game between the two main characters is enough to wear Costanzo ?? s movie.
Movies survival at sea, we have again seen a number of times over the last few years. Think of the fictional film Life of Pi or Robert Redford in All Is Lost, where the lonely struggle of one man against the central state of nature. In many cases the journey itself a metaphorical journey through the psyche of the protagonist. Unfortunately for the viewer remains spiritual discovery Atlantic. a little too loopy to convince.
Director Jan-Willem van Ewijk was born in the Netherlands but grew to a large part of his childhood in California. Here was a love of film, and he is the film for a modest budget now. made, which was well received on the festival circuit. As an avid windsurfer Van Ewijk spent many summers on the beaches of Morocco, where his fascination with the local fisherfolk led to inspiration for a second film: Atlantic .. Here we follow Moroccan windsurfer Fettah, who only a few from his small home village surfboard embarking on a voyage to Europe.
In particular visual area of Ewijks love for the country and the sport back to see good. The Atlantic Ocean is with visible awe imaged with magnificent, panoramic shots. Sometimes it seems almost like watching a nature documentary. Many dialogues are not there. Instead, the images occasionally accompanied by a poetic, almost whispered voiceover of the main character, which Van Ewijks approach here and there almost has something of the distinctive style of Terrence Malick.
Through flashbacks Fettahs history which deepened, although sometimes the viewer a bit difficult to take apart, past and present. These flashbacks are some hints for the reasons behind his journey forward: the loss of his mother, a difficult relationship with his father, the friendship with Western surf tourists and feelings for the wife of his Dutch friend Jan Nevertheless, the actual motive for the rather risky ocean journey remains unclear. Fettah trying to escape his past? He runs away from his responsibility or he is looking for a better future? Or is it simply a longing for an unattainable woman?
On the one hand it is nice that Van Ewijk leaves the answers to these questions to the imagination of the viewer, but then makes it more difficult the viewer to empathize with the main character. The poetic approach and the beautiful cinematography are nice, but really gripping do not become the story. For this excess in a series of separate patches remain where it is unclear what feeling will produce the film with his audience. Atlantic. leaves the viewer ultimately just as lost behind as his protagonist, lonely floating at sea.
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