Certain women
| Movie | |
|---|---|
| German title | Certain women |
| Original title | Certain women |
| Country of production | United States |
| original language | English |
| Publishing year | 2016 |
| length | 107 minutes |
| Age rating | FSK without age restriction |
| Rod | |
| Director | Kelly Reichardt |
| script | Kelly Reichardt |
| production |
Neil Kopp , Vincent Savino , Anish Savjani |
| music | Jeff Grace |
| camera | Christopher Blauvelt |
| cut | Kelly Reichardt |
| occupation | |
| |
Certain Women (English for Certain Women ) is an American film made in 2016 . Directed by Kelly Reichardt , who also wrote the screenplay and as a film editor functioned. It is based on three short stories by the American writer Maile Meloy . The film drama accordingly consists of three roughly half-hour segments about a lawyer, a house builder and a ranch worker, which apart from the location Montana and an affair between two main characters in the first and second episodes are not related to each other.
The episode film premiered on January 24, 2016 at the 2016 Sundance Film Festival and was released in US cinemas on October 14. It was previously shown at the 2016 Toronto International Film Festival and the New York Film Festival , among others . Before the premiere, the acquired at Sony Pictures Entertainment owned company Sony Pictures Worldwide Acquisitions international broadcast rights, after the premiere to be received AMC Networks owned company IFC Films , the US broadcast rights. In Germany, the production was shown in cinemas for the first time on March 2, 2017.
action
Laura Wells
In a small town in Montana, lawyer Laura Wells has been reluctant to look after her client William Fuller for the last eight months. He is annoyed because he was injured in an accident at work and is now physically disabled , which is why he can no longer work. Fuller visits Laura again and again, when she meets again, Laura has had enough of him and takes him to a colleague. He gets the same from Laura as he heard from Laura: Although his employer was undoubtedly to blame for the accident, Fuller has no way of suing him for damages, as he has already agreed to the first small settlement amount. When Fuller wants to drive home after meeting the lawyer, he gets into an argument with his wife, who throws him out of the car. He then lets Laura take him away. While driving, he claims to her that he wants to shoot his former superiors.
That same night, Laura is informed by the police: Fuller has taken a security guard hostage at his former workplace . After the officers have prepared her with a bulletproof vest , among other things , Laura enters the building. When she finds Fuller, he tells her to look for his employee file, which contains the case file about the accident. Laura reads it, noticing that Fuller was actually cheated out of his rightful, much higher settlement sum. Fuller lets the security guard go and makes Laura a suggestion: go to the entrance and pretend he's threatening her with a gun. She is supposed to pass on his demands to the police while he escapes through a back exit. Laura refuses to accept this and instead immediately passes Fuller's position on to the police, who arrest him.
Some time later, Laura visits Fuller in prison. He says he understands what you did back then. In return, he asks her to finally answer his letters, as he is suffering from the loneliness of imprisonment, to which Laura agrees.
Gina Lewis
Gina Lewis is married to Ryan and they have a teenage daughter named Guthrie. Gina and Ryan have the goal of building a weekend house together and laying the foundations themselves. However, her relationship is tense at the time, as Gina is of the opinion that Ryan is always on Guthrie's side in disputes with her daughter, which is why she is increasingly annoyed by his behavior, and he has an affair with Laura from the first History. One day when they are driving back from a campsite, they stop at the old man Albert, whom they know only briefly, and want to buy the old, historic sandstone from him that lies unused on his property. During their conversation, Gina tries to persuade Albert to sell the sandstone several times, but he keeps interrupting her and seems to be only interested in talking to Ryan. Finally, Albert hesitantly agrees to sell the sandstone to the couple. Gina, who secretly recorded the conversation, gestures Ryan to leave. As they sit in the car on the way home, Gina thinks that they could have gotten the sandstone almost ridiculously easily.
A little later, Gina and Ryan drive a truck onto the property and load it with the sandstone. When Gina notices that Albert is standing at the window, she waves to him, but Albert doesn't reply. After a while, Gina organized a barbecue for friends at her own residence , and her husband admired her construction work. She finally looks at the sandstone and smiles.
Jamie
Young Jamie works as a helper on a ranch . She lives in almost complete isolation every winter as she has to look after the horses on her own on the farm outside Belfry . One day while driving into town, she sees several cars pull into the parking lot of a local school and spontaneously drives after them. When she follows the others into a classroom, she ends up in a school law course, which is taught by lawyer Beth Travis, who is about the same age. After the class, Jamie and Beth go to a diner together and have dinner while they start talking. Beth mentions that she lives in Livingston , which is a four hour drive away. She has to undertake the eight-hour journey twice a week because she is afraid of losing her real job if she does not lead the course.
Although Jamie shows no interest in law , she goes to Beth's class every week from now on to see her and then go out to eat with her. One day she rides one of the horses to school, which is why she and Beth then take the animal to the diner. The following week, Jamie is stunned when Beth has given up the course, which is now permanently led by a substitute teacher. She leaves school immediately and goes straight to Livingston. She spends the night in the car and in the morning rattles around every law firm she can find looking for Beth. Meanwhile, she always has memories of the day she first drove into town. When Jamie finds Beth's office, they meet in the parking lot. Jamie tells her he went into town because she was afraid she would never see her again. Because Beth doesn't answer, Jamie leaves abruptly. On their way home, Jamie falls asleep behind the wheel and ends up with the car in an empty field. She continues to work on the ranch, but now she feels even more lonely and sad than before.
production
Kelly Reichardt had shot most of her feature film productions in Oregon and wanted to use a new location for her new film for a change. She decided to process three short stories by the writer Maile Meloy in one film. Since these are set in Montana , Reichardt looked for suitable filming locations in the state using his own location scouting . She initially considered Meloy's hometown of Helena , but eventually settled on Livingston , as she felt the town looked more like the plot. Todd Haynes served as executive producers , Neil Kopp , Vincent Savino and Anish Savjani as producers. The actors, including Michelle Williams , with whom Reichardt had already shot the films Wendy and Lucy and On the Way to Oregon , were cast in their roles in 2015.
According to Haynes, the camera movements underline the isolation and loneliness of the protagonists, even though the segments are actually about relationships. Reichardt would also achieve this visually through door frames, windows, mirrors and architectural structures, through which she fragmented her figures in each individual image . Reichardt did not use any artificial, only natural sounds such as wind or train whistles for their production. Film music can also be heard in only one scene.
reception
In the Internet Movie Database, the film achieved a rating of 6.3 out of ten stars based on 11,116 votes. On Rotten Tomatoes , the critic rating is 91 percent based on 185 reviews, the audience rating is 50 percent based on 5439 votes. At Metacritic , a critic rating of 82-value audience gave 100 based on 38 reviews and a 5.9 out of ten based on 63 votes cast.
“Four women, three stories, only loosely connected to one another, but permeated by something more than just similar moods: loneliness and longing; Exhaustion from disappointment, which is almost routinely accepted; carry on, live on, hold on to your private dream, to your own identity; Hope for recognition that is hardly ever granted (...) They are rarely seen in the cinema. All the better they are in the hands of the filmmaker Reichardt. Their works are often put in a drawer labeled 'Cinema of Quiet Tones', but Reichardt's cinema is more of a cinema of attentive gaze and precise images. A cinema of fleeting moments, diffuse feelings, intangible states of mind and uncertain events (...) It is an honest cinema that is committed to respect for the characters and is interested in the authentic reproduction of their experience of existence. (...) They could be the descendants of the women settlers from Reichardts Meek's Cutoff . Largely excluded, still, from power, and yet taking one step ahead of the other, unyielding and persistent. "
Lukas Stern found in Der Spiegel that the film was uniquely precise and subtle. What happens between people in Reichardt's films, especially in Certain Women , should perhaps be called profound or even intimate precisely because this takes place in layers that cannot be conceptually fixed. Laura Dern's gestural play, the inconspicuous reactions, the microdrama of the briefing in the parking lot in front of the office building are what strained the relationship between the lawyer and her client. It is one of Reichardt's great staging qualities that she can tell so comprehensively about human relationships without needing anything more than gestural play with paper bags and a bulletproof vest. The scene with Gina, Ryan and Albert is fantastic, in it the communication between the three gets out of hand until Gina's face twisted into a helpless laugh. This face, which emerges from the fine features of Michelle Williams less than breaking out, is the extreme level of escalation that can be reached in this world, from which the precision in the design of this world in its facial and gestural delicacy can be recognized. In Certain Women it go less about the hard fault lines where the life turn groundbreaking into drama, but rather the places in the interpersonal structure in which the membranes are thinner and more permeable, where human relationships were intimate. Precisely because things are so ambivalent and headstrong at these points, the moment in the film when Elizabeth and Jamie ride a horse together towards the diners after school is probably the most beautiful of its kind for a long time.
David Sims wrote in The Atlantic that the film was a moving, considerate triptych . It is strongest in the subtle moments, in the unspoken tensions on which unexpected, sometimes painful truths are built. Certain Women is a film in which every missed opportunity to make contact with someone or every short, surprising touch of empathy is decisive enough to think about it days afterwards. In the first episode, which has the most direct plot, Reichardt perfectly captures the burden of working as a woman in a male universe, without ever exposing passive sexism. As always, Dern acts fabulously, registering every microaggression and ignoring it. In the second story, the hyper-realism drags on, but is still inextricably linked with the first, as Albert's eyes are only on Ryan and this signals an unconscious comfort with an antiquated lifestyle. At the same time, the idea of change and progress in an old-fashioned part of America is also significant in the plot. The last story is the most haunting, the newcomer Lily Gladstone delivers the most dynamic performance. Compared to the other two stories, which are about characters dulled by years of misogyny and frustration, Jamie's and Beth's story looks more hopeful. So many paths are unjustly blocked for Jamie, which is why the viewer feels a discreet joy when she tries to open them through her quiet approach to Beth. Similarly, one feels distress when things don't go the way she imagined. The film is a summary of Reichardt's oeuvre: Certain Women are unabashedly feminist, tell stories of hope and consternation, these cleverly swayed between surprising optimism and depressing reality.
Wendy Ide rated the film five out of five stars in The Guardian . According to her, the small town stories are subtle and intimate. Kelly Reichardt is a director who uses cinema in a way that contradicts the expectations of the medium wonderfully. Mainstream productions often looked like a “hold-up”, while the arthouse contemporaries preferred “flashy gestures and overzealous staging techniques”. Reichardt's reserved, intimate films are captivating, subtle and deliberately anti-climatic. Her approach goes beyond naturalism and lands somewhere between painful introversion and acute empathy. So not everyone would like the film, but for those who identify with Reichardt's approach, it is a small miracle. Although not much happened in the individual stories and not much was said in the expressive moments, they conveyed a painful longing or even a small attempt at triumph. The individual episodes would not overlap so much, but rather touch each other much more. The four main female characters have something of the unvarnished pioneering spirit that Reichardt would have already treated in On the Way to Oregon . She was particularly positive about Lily Gladstone, who plays exceptionally well alongside the "wrinkled, washed-out" Kristen Stewart. The third episode with its melancholy rhythm and its adorable, structured depictions of Gladstone and Stewart is what makes the film a humble masterpiece.
Awards and nominations (selection)
BSFC Award 2016
- Award for Best Supporting Actress for Lily Gladstone
- Second place in the Best Ensemble category
CFCA Award 2016
- Nomination for Best Supporting Actress for Lily Gladstone
- Nomination in the category Vielversprechendster actor , for Lily Gladstone
- Nomination for the big special prize
- Nomination in the Best Feature Film category
Gotham Award 2016
- Nomination in the Best Film category
- Nomination for Best Young Actor for Lily Gladstone
- Nomination for the audience award
- Nomination in the category of best international film
LAFCA Award 2016
- Award for Best Supporting Actress for Lily Gladstone
London Film Festival 2016
- Award in the Best Film category
NYFCC Award 2016
- Award in the Best Supporting Actress category for Michelle Williams (also for Manchester by the Sea )
OFCS Award 2016
- Nomination for Best Supporting Actress for Lily Gladstone
Sydney Film Festival 2016
- Nomination in the Best Film category
VVFP Award 2016
- Award for Best Supporting Actress for Lily Gladstone
- Tenth place in the Best Film category
- Fifth place in the Best Director category for Kelly Reichardt
- Eighth place in the Best Supporting Actress category for Kristen Stewart
Cahiers du cinéma 2017
- Third place among the ten best films of the year
- Nomination for Best Director for Kelly Reichardt
- Nomination for Best Supporting Actress for Lily Gladstone
NSFC Award 2017
- Second place in the Best Supporting Actress category for Lily Gladstone
ALFS Award 2018
- Nomination for Best Supporting Actress for Lily Gladstone
synchronization
The synchronization of the film was created at VSI Synchron based on a dialogue book by Katharina Gräfe and directed by Florian Halm .
| role | actor | Voice actor |
|---|---|---|
| Laura Wells | Laura Dern | Sabine Jaeger |
| Elizabeth "Beth" Travis | Kristen Stewart | Julia Kaufmann |
| Gina Lewis | Michelle Williams | Marie Bierstedt |
| Jamie | Lily Gladstone | Rubina Kuraoka |
| Ryan Lewis | James LeGros | Florian Halm |
| William "Will" Fuller | Jared Harris | Rainer Doering |
| Albert | René Auberjonois | Jan Spitzer |
| Sheriff Rowles | John Getz | Bodo Wolf |
| Guthrie Lewis | Sara Rodier | Amelie Plaas-Link |
| secretary | Ashlie Atkinson | Anja Rybiczka |
| Mac | James Jordan | Dirk Talaga |
Web links
- Certain Women in the Internet Movie Database (English)
Individual evidence
- ↑ Release certificate for Certain Women . Voluntary self-regulation of the film industry (PDF; test number: 165143 / K).
- ↑ Leslie Felperin: 'Certain Women': Sundance Review. In: The Hollywood Reporter . January 24, 2016, accessed April 4, 2020 .
- ↑ David Morgan: Review: The interrupted lives of "Certain Women". In: CBS News . October 4, 2016, accessed April 4, 2020 .
- ↑ Etan Vlessing: Toronto: Christian Bale-Starrer 'The Promise,' Richard Gere-Starrer 'Norman' Get Gala Screenings. In: The Hollywood Reporter. August 16, 2016, accessed April 4, 2020 .
- ↑ Liz Calvario: 'Certain Women' NYFF Press Conference: Watch Kristen Stewart and Laura Dern Discuss Kelly Reichardt's Drama. In: IndieWire. October 5, 2016, accessed April 4, 2020 .
- ↑ Dave McNary: Sony Buys Kelly Reichardt Drama Starring Kristen Stewart, Michelle Williams. In: Variety . April 16, 2015, accessed April 4, 2020 .
- ^ Marianne Zumberge: IFC Films Acquires Kristen Stewart-Michelle Williams drama 'Certain Women'. In: Variety. March 9, 2016, accessed April 4, 2020 .
- ↑ a b Kelly Reichardt, Todd Haynes. (2017). DVD commentary for the film "Certain Women". In: Certain Women [DVD]. Sony Pictures Home Entertainment .
- ^ Justin Kroll: Michelle Williams Reteams With Kelly Reichardt on Untitled Drama (EXCLUSIVE). In: Variety. February 17, 2015, accessed April 4, 2020 .
- ^ Certain Women (2016). In: Rotten Tomatoes . Retrieved April 4, 2020 .
- ^ Certain Women. In: Metacritic . Retrieved April 4, 2020 .
- ↑ Alexandra Seitz: Critique of Certain Women . In: epd-film.de . February 24, 2017. Retrieved April 2, 2020.
- ↑ Lukas Stern: Cracks down to the most intimate layers. In: Der Spiegel . March 1, 2017, accessed April 2, 2020 .
- ^ David Sims: The Quiet Feminism of Certain Women. In: The Atlantic . October 14, 2016, accessed April 3, 2020 .
- ↑ Wendy Ide: Certain Women review: Kelly Reichardt fashions a minor miracle. In: The Guardian . March 5, 2017, accessed April 3, 2020 .
- ↑ Patrick Shanley: 'La La Land' Named Best Picture by Boston Society of Film Critics. In: The Hollywood Reporter. December 11, 2016, accessed April 4, 2020 .
- ^ The 2016 Chicago Film Critics Association Award Nominees. In: Chicago Film Critics Association . December 11, 2016, accessed April 4, 2020 .
- ↑ CERTAIN WOMEN. In: Festival du cinéma américain de Deauville . Retrieved April 4, 2020 (French).
- ^ Certain Women. In: Filmfest Hamburg . Retrieved April 4, 2020 .
- ↑ Gordon Cox: Gotham Awards Nominations: 'Manchester by the Sea' Leads With Four. In: Variety. October 20, 2016, accessed April 4, 2020 .
- ↑ Jaime N. Christley: Jerusalem Film Festival 2016: Julieta, Our Father, Certain Women, & More. In: Slant. July 17, 2016, accessed April 4, 2020 .
- ↑ 'Moonlight' Named Best Picture by LA Film Critics. In: The Hollywood Reporter. December 4, 2016, accessed April 4, 2020 .
- ↑ 60th BFI London Film Festival announces 2016 awards winners. In: British Film Institute . October 17, 2016, accessed April 4, 2020 .
- ↑ 2016 Awards. In: New York Film Critics Circle . Retrieved April 4, 2020 .
- ↑ 2016 Awards (20th Annual). In: Online Film Critics Society . December 27, 2016, accessed April 4, 2020 .
- ^ Official Competition 2016. In: Sydney Film Festival . Retrieved April 4, 2020 .
- ^ The 2016 Village Voice Film Poll Winners. In: The Village Voice . December 21, 2016, accessed April 4, 2020 .
- ↑ Top 10 2017 des Cahiers. In: Cahiers du cinéma . Retrieved April 4, 2020 (French).
- ↑ Matt Warren: 2017 Film Independent Spirit Awards Nominations Announced! In: Film Independent . November 22, 2016, accessed April 4, 2020 .
- ^ Awards for 2016. In: National Society of Film Critics . January 7, 2017, accessed April 4, 2020 .
- ↑ RIch Cline: Three Billboards leads nominees for Critics' Circle Film Awards. In: London Film Critics' Circle . December 19, 2017, accessed April 4, 2020 .
- ^ Certain Women. In: synchronkartei.de. German dubbing file , accessed on April 3, 2020 .