Hereafter
George is an American worker, his character is very close because of its mysterious power that enables him, with a simple touch, feel otherworldly forces that gravitate around every living thing, the missing relatives and painful experiences of everyone buried in the past. A gift for many, a curse for him, from which the boy is now trying to get away despite the resistance of his brother, who sees the occasion a big business opportunity.
Marcus is an English child, tied his twin brother, but dies in a car accident. Ripped from the mother and social services entrusted to a new family, only Marcus tries to find a way to get in touch with his brother disappeared.
three fates, three completely different lives, but destined to intertwine.
E 'a film by latent forces that act (and promote) a context of opposing perspectives, this Hereafter : like when you highlight something to let the filter other hand, one starts from a premise to determine and unexpected consequences other than expected. It 's a movie about death or life? Substantially burdened by the weight of life of death, but at the same time released the same through a sharing of experiences and destinies.
Theme latter strongly Eastwood, although the matrix of the story and interest in the topic of "otherworldly" should be equitably shared with the production team of Spielberg / Kennedy / Marshall, or the personalities who have previously made and / or produced as a film Always , similar Hereafter in for being a part of a same path, but at the same time a distance: there, in fact, sharing death / life was a pretext to talk about the real presence in the element "fantasy." Here, the director is purely vitalistic, human dramas of real people are not (yet) ghosts, but that move in a border area where the meat may come into contact with the soul and the spirit is able to have fleeting visions of 'else / afterlife.
precisely these intervals, these points of contact which determines the film of course, going to build a long journey in stages between their different lives, but destined to come together, is one of the greatest strengths of the story. Definitely stand out above the moving personal stories that the film offers viewers a variety of sequences and exciting in their simplicity: just think of the tears that suddenly comes face to disrupt the otherwise orderly Melanie (Bryce Dallas Howard), a woman apparently strong and confident themselves and instantly falls in all certainty instead giving way to a very human frailty. Yet what is most interesting and impressive is the ability to draw that line and to overthrow all paths leading to other .
The attempt to define these two extremes, therefore, determines the paradox of knowledge that can be done in a way neither rational nor emotional, but only through the experience of sharing a common path: and here we return once again to Gran Torino and Invictus, the physical gesture as a conduit for other people's knowledge of the universe. In the case that if George is more evident (touching an object of the deceased to get in contact), it is less clear, but stronger, at times when sharing is a factor entirely human. Reading a book as a gateway to the knowledge of two different people together and apart, or even the taste of food as a deputy to break through the inertia moment and foster a friendship that could possibly provide new paths to life. The balance is delicate and precarious, because the same gesture that marks the end of a distance (the handshake between George and Marie), however, may be also due to a sharp separation (Still George and Melanie) and is therefore treated in accordance with the characters and it raises some ingenuity in second-and excesses of the text. Pruned by the same, Hereafter is once again a film sincere and attentive to enhance the individual elements in the perspective provided by the largest overall design.
Hereafter
(ibid.)
Director: Clint Eastwood
Screenplay: Peter Morgan
Source: U.S. 2010
Length: 129 '
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