Michael Shannon directs an adaptation of Brett Neveu’s 2002 play about a mother coping with the fallout after her son murders three of his high school classmates. Janice (Judy Greer) is struggling; she moves through life as if in a haze, unable to let go of her anger and frustration. While her husband (Alexander Skarsgård) has found refuge at a new church, Janice finds it hard to seek solace in her faith despite her pastor’s pleas to heal her wounds by meeting with the mothers of her son’s victims. As Janice ponders what that meeting could achieve for her and her community, Eric LaRue asks audiences to witness the frayed emotional ripples that violent acts can engender.
Anchored by Greer’s deeply arresting performance, Shannon’s directorial debut grapples head-on with frustratingly timely conversations about who deserves our compassion and grace. Standout supporting turns by Tracy Letts and Alison Pill, who capture a subtly unnerving vision of spiritual fanaticism, stress the film's interest in complicating facile views of atonement and forgiveness in light of such tragedies.
源自:
https://tribecafilm.com/films/eric-larue-2023
作为一名同性恋者,艾滋病这三个字对于马丁(马尔西亚尔·迪丰佐博 Marcial Di Fonzo Bo 饰)来说并不陌生,而当确诊病历拿在手中,纵使再震惊,马丁也不得不默默的接受这一现实。残酷的是,在这个节骨眼上,那个叫做卢卡斯(让-米歇尔·波特尔 Jean-Michel Portal 饰)的男人出现在了马丁的视线中。无可救药坠入爱河的马丁选择了在有限的生命里果断表白,可是这突如其来的热情却吓到了卢卡斯。
随着时间的流逝,卢卡斯渐渐对马丁产生了感情,可是,对于卢卡斯的转变,马丁却犹豫了,自己已是将死之人,他该如何来负担卢卡斯炽热的爱意呢?死神的镰刀下,一对心意相通的恋人最终只能选择背向而行。
Ewan McGregor impresses in Niclas Larsson's star-studded psychological indie drama based on Jerker Virdborg's novella.
Three siblings converge in a furniture store in the middle of nowhere. Here, their mother, portrayed by Ellen Burstyn, has barricaded herself on a couch. David (McGregor) does his best to diplomatically try to resolve the situation, but the other siblings (Rhys Ifans, Laura Flynn Boyle) seem to take the situation with frustrating nonchalance. And while the mother's stationary position on the couch brings forth Norenesque family conflicts to the surface, the furniture store appears increasingly labyrinthine, and David is chased through a never-ending Kubrickian nightmare with a desperate look in his eyes. Swedish director Niclas Larsson (Vatten, GFF 2013) returns to Gothenburg after a period in international advertising with a charged psychological drama that not only impresses with its star-studded cast.