Set over one summer, the film follows precocious six-year-old Moonee as she courts mischief and adventure with her ragtag playmates and bonds with her rebellious but caring mother, all while living in the shadows of Walt Disney World.
In a dystopian near future, single people, according to the laws of The City, are taken to The Hotel, where they are obliged to find a romantic partner in forty-five days or are transformed into beasts and sent off into The Woods.
Resonating with vibrant memories and silent echoes of a shared life, the old house is somehow connected to "C", a sensitive composer who is hesitant of leaving it, while his loving wife "M", on the other hand, is keen on moving out, having an indecipherable but grim premonition of danger. Sadly, disaster soon strikes, and C's untethered spectre which detaches from the lifeless body, rises from the mortician's table, and in a swift decision, decides to linger in this dimension to faithfully follow the grieving M back to the old house. As silent as a shadow and as invisible as the air, C's unappeasable phantom observes M's denial and depression gradually turn to acceptance and even hope, as time unravels, moving forward through the decades. In this earth, man struggles to leave his legacy behind. Is this the way to immortality?Written by
Several variations of pies were baked and tested in preparation for the pie eating scene. Rooney Mara, a self-confessed picky eater, opted for a reduced sugar, gluten-free and vegan chocolate pie. Director David Lowery said it was delicious. See more »
At one point the ghost turns and you can clearly see the actor through the sheet, wearing a yellow T-shirt. See more »
I'm waiting for someone.
I don't remember.
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A young man dies and returns as a ghost to silently observe and occupy the home he once lived in. Time passes, his widow moves out, but the ghost waits. Very early in this film you notice how stunning the cinematography is, a sure sign that the story is lacking in depth. There are hints of Terence Malick's 'The Tree of Life' here, and some of The Time Machine's ideas on the non-linearity of time. But the film offers nothing substantial or insightful. Long takes force us to engage for uncomfortably extended periods with one frame, but there is nothing especially thought-provoking or insightful on offer. A woman gorging herself on pie is an especially egregious example, a scene that was the trigger for the series of walk-outs that took place at the art-house cinema in Scotland where I watched this. A party bore offers up a vacuous speech on the fragility and indeterminacy of existence that a literature undergrad would blush at, never mind a middle-aged man. The main content of conversation post-viewing was whether this scene or the pie-eating was more tedious. A ghost that can walk through walls spends literally an eternity trying to fish a piece of paper out of a wall. The film has one of those ambiguous endings that is the calling card kop-out of the art-house poseur filmmaker. It is beautifully filmed, exquisitely so, but it is scant compensation for the trite storytelling.
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