Based on a true story. A team of African-American women provide NASA with important mathematical data needed to launch the program's first successful space missions.
Director:
Theodore Melfi
Stars:
Taraji P. Henson,
Octavia Spencer,
Janelle Monáe
Following the assassination of President John F. Kennedy, First Lady Jacqueline Kennedy fights through grief and trauma to regain her faith, console her children, and define her husband's historic legacy.
Director:
Pablo Larraín
Stars:
Natalie Portman,
Peter Sarsgaard,
Greta Gerwig
A timeless story of human self-discovery and connection, Moonlight chronicles the life of a young black man from childhood to adulthood as he struggles to find his place in the world while growing up in a rough neighborhood of Miami.
The story of two Catholic missionaries (Andrew Garfield and Adam Driver) who face the ultimate test of faith when they travel to Japan in search of their missing mentor (Liam Neeson) - at a time when Catholicism was outlawed and their presence forbidden.
Adam Driver lost 50 pounds for the role; 30 lbs. before filming & 20 during filming. See more »
Quotes
Ferreira:
I do because you are just like me. You see Jesus in Gethsemane and believe your trial is the same as His. Those five in the pit are suffering too, just like Jesus, but they don't have your pride. They would never compare themselves to Jesus. Do you have the right to make them suffer? I heard the cries of suffering in this same cell. And I acted.
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Tantum Ergo Sacramentum
Traditional song written by Thomas Aquinas (as St. Thomas Aquinas)
Arranged by Tatsuo Minagawa
Performed by Shin'ya Tsukamoto See more »
It's Scorsese. Martin Scorsese. He makes the best films. Is this one of his best? Hmm....
It's a personal/religious epic, but it's all about the interior self - an intimate epic, which is always the toughest to pull off. Silence chronicles morality in such a way that is staggering and with very few specks of light (that is, brief relief through laughter - it does come through the character Kichijiro, more on him in a moment), and it's practically an anomaly to be released by a major studio with such a budget and big stars. This is a story that comes from history you rarely ever get to see anymore - history from a country like Japan that doesn't involve samurai (at least how we see them) and dealing with Christianity vs Buddhism - and it's directed with a level of vision, I mean in the true, eye-and-heart opening sense that declares that this man still has a lot to say, maybe more than ever, in his latter years.
Silence is, now pondering it hours after seeing it, possibly the best "faith-based" film ever made (or at least since Last Temptation of Christ); in its unintentional way, a great antidote to those pieces of garbage like God's Not Dead and War Room which preach only to a select few and insult the intelligence of everyone else. In this story of Jesuit priests who go on a journey to find a priest who may be long gone but could be found and brought home, it's meant for adults who can and should make up their own minds on religion and God, and the persecution part of it isn't some ploy from the filmmakers for fraudulent attention. This is about exploring what it means if you have faith, or how to question others who do, and what happens when people clash based on how people see the sun. Literally, I'm serious.
It's also heavier than most other films by this director, which is good but also tough to take on a first viewing. And yet it feels always like a Scorsese film, not only due to the rigorous craft on display (I could feel the storyboards simmering off on to the screen, I mean that as a compliment, this is staggeringly shot by Rodrigo Prieto, I'm glad Scorsese's found another guy), or the performances from the main actors (Garfield is easily giving his all, and not in any cheesy way, Driver's solid, Neeson seems to be paying some sort of penance for some mediocre action fare), but because of a key character: Kichijiro.
He's someone who really fits in to the Scorsese canon of characters who are so tough to take - he makes things difficult for Rodrigues, to say the least, and yet keeps coming back like some sad pathetic dog who can't make up his mind - but, ultimately, the toughest thing of all for this Father, as it must be for this filmmaker, is 'I know he is weak and irrational and probably bad in some way... but he must be loved as all of other God's children.' So as far as unsung performances for 2016 go, Yôsuke Kubozuka follows in a tradition set out by none other than De Niro (think of him in Mean Streets and Raging Bull, it's like that only not quite so angry).
I may need another viewing to fully grasp it. But for now, yes, see it, of course. For all its length and vigorous explorations and depictions of suffering (occasionally highly graphic), not to mention the, for Scorsese, highly unusual approach of a lack of traditional (or any) music or score, it's unlike anything you'll see in cinema this year, maybe the decade, for pairing the struggle of a man to reconcile his God and his responsibility to others in a repressive regime with the visual splendor of something from another time - maybe Kurosawa if he'd had a collaboration with Bergman. And yet for all of this high praise, there's also a feeling of being exhausted by the end of it. Whether that exhaustion extends to other viewings I'm not sure yet. As a life-long "fan" of this director, I was impressed if not blown away.
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It's Scorsese. Martin Scorsese. He makes the best films. Is this one of his best? Hmm....
It's a personal/religious epic, but it's all about the interior self - an intimate epic, which is always the toughest to pull off. Silence chronicles morality in such a way that is staggering and with very few specks of light (that is, brief relief through laughter - it does come through the character Kichijiro, more on him in a moment), and it's practically an anomaly to be released by a major studio with such a budget and big stars. This is a story that comes from history you rarely ever get to see anymore - history from a country like Japan that doesn't involve samurai (at least how we see them) and dealing with Christianity vs Buddhism - and it's directed with a level of vision, I mean in the true, eye-and-heart opening sense that declares that this man still has a lot to say, maybe more than ever, in his latter years.
Silence is, now pondering it hours after seeing it, possibly the best "faith-based" film ever made (or at least since Last Temptation of Christ); in its unintentional way, a great antidote to those pieces of garbage like God's Not Dead and War Room which preach only to a select few and insult the intelligence of everyone else. In this story of Jesuit priests who go on a journey to find a priest who may be long gone but could be found and brought home, it's meant for adults who can and should make up their own minds on religion and God, and the persecution part of it isn't some ploy from the filmmakers for fraudulent attention. This is about exploring what it means if you have faith, or how to question others who do, and what happens when people clash based on how people see the sun. Literally, I'm serious.
It's also heavier than most other films by this director, which is good but also tough to take on a first viewing. And yet it feels always like a Scorsese film, not only due to the rigorous craft on display (I could feel the storyboards simmering off on to the screen, I mean that as a compliment, this is staggeringly shot by Rodrigo Prieto, I'm glad Scorsese's found another guy), or the performances from the main actors (Garfield is easily giving his all, and not in any cheesy way, Driver's solid, Neeson seems to be paying some sort of penance for some mediocre action fare), but because of a key character: Kichijiro.
He's someone who really fits in to the Scorsese canon of characters who are so tough to take - he makes things difficult for Rodrigues, to say the least, and yet keeps coming back like some sad pathetic dog who can't make up his mind - but, ultimately, the toughest thing of all for this Father, as it must be for this filmmaker, is 'I know he is weak and irrational and probably bad in some way... but he must be loved as all of other God's children.' So as far as unsung performances for 2016 go, Yôsuke Kubozuka follows in a tradition set out by none other than De Niro (think of him in Mean Streets and Raging Bull, it's like that only not quite so angry).
I may need another viewing to fully grasp it. But for now, yes, see it, of course. For all its length and vigorous explorations and depictions of suffering (occasionally highly graphic), not to mention the, for Scorsese, highly unusual approach of a lack of traditional (or any) music or score, it's unlike anything you'll see in cinema this year, maybe the decade, for pairing the struggle of a man to reconcile his God and his responsibility to others in a repressive regime with the visual splendor of something from another time - maybe Kurosawa if he'd had a collaboration with Bergman. And yet for all of this high praise, there's also a feeling of being exhausted by the end of it. Whether that exhaustion extends to other viewings I'm not sure yet. As a life-long "fan" of this director, I was impressed if not blown away.