Birth is a dramatic mystery set in New York's Upper East Side. Into the life of a 35 year old woman, Anna, comes a 10 year old boy, David, who is in love with her and convinced he is the reincarnation of her dead husband. Drawn to remember her past, Anna begins to question the choices she's made, much to the concern and .. Read more
| Starring | Nicole Kidman, Lauren Bacall, Anne Heche |
|---|---|
| Director | Jonathan Glazer |
| Genres | Drama |
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A ten-year-old boy claims to be the reincarnation of a woman's dead husband in Sexy Beast director Jonathan Glazer's utterly captivating New York-set fairy tale. Scripted by Glazer, Milo Addica and Jean-Claude Carriére (Luis Buñuel's preferred collaborator), this gripping film considers the overriding power of love and how the strength of belief can lead individuals into moral minefields. Nicole Kidman astonishes anew with a performance of haunting intensity as the about-to-be-remarried widow whose life is turned upside down by Cameron Bright's intrusive pre-pubescent, who we first see crashing a party at her apartment and demanding that she call off the wedding. This elegantly shot and sophisticated curiosity relies heavily on close-ups, uses minimal dialogue and is scored to perfection (by Alexandre Desplat). Intriguingly ambiguous, thanks to its unusual slant as a paranormal thriller that is anything but (even its delicate resolution is firmly rooted in the surprisingly mundane), this stark and elusive spellbinder is a truly unique experience.
Powerful, stirring and thought provoking
Sleek and intelligent
Sexy Beast marked the arrival of a major new director in Jonathan Glazer and while being its polar opposite, Birth is as good a film and it stayed with me for much longer than many films I saw last year.
Forget anything you heard of Birth resembling The Sixth Sense, this is not about ghosts or twists. If anything this is closer to Soderbergs remake of Solaris in themes and atmosphere. Both films are slow but hypnotic studies of grief, obsession and second chances. Bunuel's frequent collaborator Jean-Claude Carrière worked on the script which may account to the films subversive nature, though accusations of child pornography, whipped up buy the British tabloid press, are utterly unfounded. Im not always a fan of Nicole Kidman, but she gives a touching performance here and Danny Huston as her long suffering fiance is utterly fantastic. Alexandre Desplat composed what I thought was the most beautiful score for a film last year.
I know people who didn't like the end, but I found it deeply moving and it is actually much more complex than it may seem at first.
I really admire Nicole Kidman for her courage and flexibility in taking on such roles which inevitably ignite interesting debate and controversy.One cannot type-cast her or criticise her for playing safe (e.g. Dogville, Birthday Girl, The Hours). She is a remarkably gifted actor,willing to take a risk and what a leap of faith with 'Birth'.
This film crosses boundaries in it's sensitive and thought-provoking exploration of the mind-blowing effect that grief and bereavement can have. The sheer power of wanting to believe in something so desperately,that you are willing to risk all...family, friends, lover, credibility and sanity is astonishingly conveyed. As a viewer I was naturally shocked by the unfolding story, it seemed so far fetched and unrealistic, at first I was frustrated by the lack of dialogue, the pauses, the shallow level at which Anne cross- examined this child with his outrageous claim which seemed on the surface to be so superficial and easy to disprove. 'Why didn't she ask this....or that?' I kept pondering.Then I realised, because she needed so much to believe, she didn't want to dismantle something which might provide the comfort that she craved. Seeing it through Annes' eyes convinced me of the story's credibility. I can't say that I enjoyed this film, but I don't think 'enjoyment' is the issue. I did feel uncomfortable at times, sad for Anne and the troubled ten year old boy, but I didn't warm to her fiancee at all and found his relationship with Anne unconvincing. The reactions of other family members/friends subtly reflected the views and frustrations which an audience might experience. As for the paedophile innuendo's, within the context of the mind-sets of Anne and Shawn, it was not pornographic or perverse, but reflected the reality, however misconceived, of their beliefs. At least Anne was planning on waiting for Shawn to reach 'adulthood'. I agree that had the genders been reversed, it would have had a different take, as male and female sexuality and desire are worlds apart.I felt sad at the ending and the betrayal of Annes' 'real' husband.All that love and grief were undermined by the reality, which the child thankfully and magnanimously decided to spare Anne from... an act of true love. A bitter/sweet and thought provoking film. Very interesting however to see such a spectrum of views, for that alone, it deserves acclaim, it's always good to evoke a reaction whatever the outcome.
I thought this film was very hard going, but the script and acting in it was great, kidman was so believeable, and as for the young actor, he was brilliant, playing a very difficult part I imagine for someone so young. Its a really tough story to get across without being very wrong, but they managed to do it. Certainly worth seeing to see kidmans brilliance at such a tough part.
Prior to this lumbering effort, Nicole Kidman remade The Stepford Wives as a seriously misjudged comedy; now she seems to have over-compensated in the other direction, making what is probably one of the most miserable films Ive ever seen.
The idea of someone returning from the grave or being reincarnated with full memory of their previous life is not new. Its an interesting premise, offering all sorts of twisty plot, philosophical and/or comedic possibilities, none of which this dire film explores. It just plods on until it reaches the most mundane of all conclusions. If I wanted to see a cast of people moping around, being as self-centred and as unhappy as this I would just watch Eastenders.
Give this one a miss.
In order to explain the problems with this film I'd have to spoil the plot so there's little I can say other than your time invested is wasted on an ending which leaves you feeling empty/cheated.
Sexy Beast marked the arrival of a major new director in Jonathan Glazer and while being its polar opposite, Birth is as good a film and it stayed with me for much longer than many films I saw last year.
Forget anything you heard of Birth resembling The Sixth Sense, this is not about ghosts or twists. If anything this is closer to Soderbergs remake of Solaris in themes and atmosphere. Both films are slow but hypnotic studies of grief, obsession and second chances. Bunuel's frequent collaborator Jean-Claude Carrière worked on the script which may account to the films subversive nature, though accusations of child pornography, whipped up buy the British tabloid press, are utterly unfounded. Im not always a fan of Nicole Kidman, but she gives a touching performance here and Danny Huston as her long suffering fiance is utterly fantastic. Alexandre Desplat composed what I thought was the most beautiful score for a film last year.
I know people who didn't like the end, but I found it deeply moving and it is actually much more complex than it may seem at first.
I really admire Nicole Kidman for her courage and flexibility in taking on such roles which inevitably ignite interesting debate and controversy.One cannot type-cast her or criticise her for playing safe (e.g. Dogville, Birthday Girl, The Hours). She is a remarkably gifted actor,willing to take a risk and what a leap of faith with 'Birth'.
This film crosses boundaries in it's sensitive and thought-provoking exploration of the mind-blowing effect that grief and bereavement can have. The sheer power of wanting to believe in something so desperately,that you are willing to risk all...family, friends, lover, credibility and sanity is astonishingly conveyed. As a viewer I was naturally shocked by the unfolding story, it seemed so far fetched and unrealistic, at first I was frustrated by the lack of dialogue, the pauses, the shallow level at which Anne cross- examined this child with his outrageous claim which seemed on the surface to be so superficial and easy to disprove. 'Why didn't she ask this....or that?' I kept pondering.Then I realised, because she needed so much to believe, she didn't want to dismantle something which might provide the comfort that she craved. Seeing it through Annes' eyes convinced me of the story's credibility. I can't say that I enjoyed this film, but I don't think 'enjoyment' is the issue. I did feel uncomfortable at times, sad for Anne and the troubled ten year old boy, but I didn't warm to her fiancee at all and found his relationship with Anne unconvincing. The reactions of other family members/friends subtly reflected the views and frustrations which an audience might experience. As for the paedophile innuendo's, within the context of the mind-sets of Anne and Shawn, it was not pornographic or perverse, but reflected the reality, however misconceived, of their beliefs. At least Anne was planning on waiting for Shawn to reach 'adulthood'. I agree that had the genders been reversed, it would have had a different take, as male and female sexuality and desire are worlds apart.I felt sad at the ending and the betrayal of Annes' 'real' husband.All that love and grief were undermined by the reality, which the child thankfully and magnanimously decided to spare Anne from... an act of true love. A bitter/sweet and thought provoking film. Very interesting however to see such a spectrum of views, for that alone, it deserves acclaim, it's always good to evoke a reaction whatever the outcome.
I thought this film was very hard going, but the script and acting in it was great, kidman was so believeable, and as for the young actor, he was brilliant, playing a very difficult part I imagine for someone so young. Its a really tough story to get across without being very wrong, but they managed to do it. Certainly worth seeing to see kidmans brilliance at such a tough part.
It was one of those films that you knew from the beginning was going to test your patience.
We follow a jogger in the snow. Neat little tracking shot that just went on and on and on. It went on some more until you think, is anything else going to happen.
What you then get is an intriguing 'little' story which could have lasted 45 minutes, but goes on for an hour and a half.
Where did the time go? On the numerous lingering shots that this director seems to like. There is one shot at the opera, where we aty focussed on Nicole after she starts to believe the little boys story. She is overwhelmed with grief and the director tries to show this in her facial expressions.
My wife and I 'got it' within 5 seconds, but the director hammers it home with an over a minute lingering shot.
Acting excellent. Story we've heard before. Directing trying to be top-end art house.
Hey, Sonny, did you realise that over 65% of Americas viewing public believe in some form of reincarnation?
You don't say, Joe.
Yeah, and your accountant already knows how much you get from flicks schmoozing even the itchiest minority interest groups. Well 65% is one heck of a minority, we could be cashing in here. And my cousin Vinney, hes already got a script all worked out.
But Vinney can't write to save his life, wont the film flop?
Nah, but you do have to lay out some greenbacks for a glam A-list celeb, like Nicole Kidman, and some fancy top-notch sets, after that the script don't matter.
So, will the film be worth watching?
Are you kidding? Life's too short, just skip from scene to scene and youll get the picture.
And the cash?
I tell you will be coining it in this life and the next
You are going to either love it or hate it. I loved it due to it's brilliant scenes, from it's powerful openning scene to it's dramatic closing scene. Infact this movie has some fantastic scenes - just check out the Opera 2 minute stare, the acting is simply brilliant, Nicole Kidman was great as was the yound Sean, both very difficult roles to play and both were very brave to play such roles. Some find this disturbing, some disgusting, I don't know why? It is about loosing love, greaving with it and accepting loss, it is by no means disgusting - watch this with an open mind and understand I think you will sypathise with both Anne and Young Sean. I highly recommend this film as thought provoking essential viewing.
Woeful. An interesting plot was ruined by the fact that there was no character development and by a truly lacklustre ending. The script was also terrible. Kidman's short hair did suit her though.
I rented this movie mainly because of two reasons, Nicole Kidman, one of my favourite actresses and for its media speculation of controversy. Film had some plus points, namely good acting, beautiful locations, and a interesting theme.
But the film disappointed me towards the end. Film failed to answer many questions in the viewer's mind. For me the ending was utterly disappointing.
Birth could have been a great film if the story would have been with a more clear ending!
Birth-Confused!!
One of the worst films I have ever seen.
I cant believe it was even made its that bad, could have ruined Nicole Kidman's career.
Whatever made nicole kidman agree to this film i will never know its boring ...............
A ten-year-old boy claims to be the reincarnation of a woman's dead husband in Sexy Beast director Jonathan Glazer's utterly captivating New York-set fairy tale. Scripted by Glazer, Milo Addica and Jean-Claude Carriére (Luis Buñuel's preferred collaborator), this gripping film considers the overriding power of love and how the strength of belief can lead individuals into moral minefields. Nicole Kidman astonishes anew with a performance of haunting intensity as the about-to-be-remarried widow whose life is turned upside down by Cameron Bright's intrusive pre-pubescent, who we first see crashing a party at her apartment and demanding that she call off the wedding. This elegantly shot and sophisticated curiosity relies heavily on close-ups, uses minimal dialogue and is scored to perfection (by Alexandre Desplat). Intriguingly ambiguous, thanks to its unusual slant as a paranormal thriller that is anything but (even its delicate resolution is firmly rooted in the surprisingly mundane), this stark and elusive spellbinder is a truly unique experience.
Powerful, stirring and thought provoking
Sleek and intelligent
Compelling