An unfocused twentysomething (Peter Fenton) moves in with a former co-worker (Sacha Holder), who is suffering from low self-esteem because of her weight, looks, and a case of eczema. Their ... See full summary »
Director:
John Curran
Stars:
Peter Fenton,
Sacha Horler,
Marta Dusseldorp
New York writing professor, Frannie Avery, has an affair with a police detective who is investigating the murder of a beautiful young woman in her neighborhood.
Director:
Jane Campion
Stars:
Meg Ryan,
Mark Ruffalo,
Jennifer Jason Leigh
A British medical doctor fights a cholera epidemic in a small Chinese village, while being trapped at home in a loveless marriage to an unfaithful wife.
A drama centered around three women: A 50-year-old woman, the daughter she gave up for adoption 35 years ago, and an African American woman looking to adopt a child of her own.
Director:
Rodrigo García
Stars:
Naomi Watts,
Annette Bening,
Kerry Washington
A romantic comedy that brings together three disparate characters who are learning to face a challenging and often confusing world as they struggle together against a common demon: sex addiction.
The movie is set in the Pacific Northwest; specifically, Washington state. We know this from a glimpse of a license plate, the craftsman architecture of the two houses, and the mature, rich landscapes in between. The setting, like the scrutiny of the four main character's lives, is defined by the narrowness of the camera's field-of view. The one commercial street in town is only seen in the reflection of a store window, a shot of a non-descript auto-yard, or the tunnel of a tree-lined suburban sidewalk. The lush, wooded landscape is understood as an immediate presence in the domestic and professional lives of the characters; a steep hill, railroad tracks, a rushing stream, and a path over an old steel bridge are revisited again and again by the characters in their capacities as lovers, parents and friends. Written by
Chester Weir
Edith Evans:
[referring to her husband]
He'll be busting out soon. Trust me - I know the routine. He's been hibernating with that novel so long, next thing you know he'll look around and blink and fuck the first thing that walks into his office.
Jack Linden:
Jesus, I hope someone goes in there before I do.
Edith Evans:
Well, he screws his wife once in a while, why not another man?
Jack Linden:
And your husband making passes at my wife, how do you feel about that?
Edith Evans:
Well, everybody deserves to be happy, right?
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Crazy Credits
Special Thanks To Christine & Ben Christine, Terry & Kelly Kris & Fisher See more »
There was a Bergmanesque quality to "We Don't Live Here Any More," recalling the passionate stories and deep psychological insights into characters in the films of the Swedish auteur filmmaker. Like Bergman, director John Curran offered a sensitive touch to the film's deliberate style of pacing and the still moments where the characters seemed lost in thought.
The story of "We Don't Live Here Any More" focuses on two married couples in adulterous relationships. The physical environments helped to convey the essence of how mismatched the individual characters were in their marriages. The characters of Jack (Mark Ruffalo) and Edith (Naomi Watts) would have seemed much more at home in the cheerful and immaculate house. By contrast, Hank (Peter Krause) and Terry (Laura Dern) would have found a better fit in the cluttered, bohemian-style home. All four performances were moving and believable. From the film's opening scene, it was easy to see how the characters were propelled to one another.
This was not a perfect film. It would have been more true to life to focus on the emotional layers of characterization instead of the sex. For the most part, the four characters seemed like good parents, and it was difficult to imagine where they would find the time to set up their trysts and be away from home for protracted periods. The genius of Bergman was to tap into those deep layers of emotional pain, which seemed remarkably absent in this film. Instead of heading out into the forest or into the car, it would have been revealing to learn more about the characters' feelings in their own homes and in their own words.
Still, after viewing "We Don't Live Here Anymore," I found myself reflecting on the characters and the relationships many days later. And that is a sign of a good film!
18 of 22 people found this review helpful.
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There was a Bergmanesque quality to "We Don't Live Here Any More," recalling the passionate stories and deep psychological insights into characters in the films of the Swedish auteur filmmaker. Like Bergman, director John Curran offered a sensitive touch to the film's deliberate style of pacing and the still moments where the characters seemed lost in thought.
The story of "We Don't Live Here Any More" focuses on two married couples in adulterous relationships. The physical environments helped to convey the essence of how mismatched the individual characters were in their marriages. The characters of Jack (Mark Ruffalo) and Edith (Naomi Watts) would have seemed much more at home in the cheerful and immaculate house. By contrast, Hank (Peter Krause) and Terry (Laura Dern) would have found a better fit in the cluttered, bohemian-style home. All four performances were moving and believable. From the film's opening scene, it was easy to see how the characters were propelled to one another.
This was not a perfect film. It would have been more true to life to focus on the emotional layers of characterization instead of the sex. For the most part, the four characters seemed like good parents, and it was difficult to imagine where they would find the time to set up their trysts and be away from home for protracted periods. The genius of Bergman was to tap into those deep layers of emotional pain, which seemed remarkably absent in this film. Instead of heading out into the forest or into the car, it would have been revealing to learn more about the characters' feelings in their own homes and in their own words.
Still, after viewing "We Don't Live Here Anymore," I found myself reflecting on the characters and the relationships many days later. And that is a sign of a good film!