As a film, this is Lepage's smoothest, richest, most complete effort.
Far Side of the Moon (2005)
Tomatometer
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Reviews Counted:19
Fresh:15
Rotten:4
Average Rating:7/10
Theatrical Release:Dec 2, 2005 Limited
Synopsis: Before the telescope, people thought the moon was a huge mirror, and the mountains and oceans on its luminous surface were merely the reflection of our own mountains and oceans. Later, in the 20th... Before the telescope, people thought the moon was a huge mirror, and the mountains and oceans on its luminous surface were merely the reflection of our own mountains and oceans. Later, in the 20th century, when the first Soviet lunar probe sent back images of the far side we never see, the world was stunned to find the moon had a second visage, more deeply scarred by the pounding of meteorites and other celestial debris. NASA scientists like to call it, "the disfigured face of the moon." This irony mostly reflected the fact that from then on, all craters on that side would be named after Soviet cosmonauts and great Russian writers. So begin the adventures of Philippe, a man contending with his mother's recent death, with the growing rift between him and the only other member of his family, his younger brother Andre, and with the mysterious lessons the universe reserves for those brave enough to look to the stars and contemplate the heavens. Space and time twist in on themselves as Philippe seeks to find meaning in his life and his place in the universe. Backed by a soundtrack by Benoit Jutras, Far Side of the Moon transports audiences to other worlds in a movie-making venture directed by and starring Robert Lepage. The 107-minute film, which was shot in high definition mostly in Quebec City, was created under the guidance of executive producers Daniel Langlois and Robert Lepage. --© Official Site [More]
Starring: Celine Bonnier, Anne-Marie Cadieux
Starring: Celine Bonnier, Anne-Marie Cadieux
Director: Robert LePage
Director: Robert LePage
Studio: TLA Releasing
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Reviews for Far Side of the Moon
Lepage brings a prodigious talent for startling, interwoven imagery to bear on a story already laden with metaphorical possibilities.
Lepage's adaptation of his own stage play distills his typically grandiose ideas and visual quirks into a masterfully cohesive and entertaining film.
Lepage maintains a leisurely pace and lets the narrative wander, but ultimately lands on the right side of the line between contemplative noodling and aimless navel-gazing, ending with an image that's simultaneously melancholy and playful.
It takes about 28 days for the moon to orbit the earth and approximately 60 minutes for Far Side of the Moon to reveal its full splendor.
Reworking his own raw material, Lepage spins a rich, moving film that acknowledges humanity's power to break out of Earth's daily gravity; in the process, he leaves audiences floating.
Lepage is such an interesting camera subject, you stick with this dreamy rumination even when the going gets arch.
In this gorgeous, high-definition DV drama, its stage roots are obscured by arresting images in this tale of outer space, sibling rivalry, and one man's struggle to find his destiny.
Lepage's films are always reflections of a curious mind, which constantly puzzles at the absurdity of a life where science, politics and the arts compete for attention with the mundane existence of daily life.
The moon in Far Side of the Moon shows its smiling, symbolic face in the very first frame.
While the slow pace is a burden on some of what happens...,there is a beating pulse in "Far Side of the Moon." It's as wondrous as the imaginative tales we all read as kids.
Far Side of the Moon imbues the weightiest issues of human existence with a zero-gravity grace and charm.
The Far Side of the Moon is a master class on turning a talky, one-man play into a visual delight.
In essence, Lepage has remade 2001: A Space Odyssey without the Kubrick film's sense of spiritual curiosity.
As an actor, Lepage is a captivating presence, easily transforming from one sibling to the other. And as a director, he braids the personal and the universal with dexterity, turning theatrical intimacy into cinematic ecstasy.
Strikingly visual and thoughtfully moving, and also ponderous and pretentious.
The film may be best appreciated by those who've seen the stage version.
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