Ulysses' Gaze (1995)
Average Rating: 5/10
Reviews Counted: 15
Fresh: 5 | Rotten: 10
No consensus yet.
Average Rating: 5.4/10
Critic Reviews: 5
Fresh: 3 | Rotten: 2
No consensus yet.
Average Rating: 4/5
User Ratings: 2,920
Winner of the Grand Prize at the Cannes Film Festival, this drama centers on the Balkan conflict as viewed through the eyes of a filmmaker named A (Harvey Keitel). Director Theo Angelopoulos wrote the screenplay, drawing from personal experiences. A is a Greek émigré director who returns to his homeland after 35 years in the U.S., ostensibly to screen his latest film, which is so controversial that it attracts religious protests. In fact, A's real purpose is to search for three reels of
Nov 1, 1997 Wide
Feb 13, 2001
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Magisterially filmed, this movie demands at almost every instant to be regarded as a masterpiece, though for me it's too full of itself and its own virtue. Still, I can't deny it's an experience worth having.
Constructed from long elegant takes, and moving fluidly between naturalism and tableaux-like theatricality, it's a mesmerising work of arresting beauty and impressive emotional power.
The overall effect is genuinely entrancing, with a sense of tragic inevitability that gives meaning to the film's maddeningly attenuated rhythms.
This grim travelogue through a landscape of despair lacks internal power. It feels labored and portentous.
Modernist stylization has its place in narrative film, but in this case less would have meant much more.
If you looked up in a reference book why most people hate foreign films you would probably see pictures of Ulysses’ Gaze staring back at you.
This ambitious film fails to compel. Too many closeups of disposed Lenin statues.
While it's beautiful, even graceful, and though its heart is in the right place, there's just as much to condemn as there is in its favor.
Journalistic fairness compels me to note that this film won a Special Jury Prize at Cannes. However, I strongly suspect that those judges were cowed more than won over. We don't have to make the same mistake.
It has a remoteness, with the viewer always the observer, not the participant.
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