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Ulysses' Gaze (1995)
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Reviews Counted:15
Fresh:6
Rotten:9
Average Rating:5.3/10
Runtime: 2 hrs 53 mins
Genre: Dramas
Synopsis: On the occasion of his return home for a screening, a first-generation Greek-American filmmaker known only as "A" begins the quest of a film historian's lifetime, searching for vintage reels of... On the occasion of his return home for a screening, a first-generation Greek-American filmmaker known only as "A" begins the quest of a film historian's lifetime, searching for vintage reels of film shot by two brothers recording ethnic conflicts in the Balkans. Winner of the Grand Jury Prize at Cannes. See Jean-Luc Godard's CONTEMPT for another meditation on "going home again" and the filmmaker's art. [More]
Starring: Harvey Keitel, Maia Morgenstern, Erland Josephson, Thanassis Vengos
Starring: Harvey Keitel, Maia Morgenstern, Erland Josephson, Thanassis Vengos, Yorgos Michalakopoulos, Dora Volanaki, Mania Papadimitriou
Director: Theo Angelopoulos
Director: Theo Angelopoulos
Screenwriter: Theo Angelopoulos, Tonino Guerra, Petros Markaris, Giorgio Silvagni
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Reviews for Ulysses' Gaze
Modernist stylization has its place in narrative film, but in this case less would have meant much more.
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.
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.
The overall effect is genuinely entrancing, with a sense of tragic inevitability that gives meaning to the film's maddeningly attenuated rhythms.
Angelopoulos' film is lyrically evocative but painfully self-important.
The film's images are always powerful, even if the dialogue seems superfluous.
This grim travelogue through a landscape of despair lacks internal power. It feels labored and portentous.
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.
| Tomatometer Percentage | Movie |
|---|---|
| 77% 77% | The Hangover |
| 88% 88% | Inglourious Basterds |
| 66% 66% | Public Enemies |
| 24% 24% | G-Force |
| 44% 44% | Night at the Museum: B… |
| Tomatometer Percentage | Movie |
|---|---|
| 82% 82% | Paranormal Activity |
| 57% 57% | 9 |
| 44% 44% | Jennifer's Body |
| 58% 58% | A Perfect Getaway |
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