Twilight of the Ice Nymphs1998
Twilight of the Ice Nymphs (1998)
Twilight of the Ice Nymphs Photos
Critic Reviews for Twilight of the Ice Nymphs
The line between romance and sex is blurred in this enthralling 1997 feature by Guy Maddin, whose overwhelming stylization unexpectedly produces an emotional and psychological authenticity.
It's an Aubrey Beardsley painting come to life by way of Maddin's unique rhythms, rich textures and surreal stories...
I found it to be a pretentious drag, but its redeeming quality was that it was so novel.
If you like Maddin's other works, you'll probably dig this. If you don't, this film will not convert you to the cause.
Audience Reviews for Twilight of the Ice Nymphs
Twilight of the Ice Nymphs is an interesting visual and narrative concept that is unfortunately derailed by atrocious voice acting, which is due in part to the bad attempt at a modern Shakespearean fantasy. The actors involved play sincerely enough but can only do so much with a story that haphazardly meanders from philosophical concept to concept without moving the story forward in any sort of meaningful or dramatic manner.
"Triumph of the Ice Nymphs" starts with Peter(Nigel Whitmey) returning home after four years in prison. So, it's no surprise that a mysterious beautiful woman(Pascale Bussieres) asks him to steal back some jewelry for her before disappearing into the night. On the home front, his sister Amelia(Shelley Duvall) runs an ostrich farm which Cain Ball(Frank Gorshin) hopes to one day take over. But first there is Dr. Solti(R. H. Thomson) she is curious about. On the one hand, "Twilight of the Ice Nymphs" differs from a lot of Guy Maddin's other films in that it is less a pastiche this time, more an original world that did remind me a little of "A Midsummer Night's Dream." In fact, this might be his only film in full color. But that is not to say it is not as daft as anything else he has concocted.(Any movie with ostriches playing a prominent role is bound to be at least a little off kilter.) On the island where the movie is set, time does not flow naturally, as it seems to move in a circular motion, allowing elements of the supernatural to seep in.
A prisoner returns to his childhood home on an ostrich farm, and becomes involved with two mysterious women. An uninspiring protagonist in an uninvolving plot leads to a slow slog through a surrealist bog, thankfully livened by wonderfully stylized sets with brash, clashing color schemes that make the film work (somewhat) as a kind of slide-show with dialogue.
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