Evo jedne kritike:
http://www.e.bell.ca/filmfest/2006/film ... .asp?id=58
Ako ima ko da je pogledao film - javite se sa utiscima!!!
Executive Producer: Bob Weinstein, Harvey Weinstein, Colin Vaines
Producer: Sydney Pollack, Anthony Minghella, Timothy Bricknell
Screenplay: Anthony Minghella
Cinematographer: Benoit Delhomme
Editor: Lisa Gunning
Production Designer: Alex McDowell
Sound: Jim Greenhorn, Eddy Joseph, Mike Prestwood Smith, Matthew Gough, Jamie Roden, Sven Taits
Music: Gabriel Yared, Underworld
Principal Cast: Jude Law, Juliette Binoche, Robin Wright Penn, Martin Freeman, Ray Winstone
Breaking and Entering is the latest film from Academy Award-winning director Anthony Minghella. The accomplished filmmaker reunites with Jude Law – after The Talented Mr. Ripley and Cold Mountain – and Juliette Binoche – who won an Academy Award for her work in Minghella’s The English Patient – to forge this intimate, questioning story about contemporary life.
Will (Law) is a landscape architect at a dynamic London firm. He has a great house, a stunningly lovely girlfriend, Liv (Robin Wright Penn), and a radiant daughter, Bea (Poppy Rogers). Bea is not a normal child: she never sleeps, is devastated by the sight of the colour yellow and practises gymnastics around the clock – and worrying over this is tearing Liv and Will apart.
Miro (Rafi Gavron) arrived in London as a child after he and his mother Amira (Binoche) fled the Bosnian War. Now fifteen, he skips school to do brilliantly athletic robberies for his uncle’s gang and breaks into Will’s trendy King’s Cross offices – not once, but twice. When Miro returns a third time, Will follows him home and soon finds his life desperately connected with Amira’s.
Proceeding from its premise of worlds in collision, this powerful film comments on everything from urban renewal to the plight of refugees; from cultural turmoil to the pains of parenthood. However, like The English Patient and Cold Mountain, Breaking and Entering is at root an achingly beautiful love story of the kind only Minghella can craft. Icily gorgeous cinematography mirrors the characters’ interior isolation and constant apprehension then slowly, brilliantly gives way to warmer sensibilities as doubts and bitterness thaw. Binoche, Law and Wright Penn are very strong here: they inhabit their characters completely, painting portraits of fundamentally good people whose worst misgivings are caging them in. But in the end, the film is full of optimism and light. Minghella, who also wrote the script, pointedly asks whether the only things connecting people in cities should be crime or indifference. His answer emerges in a moving story about love, trust and possibility.
, nocu provalnik
) jako trudila da sto vjerodostojnije spika.