Réalisation:
Derek CianfranceScénario:
Derek CianfrancePhotographie:
Adam ArkapawMusique:
Alexandre DesplatActeurs·trices:
Michael Fassbender, Alicia Vikander, Rachel Weisz, Caren Pistorius, Emily Barclay, Leon Ford, Scott Wills, Jack Thompson, Garry McDonald (plus)VOD (1)
Résumés(1)
Sur une petite île perdue au large de l'Australie, peu après la Première Guerre mondiale, Tom Sherbourne, le gardien du phare, vit heureux avec son épouse Isabel. Loin du tumulte du monde, il peut enfin oublier tout ce qu'il a vécu au combat. Mais leur bonheur se ternit peu à peu : Isabel ne peut pas avoir d'enfant, et elle se désespère. Un jour, un canot vient s'échouer sur la plage, avec à son bord le cadavre d'un homme et un bébé bien vivant... (Metropolitan FilmExport)
(plus)Vidéo (9)
Critiques (7)
Je regarderais bien Alice, Rachel et Michael pendant deux heures même s'ils ne faisaient qu’éplucher des pommes de terre ou couper des carottes, mais je continue de penser qu’Une vie entre deux océans aurait très bien pu comporter une demi-heure de moins. À part ça, je n’ai pas grand-chose à redire. Étant amateur des courants littéraires que sont le réalisme et le naturalisme, j’ai eu l’impression de regarder une adaptation cinématographique de l’un des romans célèbres du 19e siècle. Cependant, la chose la plus importante est qu’un tel film exige des acteurs une prestation absolument précise et irréprochable. Concrètement, il fallait trouver deux actrices oscarisées avec un joli minois et un caméléon non encore oscarisé capable d’exprimer un large éventail d’émotions et de personnages allant du plus doux des bisounours au méchant le plus taré et le plus cruel. Je rejoins les avis qui déclarent ce film comme l’un des meilleurs de l’année, et les performances exceptionnelles des trois acteurs centraux ne sont pas étrangères à cette réussite.
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For some, this movie is a romantic epic but for me, the absolute literality in all respects, which also caused its abnormally long runtime, was incredibly stultifying. Of course, I admit that the acting performances are great and the premise isn’t bad at all. On top of that, the locations are amazing, because I really didn’t feel as if I was in Australia. But rather as if the wind blew me to the Northern Hebrides. So I have to admit that the movie really had an atmosphere. On the other hand, Michael Fasbender and Alicia Vikanderʼs relationship seemed very far-fetched. I am not saying that it wasn’t true but I just feel that the movie modified it a lot to get the most out of it. The fact that neither of them was acting rationally was obvious from the beginning. But the way they approached it really surprised me. And after Rachel Weisz got mixed in, it became clear that this movie simply wouldn’t be shorter than 2 hours. And even though I was very curious about the finale I have to say that I have not seen such a long romantic drama in a very long time. Both literally and perceptually.
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The premise wasn't bad at all, the acting was decent, but the running time was awfully long. I understand that when you’re a lighthouse keeper, the days do get long, but the film didn't need to be so literal about it. It's possible that I was influenced by the fact that I'd seen another film before this one with a running time of 137 minutes, but I still think a cut would be in order.
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Exactly what you expect if you know the work of Derek Cianfrance, the master of relationship dramas: a touching, poignant and hauntingly minimalist period piece. The social and moral dilemmas set 100 years in the past give the film a certain refinement and grace of yesteryear that is hard to do in modern films and usually needs to mature a bit. It is expectedly heartbreaking in places and scripted very well; it gets under the skin. You understand everyone involved, and yet you cannot say unequivocally what is good and what is not. After Minghella, those classically told, old-school stories have almost run their course, and it's great that Cianfrance is picking up the baton and moving on. With his directorial virtuosity and sense of emotion, we have much to look forward to in the future. Cut 10 or 15 minutes of overloaded shots of the sea and rocks and it could have been almost perfect. And I hope Vikander gets another Oscar for this.
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I have a somewhat ambivalent feeling about it. On the one hand, it's admirably slow, when you really feel all those past years (it definitely looks much longer than it really is, but in a good way), on the other hand, it only takes those key moments from the original without the padding around that it acts as an outline of melodramatic bitter clichés full of Sophia's choices to be used in a Mexican soap opera, so you simply won´t stop laughing. Not to mention the ending that looks like from another movie/genre. Why it works so well in the end is how it´s directed, the genius loci of the dreary locations (who else than their master Arkapaw) and, above all, emotionally tense melodrama subdued by performances.
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Annonces