Réalisation:
Alejandro González IñárrituScénario:
Guillermo ArriagaPhotographie:
Rodrigo PrietoMusique:
Gustavo SantaolallaActeurs·trices:
Sean Penn, Benicio Del Toro, Danny Huston, Naomi Watts, Carly Nahon, Clea DuVall, Charlotte Gainsbourg, Claire Pakis, Eddie Marsan, John Rubinstein (plus)VOD (3)
Résumés(1)
On dit que nous perdons tous 21 grammes au moment précis de notre mort... Le poids de cinq pièces de monnaie. Le poids d'une barre de chocolat. Le poids d'un colibri. 21 grammes. Est-ce le poids de notre âme ? Est-ce le poids de la vie ? Paul attend une transplantation cardiaque. Cristina, ex-junkie, est mère de deux petites filles. Jack sort de prison et redécouvre la foi. A cause d'un accident, ils vont s'affronter, se haïr... et s'aimer. (ARP Sélection)
(plus)Critiques (10)
This is really strong. A piece of brilliant and unconventional filmmaking that may not be to everyone's taste, and the shards of the fragmented story are not easy to pick up, especially at first, but if you're having your day and agree to Iñárritu's challenging mind game, it could very well be the film experience of a lifetime. I obviously had my day and now I can't help but praise it to the skies. The complex frame composition, on which even an experienced filmmaker would have failed, was so impressive and in harmony with the depressing story that each additional cut meant for me a deeper immersion into the plot and more empathy for all the amazing characters. The performances, by the way, are another extensive chapter that could be written on the subject of 21 Grams. The central trio of Penn, Del Toro and Watts is clearly Oscar-worthy – for actors to go to such lengths for their roles and squeeze every last drop of the best out of themselves is something you really don't see that often. And if much of the story is motivated by a direct assault on the viewer's emotions (which cannot be denied), the resulting form is so authentic and believable that the frozen audience is unlikely to realize any creative machinations. A second viewing is inevitable and participation in at least my top 20 is up in the air.
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Caméra sale, sombre et tremblante renforce le réalisme du monde observé. La désorganisation chronologique des trois histoires individuelles qui se croisent favorise la réflexion sur la création de liens. À l'origine, les histoires devaient se dérouler de manière sérieuse, l'une après l'autre, comme dans "Amores Perros", mais le réalisateur a choisi une variante plus "chaotique". Ce morceau ambitieux suit les tourments émotionnels des personnages et finit par l'emporter. Il est intéressant et émotionnellement puissant. Mais il ne l'emporte pas totalement. Il ne s'agit pas d'un montage génial avec un agencement unique des points de rencontre, comme dans "Memento", car on peut simplement sentir que la dispersion des intrigues n'était pas nécessaire et que son seul but est de transformer l'argent en or. Et il ne s'agit pas non plus d'un feu d'artifice émotionnel destructeur, comme dans "Magnolia", car même si le réalisateur évite le sentimentalisme (ce qui est bien), il a peur de révéler l'intimité humaine sans limites et cruelle à la manière de Trier (ce qui est dommage). Il filme ses personnages habillés et les respecte davantage.
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Thank God for the fact that they still make films that can tug at your soul. I love films that don't lead me by the hand, that make me ask questions, think about them; 21 Grams is exactly that. Iñárritu's consistent disruption of the temporal sequence is a clear win in my eyes, piecing together the mosaic of temporal shards was exciting and thrilling in its own way. This great impression is enhanced by the handheld camera and the interesting work with sound in places. Standing above these technical matters is the emotionality and depth of the script and the performances. Benicio, Benicio, you are awesome, I’ve not other words to say it. It is good to know that despite all the messiness of life, there is always hope, that bright spot in the distance, and that great movies are still being made.
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This is an example of how an untraditional approach to narration serves only as an effective gimmick to turn a film into something more interesting than it actually is. I’m quite surprised at how many people say that 21 Grams is very emotional, I think it would be almost impossible to deal with a similar topic in a colder way.
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A superb example of postmodern cinematic narrative – Iñárritu breaks the chronology of the story into small pieces and composes its narrative from these pieces. He does not tell a story in the traditional sense, but forces the viewer to co-create it in the spirit of postmodern narrative, to be a kind of second authorial voice. Unlike Anderson's Magnolia, however, he goes even further in the deconstruction of the story – ignoring the rules of conventional space-time and serving the viewer a meddling of plots that are not anchored by the unity of time and place. The result is a riveting narrative form that prevents the perceptive viewer from tearing his eyes from the story, from missing the plot. The experience of the film is enhanced by the way it is captured - the handheld camera indulges in neurotic tremors and unpredictable movement the way Trier does it. All this is approached by excellent work with a soundtrack in which monotonous sound surfaces appear at key moments in addition to natural sounds, amplifying the emotional experience even more. Alejandro González Iñárritu is a true master of modern dramatic form, although from my subjective point of view his formal brilliance lacks the immediacy of experience and intimacy that is characteristic, for example, in the works of Lars Von Trier. Something even more absorbing. A subjective experience. Perhaps the fact that I felt that I was unnecessarily one step ahead in uncovering the plot... Otherwise – praise for the acting performances (I don't know who is the best, but probably the riveting culprit Benicio Del Toro wins after all), for the script, theme and inconspicuous music. 21 Grams is one of the best films about guilt, punishment, forgiveness and compassion that can be seen today. It definitely belongs in my TOP 3 for 2003 right next to Burton's Big Fish and Sofia Coppola's Lost in Translation.
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I hate to say it, but I really didn't like this movie. It has a pretty simple story that is only intricately told to make it look more interesting, I feel it rather hurt the film. I found the flashbacks very hard to navigate, even more so when the film is so terribly boring, slow and not to mention emotional. Sean Penn's worst role yet. For me, a waste of time and all that hype even gave me a headache.
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Another Iñárritu version of Amores perros, but this time with Hollywood actors. I still don't feel any particular connection or empathy for the characters that one might expect given the structure of the story and the escalating situations they go through. In short, 21 Grams is another example of manipulation of feelings. You need to subject the heroes to absolute suffering, then entangle and connect the stories, and then increase the suffering. That's what it's all about - about suffering, about denying yourself, about finding a way out. There’s too much violence in proportion to one meter of film.
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An utterly complex masterpiece, bursting with fantastically staged scenes and terrific acting performances. The raw, out-of-focus cinematography and spare visual aesthetic that multiplies the authenticity is a delight.
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In the first twenty minutes I thought, if I understand this, I'll be good. And world wonder, the connections started to work and I could see a truly perfect whole that is full of emotion, drama and well, just something you have to watch from start to finish to understand what initially is impossible to grasp. 21 Grams stands a cut above Alejandro González Iñárritu previous Amores Perros and deserves a full score for the theme, the acting, the music and the atmosphere, which was very dense at times.
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Iñárritu's next fascinating, ruthless analysis of life's journeys, where a single moment forever changes everything that has come before it, with no way back and no forgiveness possible. The acting of the main trio, which would surely deserve a statuette, only adds to the enormous power of this film, which in many ways follows the lead of the excellent Amores Perros. Sean Penn, teetering on the edge of life and death in the hospital is truly unforgettable with his monologue about "21 grams", as is Naomi Watts in the scenes involving the most intense emotions.
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Annonces