Director:
Joe WrightGuión:
Christopher HamptonCámara:
Seamus McGarveyMúsica:
Dario MarianelliReparto:
James McAvoy, Keira Knightley, Romola Garai, Saoirse Ronan, Vanessa Redgrave, Brenda Blethyn, Juno Temple, Benedict Cumberbatch, Patrick Kennedy (más)Streaming (3)
Sinopsis(1)
Inglaterra 1935, el día más caluroso del año. A pesar de la creciente amenaza de la II Guerra Mundial, Briony Tallis y su familia viven como auténticos privilegiados en su enorme mansión victoriana neogótica. Toda la familia se reúne para el fin de semana, pero el opresivo calor y las emergentes emociones reprimidas crean una soterrada sensación de peligro. Briony, una escritora en ciernes, es una chica con mucha imaginación. Una serie de catastróficos malentendidos hace que acuse a Robbie Turner , el hijo del ama de llaves y amante de su hermana Cecilia , de un crimen que no ha cometido. La acusación destruye el amor naciente entre Robbie y Cecilia, además de cambiar dramáticamente el curso de sus vidas.. (Universal Pictures España)
(más)Videos (4)
Reseñas (16)
Lhal bych, kdybych tvrdil, že se u mě nedostavilo mírné zklamání. Knižní předlohu považuji za jeden z nejkrásnějších milostných příběhů, jaký kdy byl napsán. Nutno podotknout, že se silným tragickým zabarvením. První část ve filmu je zvládnutá výborně, místy do detailu. Druhá část představuje asi největší problém, zatímco v knize je čtenářsky nejpřístupnější, ve filmu působí unyle, rozvláčně a chaoticky. Nicméně třetí část a epilog posunují film do uměleckých výšin, ty jsou skutečně bravurní, tak nějak jsem si to v knize představoval. Výběr herců se také podařil, celkově mírně nadprůměrný zážitek.
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Romantic films are certainly not the kind I look for, but I have nothing about having an occasional look at genres that are not my favourite and today I decided to watch the best rated romance of 2007, Atonement. The result is that for most of the runtime I was bored and frustrated, hoping for the end. The direction is brilliant, the film has lots of gorgeous visuals, but it didn’t have much of an effect on me. But then the story jumps to the present and the end shattered me. The tempers suddenly flare and I have to say that I don’t regret putting on this film. 70%
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One subconsciously expects a dose of kitsch and one gets it. But if he is not a cynic, he is sure to be swept away by all the splendor of the images and the story. Joe Wright has gotten rid of his only flaw - character confusion - and delivers a conscious and distinguished spectacle that has so much heart that the viewer's emotions at times can't keep up. The mixture of laughter and sadness creates one of the most romantic experiences in modern cinema. I’d also like to point out that Keira's sweet face has finally grown into a character actress and Joe Wright is the current No. 1 talent int he UK - even Brian De Palma would have admired him for that fantastic steady-cam on the beach.
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The category of believability was actually key for me. Atonement contains scenes that I would call captivating without hesitating. Those few minutes of war scenes are among the best and most cinematic choices I've ever seen on the subject. Without a single shot fired, with the extraordinary weight on the expressive power of images, without embellishment, without pathetic words that one would certainly find in an American production... In a refined form, the film is simply able to engage and draw one into the plot, offering first-class visual enjoyment of the story. The film is able to arouse sympathy thanks to well-acted characters. The only, but fundamental failure of Wright's melodrama is, from my point of view, the story, which, with its schematic nature, suffocated everything civil and literally pushed me in front of it, preventing me from fully entering the story, identifying with it and sympathizing with it. At the end, which upgrades everything to a tragic crescendo, I was only watching the film with the non-participation of the observer, who rejects the offered catharsis. This is undoubtedly a strong moment, in which, it turns out, the only real atonement of Briony is the lingering belief in the cleansing power of fabrication, and I experienced it with my head rather than my heart. From my point of view, Wright's film suffered the most from verbosity and unnecessary strumming of emotions, whereas it would have been enough to let the film speak through its specific means and not dictate a high level of literacy and sweet-soured phrases (however sympathetic they are to me, these phrases refer more to classical English literature than to the Hollywood tradition). This is, of course, my personal problem, but I think there are a few of us who are unaffected by the film. And that is not a coincidence. [6.5/10]
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Beautiful again; Joe Wright, 2-0 to you. The last act has a seemingly somewhat stilted, disjointed feel (especially with the insertion of Briony's life moments), but the final denouement makes sense and emotionally shreds you, even though the sudden setting in the present day is somewhat distracting. Thank goodness for Joe Wright, who brings a kind of old-world beauty and elegance back to cinema with his way of storytelling, with emotions that send pleasant chills down the spine. I was very surprised by James McAvoy, who has undergone a personality transformation from the unlikeable bum in The Last King of Scotland to a charismatic young man whose every gesture I believed. And Keira Knightley? Despite her slightly anorexic type I have a soft spot for her, she’s improving as an actor from film to film and her face here exudes the refined beauty of a silver screen star of the pre-war era. The main musical motif is still in my head and I don’t want it to leave.
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Galería (47)
Foto © Working Title Films
![Expiación. Más allá de la pasión - De la película](http://image.pmgstatic.com/cache/resized/w663/files/images/film/photos/162/347/162347001_88c014.jpg)
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