It's not for everyone, but it's for me. (by noran-bakrie)
Randomly found this movie and I got hooked. Beautiful casts. Intriguing. Real. Beautiful location. Dreamy. Beautiful fashion sense. Love this kind of movie.If you're a fan of blockbusters or festival films - you might find this movie boring. It's not amusing nor profound at all.Just a movie, beautifully done.
An anti ,yet cinematic, Hollywood tale. Not for Hollywoodics (by The Fresh Prince)
Saw this movie at the film festival in 2016, really enjoyed it actually. Terrific cast, beautiful locations, interesting romantic story. The movie might be considered as a slow burner for the straight- to-the-point film lovers. It takes it's time to tell the story and give all the little details. Some websites labeled this movie as a thriller but it's far from that. It's actually a Dark realistic comedy drama, no action here folks. If you are fed up with Hollywood movies and want to try some new, different and more mature content, this would be a good start for you. Take your time <more>
to experience this film, see it with an open mind. A+
This movie is one of the best I ever saw. Only thing spoiling it a bit for me is the girl. I don't see why she is in the movie. Obviously it is an Adam and Eve theme and of course they are visited by a snake, the rock stars former lover. The teenage girl is apparently a second snake, or maybe Antichrist, since she is the daughter of the snake. She oozes jealousy and hatred, but still it is unclear to me, why she is in the plot. She doesn't add anything apart from literally writhing with evil, quite contrary to the real snakes coming visiting every day on the terrazzo. They are just <more>
writhing and completely harmless. Swinton makes an unforgettable impression even without talking. So does Fiennes as the manic producer and ex-lover. He is so annoying that you almost feel sorry for him. What a brilliant actor he is. I wonder a bit about time references. If he were 17 in the late seventies, he must be in his mid-fifties, which he is not.
Either I'm reading way too much into this or there's something other viewers missed (by Ali-71)
Apart from the foreground story I felt there was a theme in this film about how Northern Europeans treat and consider other parts of Europe. The clues: the way the Italians give up their table to the "celebrity" guests, the way we view the policeman who is so mesmerised by a celeb that he forgets what is job is, the ricotta making, the way these 4 idiots treat these dignified people with such arrogance and condescension. All that behaviour should disgust us but he shows it nuanced enough that we might think he's romanticising it. It's subtle enough that I think the director <more>
is laughing at any of us that don't notice it. Same with the karaoke scene. Like a dreamy Italian town would really care if this lot showed up and sang badly. That's what us Londoners or similar like to think and sometimes show in other films romanticising our holidays in Tuscany, Provence, Barcelona or similar . We treat them like our playground but are completely oblivious to the arrogance of it. I thought the director set a fabulous trap - some people watching this will be blind to those aspects, but any one who has been on the receiving end will see what he's highlighting. This bit might be over-thinking it but if even said something to me about how some Europeans want out of Europe, when it suits us. How dare we!
A film that is very much more than it seems (by darrensharland-22560)
On the surface 'A Bigger Splash' is a traditional sexually charged love thrist between the old and new... those that have loved one another before and those comparatively new on the scene. Do not be fooled, even if it forms the basis of the immediate tension. Regular full frontal male nudity equal to that of their female counterparts might set the tone of its commentary on equality. Tilda Swintons character silently on account of a recent throat operation embodies an evolving internationally renowned music artist, coincidentally mirroring David Bowie at his most iconic. At first we <more>
are introduced to a deeply in-love couple literally lathered in leisure time and intimacy on Pantelleria, an island in the Medeterianian between Tunisia and Sicily. We soon learn that the escape is an intentional suspension of reality for the purpose of joint recovery. One phone call ends all that in a sumptuously stylish first 30 minutes of scene setting. Ralph Feinnes exhaustingly miraculous character enters stage left, setting off a half expected chain of events accompanied by his newfound enigmatic daughter and outstanding cinematography. In this review I will not reveal any further plot lines, but suggest you rather that you pay attention to the deep and currently very relevant narratives in this work. The first fun little metaphor of a snake persistently trying to enter the sanctity of the primary relationship is a clever play on the 'garden of Eden' story's attempted innocence disembowelment by external influences. Notice the order in which the protection of this sanctity occurs and by whom... which leaves the ending ever more touching. Then there is the ever present influx of migrants travelling through Africa to reach Europe. I present the the most subtle tones of the film, removed from the plot, but the juxtaposition between excessive comfort and a migrating desperate anonymous people is really what captured my imagination here. There comes a time at the end of the film where this desperate situation exposes the recent extreme debates currently underway in Europe and the frightening rise of the right. Note who is inadvertently blamed as an easy avenue for the self made, yet sympathetic problems of the privileged. That all said and done, this film is delightful on an entertainment level as much as an intellectual level. The performances are superb, the cinematography a visual fondling and the writing / direction masterfully executed... a film that leaves the audience deciding the outcome for themselves, is truly one to remember.
I was enchanted by the eccentrics in this imaginatively scripted tale of sensuality, lust and lush life of glamorous people. I was impressed at the way all the elements of the movie came together--story, acting, cinematography, location, editing, music-- to create a magically disjointed vision. I've not been much of a Fiennes fan, but his manic energy was electrifying. Dakota Johnson was the perfect "Lolita" type and given her family and talent, she is to the manor born. Tilda Swinton is always like a unicorn, not quite of this world, and spellbinding believable. Their sexy, <more>
sensual life made me want to be about 20 years younger. I've binged watched about 11 films in the last couple weeks of the holidays and this one stands out amongst them. Not about or for ordinary people.
A masterclass in character development (by colinlomasox)
World famous singer Marianne Lane Swinton , temporarily mute from a recent throat operation, is enjoying a relaxing holiday with her doting film-maker boyfriend Paul De Smedt Schoenaerts on a remote idyllic Italian island. Much to their initial annoyance, Lane's manic music producer and ex-boyfriend Harry Hawkes Fiennes turns up with his newly discovered daughter Penelope Johnson to gate- crash the tranquillity.A Bigger Splash is a character development masterclass by Guadagnino. Over the first hour, the film gives everything to build up the intricacies of each character's <more>
attributes so that every subsequent variation and elaboration feels exhilarating. This is a film about people and relationships; how different associations can sometimes coalesce yet at other times grate, how secrets and history must awkwardly co-exist with the fantasies of perfection.Fiennes is simply superb. He absolutely nails Hawkes extrovert nature, perfectly mixing it with the selfish dark underbelly which success invariably requires. Swinton marvellously continues to build her rapidly emerging reputation with a multifaceted character that says less than a hundred words throughout the entire running time. Both Schoenaerts and Johnson are solid but are unluckily eclipsed by Fiennes and Swinton's sparkle. In fact, such is Fiennes utter dominance early on, there feels a distinct possibility he will overshadow not only the other actors, but the film itself. Fortunately, as time passes the rest of the cast get their chance in the sun and, to their credit, pull it back just before it becomes the Ralph Fiennes Show.The friction between De Smedt and Hawkes is always at the forefront; the protective grounded boyfriend against the vociferous music producer ex. Hawkes tempts Lane to speak at the dinner table, De Smedt knocks him back, Hawkes dances to a track he produced for the Rolling Stones, De Smedt pulls Lane closer on the sofa. It's the subtle fragments of both loving and sexual tension which keep the flow of A Bigger Splash so thrilling.When the plot eventually makes its move, sides are taken, suspicions are rife, relationships are both strained and solidified. Only then do you realise just how well the film has branded its characters into your hide, and how desperate you are to know the outcome.Until the last half hour or so not much really happens in A Bigger Splash but you simply don't notice, such is the utter delight in watching a great cast develop complex characters with a wonderfully astute script.
A remake of Jacques Deray's 'La Piscine' 1969 , 'A Bigger Splash' has attracted some big names: Ralph Fiennes, Tilda Swinton, Dakota Johnson and Matthias Schoenaerts make it a star-spangled vehicle indeed.Recuperating rock star Marianne Lane Swinton is on holiday with her lover Paul Schoenaerts when their peace and quiet is destroyed by that worst of all afflictions: the uninvited guest. In this case it's Harry Hawkes Fiennes , Marianne's former producer and lover, who wants to show off his newly-discovered daughter Penelope Johnson . As the quartet - joined <more>
for a time by two more women whom Harry takes it upon himself to invite - cavort under the Italian sun, conversations are held, secrets revealed and betrayals occur.This is very much an actors' film, and Fiennes does a splendid job as the over-enthusiastic, noisy Harry; I wanted to punch him after about five minutes. Johnson does her best with the standard femme fatale role, and Schoenaerts is perfectly competent. Star of the show, however, is definitely Swinton, who has very few lines her character is supposed to refrain from speaking after a throat operation but as she's in most scenes is required to get Marianne's opinions across through facial expression, miming, and sheer force of personality, which she manages splendidly.This is an engrossing film, with an interesting plot, good acting and lovely scenery and not just of the countryside variety, either - all four leads get their kit off at some point, although I could have done with fewer such scenes from Mr Fiennes - he's in relatively good nick for a chap in his fifties, but things are starting to sag! It's strange, though, that an Italian/French co-production is mainly in the English language!
I hadn't seen A Bigger Splash but after being dazzled by Call Me By Your Name, I rushed to find and see this Luca Guadagnino 2015 film and it confirmed without a doubt that Luca Guadagnino is a remarkable filmmaker with a retro eye and a futuristic sensibility. His elegance makes cinematic the most unpalatable of tales and this one, a four sided triangle, it's unpalatable and scrumptious all at the same time. Tilda Swinton is superb as the voiceless singer, Dakota Johnson gave me, for the first time, a glimpse into what she could be, Matthias Schoenaerts hits all the right notes even <more>
the most unexpected ones but Ralph Fiennes gives a performance that it hast to be seen to be believed mostly because this is the same actor in Schindler's List, Quiz Show, In Bruges and last year he provided me woth one of the funniest scenes of the year in Hail Caesar. So, as you must gather, I had a great time and I'll wait for the next Guadagnino with childish anticipation