A Última Paixão do Sr. Morgan

  • Alemanha Mr. Morgans letzte Liebe (mais)
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Desde o dia em que Pauline lhe deu uma mão no autocarro que o velho e teimoso Matthew Morgan voltou de novo a ser feliz. Rejuvenescido pela desarmante vitalidade da jovem e pelo seu inabalável optimismo, o pacato professor torna-se um inesperado estudante da vida. Nas suas aventuras quotidianas, seja em caminhadas pelas ruas de Paris, em almoços no parque ou passeios ao campo, o estranho casal explora os tesouros da amizade, o conforto do companheirismo, o gosto do romance – e o significado da família. Através da restauração de ambos da fé nas pessoas que efectivamente se interessam, Pauline abraça a ideia de um novo tipo de família, enquanto que Matthew finalmente faz as pazes com o seu filho Miles, de quem se afastara, e que por seu lado se mostra profundamente afectado pelas mudanças do pai. O que começou com as tentativas frustradas de Miles e da sua irmã Karen para trazer de novo Matthew para os Estados Unidos leva a consequências na própria vida de Miles que ele nunca esperaria. Mesmo a tempo, pai e filho aprendem a respeitar-se de novo, a esquecer o passado e a olhar apenas para o futuro – e nas suas respectivas lições de vida, aprendem cada um por seu lado a encontrar de novo o amor e a esperança. (PRIS Audiovisuais)

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Necrotongue 

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inglês This film was in sync with my gloomy mood today. That's not to say it was depressing, but the story of an aging man probably wouldn’t appeal to action movie fans. The plot slowly flowed along and nothing extraordinary happened, just everyday life. And that's probably why I had a good time. Michael Caine is a guarantee of quality, and Clémence Poésy had good chemistry with him (and she was very nice to look at). Although Gillian Anderson only appeared in passing, I really enjoyed the moment. An enjoyable film without unnecessary melodrama (even though you’d expect it in a film like this). ()

Matty 

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inglês Mr. Morgan’s Lost Love is an autumnal sonata about parents and children. I am surprised by how lifeless the film seems despite the participation of the charismatic Michael Caine. Like Haneke’s Amour, it emanates an academic coldness. The reason for the film’s strange lifelessness is not the slow pace of the narrative (the result of a combination of longer shots, scenes that blend together in terms of mood and visuals, and the refusal to make sharp camera movements), but rather the abstracted reality with which the narrative works. The film is interested exclusively in phenomena that do not disturb its melancholic tone and deepen the motif of late reassessment of one’s life values. Last Love attempts to rise above the details of everyday existence (unlike the neorealist Umberto D, which was based on those details), which causes it to lose touch with reality. For the director, who dedicated the film to her father, Last Love was perhaps a useful form of self-therapy and a way to express her awakening; for me, it was two hours of predictable relationship experiments. Due to the expansion of the narrative with the addition of a new character, you will get a sense of the ending long before the two storylines begin to converge. Instead of telling a story about the autumn of life without prejudice and exaggeration, as she most likely intended, Sandra Nettelbeck’s stark narrative style makes it an utterly bland time. 65% ()

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