Peter Morgan (writer of The Queen, Frost/Nixon, The Damned United) has penned an iconoclastic script that has lured American icon Clint Eastwood away from his usual directorial terrain. Hereafter is an eerie examination of the afterlife and marks a considerable change of pace for Eastwood as a director. Despite its fascination with the supernatural, Hereafter is very much reflective of contemporary fears, and Eastwood does a superb job sketching the anxieties and insecurities felt by his characters.
Hereafter traces three parallel stories about a triumvirate of people who have all been affected by death in different ways. The film begins with a powerful sequence that portrays one of the character’s brushes with death in chilling detail; her beachside resort is hit by a tsunami. A famous French television reporter, Marie (Cécile de France) is traumatized by the event and, given a leave of absence from her job, decides to write a book about the experience. Meanwhile, George (Matt Damon), an American factory worker, tries to escape from the fact that he is somehow able to communicate with the dead, while resisting his brother’s demands that the two of them go into business to capitalize on his powers. And the final part of the triad centres around two young twins living in England. Their mother is a drug addict and the two children try to keep social services at bay until a terrible accident brings death into their lives.
Eastwood follows the ups-and-downs of each of the socio-economically distinct narratives, before bringing his three stories together in a powerful denouement. Roving around the world – London, Chamonix, San Francisco, Hawaii – Hereafter is a disquieting work about death made by a director whose reputation is second to none, and yet refuses to sit on his laurels. –TIFF.net
Perhaps the icon of macho movie stars, and a living legend, Clint Eastwood has become a standard in international cinema. Born on May 31, 1930 in San Francisco, the son of a steel worker, Eastwood was a college dropout from Los Angeles College, attempting a business related degree. He found work in such B-films as Tarantula (1955), and Francis in the Navy (1955) until he got his first breakthrough with the long-running TV series “Rawhide” (1959). As Rowdy Yates, he made the show his own and became a household name around the country.
But Eastwood found even bigger and better things with Per un pugno di dollari (1964) (“A Fistful of Dollars”), and Per qualche dollaro in più (1965) (“For a Few Dollars More”). But it was the second sequel to “A Fistful of Dollars” where he found one of his trademark roles: Il buono, il brutto, il cattivo. (1966) (“The Good, The Bad and The Ugly”). The movie was a big hit and he became an instant international star. Eastwood got some excellent roles… read more
Non mi ha colpito granchè. Tematiche che non brillano per originalità( il peso delle responsabilità, il dono che diventa condanna..) e un intreccio narrativo che trasmette un senso di precarietà ma non riesce a diventare troppo coinvolgente.Un argomento tremendamente delicato che non è stato scandagliato troppo e si sofferma in superficie senza particolari emozioni.Colonna sonora pessima e Damon ai minimi storici.3*
I watched some movies last week at the cinema that fit like clothing, one at the New York Film Festival (Clint Eastwood's Hereafter, which
"Clint Eastwood crafts a Babel all his own with Hereafter, a trifurcated tale of death, grief, and the great beyond that finds the director
"Clint Eastwood's Hereafter opens with the most exciting, expertly assembled flood scene in movie history," declares Time's Richard Corliss
A masterpiece by Clint Eastwood and Peter Morgan featuring one of Matt Damon’s best performances, a moving score and some remarkable special effects, "Hereafter” explores the concept of an afterlife… read review
I am not one of those guys who is quick to jump to conclusions and let the world know that Clint Eastwood has lost its touch. Of course he hasn’t, this film is just not as good as most of his other… read review