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Storytelling

  • 2001
  • 16
  • 1 Std. 27 Min.
IMDb-BEWERTUNG
6,8/10
18.746
IHRE BEWERTUNG
Storytelling (2001)
Home Video Trailer from New Line Home Entertainment
trailer wiedergeben1:46
6 Videos
28 Fotos
Dark ComedySatireComedyDramaRomance

Füge eine Handlung in deiner Sprache hinzuCollege and high school serve as the backdrop for two stories about dysfunction and personal turmoil.College and high school serve as the backdrop for two stories about dysfunction and personal turmoil.College and high school serve as the backdrop for two stories about dysfunction and personal turmoil.

  • Regie
    • Todd Solondz
  • Drehbuch
    • Todd Solondz
  • Hauptbesetzung
    • Selma Blair
    • Leo Fitzpatrick
    • Robert Wisdom
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    6,8/10
    18.746
    IHRE BEWERTUNG
    • Regie
      • Todd Solondz
    • Drehbuch
      • Todd Solondz
    • Hauptbesetzung
      • Selma Blair
      • Leo Fitzpatrick
      • Robert Wisdom
    • 130Benutzerrezensionen
    • 93Kritische Rezensionen
    • 50Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 1 Nominierung insgesamt

    Videos6

    Storytelling
    Trailer 1:46
    Storytelling
    Storytelling
    Trailer 1:46
    Storytelling
    Storytelling
    Trailer 1:46
    Storytelling
    Storytelling: Dinnertime Conversations
    Clip 2:24
    Storytelling: Dinnertime Conversations
    Storytelling: It Must've Been Hard Being Poor
    Clip 1:22
    Storytelling: It Must've Been Hard Being Poor
    Storytelling: In The Bar
    Clip 1:14
    Storytelling: In The Bar
    Storytelling: Class Reading
    Clip 1:25
    Storytelling: Class Reading

    Fotos28

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    + 22
    Poster ansehen

    Topbesetzung39

    Ändern
    Selma Blair
    Selma Blair
    • Vi (segment "Fiction")
    Leo Fitzpatrick
    Leo Fitzpatrick
    • Marcus (segment "Fiction")
    Robert Wisdom
    Robert Wisdom
    • Mr. Scott (segment "Fiction")
    Maria Thayer
    Maria Thayer
    • Amy (segment "Fiction")
    Angela Goethals
    Angela Goethals
    • Elli (segment "Fiction")
    Devorah Rose
    Devorah Rose
    • Lucy (segment "Fiction")
    Nancy Anne Ridder
    • Joyce (segment "Fiction")
    Steve Rosen
    Steve Rosen
    • Ethan (segment "Fiction")
    • (as Steven Rosen)
    Aleksa Palladino
    Aleksa Palladino
    • Catherine (segment "Fiction")
    Mary Lynn Rajskub
    Mary Lynn Rajskub
    • Melinda (segment "Fiction")
    Tina Holmes
    Tina Holmes
    • Sue (segment "Fiction")
    Paul Giamatti
    Paul Giamatti
    • Toby Oxman (segment "Non-Fiction")
    Mike Schank
    Mike Schank
    • Mike (segment "Non-Fiction")
    Xander Berkeley
    Xander Berkeley
    • Mr. DeMarco (segment "Non-Fiction")
    Mark Webber
    Mark Webber
    • Scooby Livingston (segment "Non-Fiction")
    John Goodman
    John Goodman
    • Marty Livingston (segment "Non-Fiction")
    Julie Hagerty
    Julie Hagerty
    • Fern Livingston (segment "Non-Fiction")
    Jonathan Osser
    Jonathan Osser
    • Mikey Livingston (segment "Non-Fiction")
    • Regie
      • Todd Solondz
    • Drehbuch
      • Todd Solondz
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen130

    6,818.7K
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    Empfohlene Bewertungen

    6rosscinema

    Interesting but lacking something

    While I did find this film pretty interesting it still seems to be lacking something compared to his previous two efforts. It doesn't have the emotional impact of "Welcome to the Dollhouse" or the sharpness and coherency of "Happiness" and both of those films each had a standout performance in them and this one does not, although Selma Blair is pretty good. The two parts "Fiction" and "Non-fiction" just seem to be missing some element. Its not that we don't understand what he's doing and what he's trying to say but it just doesn't have the closure that seems to be needed. The first part "Fiction" is shorter and just seems to end without allowing what it had just conjured up to play out. I do like Todd Solondz and the way he writes his films in general. He possesses a very dark and cynical view of both political correctness and the suburbs. I also think it was important for Selma Blair to be in this film. Her career seemed to be playing the stars friend or appearing in teen comedies. Here she plays a lead role and a somewhat controversial one at that in what might be her first nude scenes. I think its good for her career to be in something serious like this. I know I'll think of her in a different light from now on. Not anywhere near Solondz best films but interesting enough to recommend and anyone who likes Solondz (like myself) should see it.
    8TBJCSKCNRRQTreviews

    An unpleasant, unsettling, and most importantly, necessary film

    After reading about Palindromes and finding myself oddly attracted to the subject matter of several of Todd Solondz's features, I bought this film. It would seem that it has a reputation as being his worst work to date(at least as far as theatrically released movies go)... I must say, if the rest of what he's done is this powerful, I will have to keep my eyes open for it. You seldom see movies that are this unpleasant. There are films that are far, far harder to watch... but this is still not one you put on to enjoy yourself. As many other viewers, I didn't care much for the first half(well, part... it's a third of the projects full length, with a running time of about 25 minutes), "Fiction". I felt I had gained little after it was over, though I will say that the concept and themes explored are quite interesting. "Non-Fiction" proved to be far more worth-while, in my opinion. The writing and direction is excellent in both. The pacing works well... I was never bored, and while it wasn't exactly a "good" time, it moved along as it should, never really too slow or too fast. The characters were incredible... the sheer amount of development, through so little time spent on each... that's talent. As its title indicates, Storytelling goes into different methods of telling a story... and displays some of the most impressive storytelling that I've seen to date. There is some humor, but it's quite black, and throughout the film, I was unsure of whether I should laugh out loud... or cry my eyes out. The film is strongly satirical, very direct and seemingly almost aggressively anti-PC. Dealing with several subjects of taboo, Solondz pulls few punches, if any. Certainly not a film for everyone. Both parts seem to end somewhat abruptly, but that may be intentional. I will say that my rating would almost certainly have been higher had the first part been improved upon... or removed entirely. It's difficult to say who I'd recommend this to... cynics or realists with a strong threshold for the some of the ugliest sides of human nature, I suppose. From what I understand, though, it's less provocative than the other films of Todd Solondz. 8/10
    6stefan-144

    The "Non-fiction" story is the superior fiction.

    I was fascinated by Todd Solondz's HAPPINESS, a spell-binding drama every minute of it - sometimes terribly naked. There are such tendencies also in STORYTELLING, but only in the second of the two independent parts.

    The first part, called "Fiction", is significantly shorter than part two, "Non-fiction". This is as it should be, but the best would be to exclude it completely. The story about emotional tension between a college girl with ambition to become a writer, her frustrated CP boyfriend and their impressive/monstrous teacher, the successful writer, is just as conventional as the stories the students write in the film. This may be intentional, to cause multiple layers of meta-effects, but it doesn't save this part of the movie from being pretty predictable and boring.

    And the story ends before it should. A sort of coitus interruptus (if the term is allowed), which demands some kind of return or closing-up later on in the movie - but there is none. I got the strong impression that this part was only included to make the movie full-time.

    The second story, "Non-fiction", is clearly stronger, and told with much more passion from the writer/director. Here, many facets are explored, the characters are complex, the drama intricate - and the tension builds, right below the drab suburban surface. It is impressive how elements common in just about any family life, here add to the suspense and the sense of doom. The thrill of trivial life, but not at all trivially portrayed.

    This might be the reason for the title "Non-fiction", since the lives and fates shown in the story feel so real - contrary to what happens in "Fiction".

    Still, this story, too, has been told insufficiently, as if abbreviated, or halted at points where it was about to erupt into infernal drama. Pity. Did Solondz retreat from his own vision? Did he censor himself to get more of a general audience?

    I hope that it's not the case. His portrayal of human life, although unpleasant indeed, is fascinating and uniquely his. So he must be true to it.
    8loganx-2

    Like That Thing On Your Neck, It's Grown On Me

    At first viewing I though this was the weakest of director Todd Solondz films, however like all of his works, it's impossible to forget once seen. Todd Solondze absorbed criticisms about exploitation, showing misery for misery's sake, and just generally being a "meanie", and turned them into the cinematic equivalent of a "dis song"(rap term for song made specifically as an attack or "beef" with another rapper), with Solondz against critics, carefully trying to explain the notions of "Storytelling". Our first story deals with sex, political correctness, race, and fiction writing, as a young liberal college girl has unpleasant and ironic sexual experience with her Black writing professor. Our second well...with the same subjects just this time with non-fiction in place of fiction. Here Solondz shows us yet another dysfunctional upper middle class Jewish family in chaos, but this time as a "documentary", which shows us the pathetic film maker, the cruel or otherwise ignorant family, and the audience who laughs and scoffs, at it all.

    This is a rare film, because it's a film maker addressing his critiques, himself, and his audience all at once. And it has plenty of Solondz trade mark cringe scenes, that veer drastically from comic to dramatic in a matter of breaths. The results are absorbing but like all Solondz it leaves a bad taste in your mouth, and makes you honestly question your own moral compass. They say satire is dead if the audience cannot be shocked, but it's also dead if the audience cannot be shamed, in the days where South Park and Family Guy, are on non cable TV any afternoon (l love both shows), shock and shame are concepts so familiar they've lost some of their power. Thankfully just when we've seen it all and were sure that nothing matters and nothing can surprise, startle, or offend us, Todd Solondz will be there to show things can always get worse.
    surenm

    Setting yourself up for depression...

    Watching anything by Todd Solondz is going to make you awfully depressed. Not because his films are bad, but because they are so good, and there is hardly anything like them out there today. Watching Storytelling in the theater was a blessing, but afterwards, my friends and I could only feel completely depressed! If you've never experienced Solondz's magic, this film can leave you a bit more uplifted, as you have Welcome to the Dollhouse and Happiness still left to explore. But if you've already seen these films, watching Storytelling can only make you feel bad, like a quickie, it's so good then when it's over, poof, you're bored and you want something else just like it, but different. I wish Todd Solondz made more films, but sadly after you watch those three, you're done, and it's back to putting up with dumpsters of celluloid garbage for the next year or two until his next film. I mean let's face it; where else are you going to find a great performance from John freakin' Goodman!

    Sadly though, I find it hard to convince certain TYPES of people as to why Solondz's work is so good. I try to tell them the writing is award-winning and beyond most failed attempts at culture critique. I try and tell them how good the performances are. I even try and point out some fantastic themes out of the multitude available in his work. But these certain types, they just can't seem to get it.

    But on the bright side, the one thing that does give me a boast about Storytelling is Conan O'Brien. Now, it's not the fact that he's here, but how he fits in, it's like there are people out there that do NOT understand Conan or his humor at all, they just don't get HIM altogether. Then there are those, such as myself, that completely understand Conan and all his self-deprecation. How can you not love a character like Scooby that wants to be Conan's sidekick??? Is this NOT the dream of every self-deprecating teenager and college student?!? Being able to simple make that point in a film, as Solondz does so perfectly during that scene with Scooby and Conan, right after the proverbial gay pseudo blow-job, is something most auteur's can't ever GET AT. This is why it's depressing watching the film, you see how brilliant this man is and how clearly he can speak his mind and say to you: "I hear YOU, I feel this way, and I know you do too, and this is here for US to enjoy, not just something for everyone." Some people say Art is something everyone can universally appreciate. Others say it is completely subjective. I think it can in fact be both ways. You can look at Storytelling or actually Happiness is better for this as formulaic, or formal art, the technical way the film is put together is brilliant, that's its universal art. The thematics, the way the auteur says what's directly on his mind in a way that a certain kind of person is immediately able to grasp a hold of firmly, that's the other kind, the subjective kind. This man understands communication, let alone life, like very very VERY few writers and directors ever have and ever will.

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    Handlung

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    Wusstest du schon

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    • Wissenswertes
      There was a third story, with James Van Der Beek as a college student realizing his sexuality, which was subsequently cut out of the film.
    • Patzer
      The positions of Scooby's hands when he is holding the gun change between shots.
    • Zitate

      Catherine: It was confessional, yet dishonest. Jane pretends to be horrified by the sexuality that she in fact fetishizes. She subsumes herself to the myth of black male potency, but then doesn't follow through. She thinks she 'respects Afro-Americans,' she thinks they're 'cool,' 'exotic,' what a notch he 'd make in her belt, but, of course, it all comes down to mandingo cliché, and he calls her on it. In classic racist tradition she demonizes, then runs for cover. But then, how could she behave otherwise? She's just a spoiled suburban white girl with a Benneton rainbow complex. It's just my opinion, and what do I know... but I think it's a callow piece of writing.

    • Alternative Versionen
      The original version of the film featured a third story entitled "Autobiography", concerning, among other things, a closeted football player (James van der Beek). The main character has an explicit gay sex scene with a male partner (Steven Rosen); the entire story was cut from the final version.
    • Verbindungen
      Featured in This Film Is Not Yet Rated (2006)
    • Soundtracks
      Fiction
      Performed by Nathan Larson and Nina Persson

      Written by Nathan Larson and Nina Persson

      Published by The Music Of NATO and Stockholm Songs

      Nathan Larson appears courtesy of Artemis Records

      Nina Persson appears courtesy of Stockholm Records

    Top-Auswahl

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    FAQ19

    • How long is Storytelling?Powered by Alexa
    • What are the differences between the R-Rated and Unrated Version?

    Details

    Ändern
    • Erscheinungsdatum
      • 8. November 2001 (Russland)
    • Herkunftsland
      • Vereinigte Staaten
    • Offizieller Standort
      • Diaphania -French site(fr)
    • Sprachen
      • Englisch
      • Spanisch
    • Auch bekannt als
      • Storytelling: Historias de ironía y perversión
    • Drehorte
      • New Jersey, USA
    • Produktionsfirmen
      • New Line Cinema
      • Killer Films
      • Good Machine
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

    Ändern
    • Bruttoertrag in den USA und Kanada
      • 921.445 $
    • Eröffnungswochenende in den USA und in Kanada
      • 73.688 $
      • 27. Jan. 2002
    • Weltweiter Bruttoertrag
      • 1.318.945 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      1 Stunde 27 Minuten
    • Farbe
      • Color
    • Sound-Mix
      • Dolby Digital

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