Zwischen Fremden

BETWEEN STRANGERS is a tough story told with unrelieved intensity, acted with underplayed angst, and directed with quiet strength by Eduardo Ponti. The "Strangers" are three unrelated women, each of whom has a burden that grows until it must be lifted.

Mira Sorvino is a media photographer, daughter of Klaus Maria Brandauer (who has multiple awards for his own news photography, who has just had one of her images appear on TIME magazine - an image of a little girl from Angola who we gradually learn died in the fire Mira was photographing. She is haunted by the fact that the time she spent photographing the child could have been used to save the child's life.

Deborah Unger is a concert cellist whose wife-abusing father (Malcolm McDowell) is released from prison despite her conviction that he should die for his cruelty, forcing her to leave her own family in the attempt to end her father's existence.

Sophia Loren is a haggard housewife who has devoted her sad life to caring for her wheelchair-bound past athlete husband (Pete Postlethwaite) until she sees her illegitimate daughter she was forced to abandon becoming the sculptor artist she herself always wanted to be. Each of these women have visions of the same small girl at moments when they are forced to confront their pain and each finds a way back to salvation through 'living out a dream'.

Some may find the story saccharine, but the actors deliver these sad folk in such an honest way that together they manage to capture our hearts. It is a true pleasure to see Sophia Loren act again and even the makeup she dons for her dowdy role cannot hide the fact that she remains one of the most beautiful women the screen has known - and one of the best actresses. All cast members are superb. Just be aware of the fact that this is a bleak story that requires much from the viewer. The rewards are worth it.

The elements of Between Strangers are impressive. Against the background of a Toronto made beautiful by selectivity, a cast of skilled actors work to fulfil the writer's deep material. The film keeps one's attention thanks to the actors' sensitive work. The director's interweaving of the subplots is often moving, sometimes clumsy. The film also puzzles us with the inexplicable behaviours of some of the characters, and the understatement of some themes that beg for deeper exploration. Nevertheless, a praiseworthy effort. 6.5/10.

This movie was better than expected, well acted and the little dramas were sincere. It's got Deborah Kara Unger AND Mira Sorvino plus many other high caliber actors in small parts. But there's some negatives that keep it from greatness.

The 3 vandals were too disturbing for this kind of film and made me want to twist their necks. No such justice in the movie.

The connection between the three female leads is too far fetched and virtually non-existent. The ending does not make any sense, why are these 3 women waiting at the same table at the airport, they all have different destinations. The little girl makes no sense other than being a poorly constructed plot device to link the three women. Unnecessary too because this story already has a link between them: they're on a crossroad between the past and the present, up to something new in their life.

Also, the photographer accidentally meeting with an Angolian, as was mentioned here before, is WAY too coincidental.

It seems that this kind of storytelling has become popular with Short Cuts and Magnolia, of which the first is by far the best.

Everything about this movie was perfect - the three lead characters were played with such depth and restraint! Although I have never been in the position of any of these women (luckily), I feel like I could relate to their emotions, their ambivalence, their sadness and their ultimate strength. If ever there was a movie that showed the power of living through adversity, this is it! Gerard Depardieu was lovely as an intuitive friend - he was in it just a little, but his presence always moved the movie forward. Sophia Loren's husband was a perfectly human foil - both had shattered dreams and took two different paths in dealing with it, but both paths were completely understandable. Although his character could have been horribly despicable (and, boy!, some of his dialog was shockingly mean), he didn't seem like a monster. Not even the hoodlums were one-dimensional. Miro Sorvino took my breath away, Deborah Unger's restraint was outstanding and Sophia Loren - well, her best role, ever. This is a movie for the down-hearted, for those at impossible crossroads, and for those who like hopeful - not happy - endings.

It is rare coming from such a young filmmaker to see a film with this maturity and understanding for women. I recommend it to anyone who wishes not only to be moved but also inspired by the story's message: the courage to be yourself no matter what. This film will stay in me for a long long time.