Réquiem por un sueño

I respect and admire this movie, even though (and perhaps because) it is complex, occasionally irritating and often very hard to take. Frankly, I avoided seeing it for a long time, but now am glad I did. To complain that the film fails as a realistic portrayal of addiction is, I think, to miss the point. Far from being the mere depiction of a collective downward spiral fueled by drugs, the movie is in fact a meditation on loneliness, greed, corruption, desperation, and the pervasiveness/banality of media, among many other things.

The subtleties of the text are communicated, first and foremost, by superb acting. The performances of Ellen Burstyn, Jared Leto, Jennifer Connelly, and Marlon Wayans are all revelatory. In particular, I was knocked out by Burstyn, who is almost comically pathetic in the beginning, but who manages by the end to convey her character's utter devastation in the truest, most heartbreaking manner imaginable. The others are absolutely perfect as well; I was simply astonished by Leto and especially Wayans (may he eschew "scary movies" forevermore). Connelly has perhaps the most difficult role in the film, with opportunity and motivation galore to go over the top, and she delivers not a single false note throughout.

My only real quibbles with the movie have to do with certain instances of the split-screen and jump-cut techniques, which struck me as somewhat gimmicky and repetitious, respectively. That being said, overall the style of the film is impressive and appropriate. The cinematography is beautifully conceived and executed, and the score is every bit as haunting as the performances (thanks largely to the work of the Kronos Quartet).

In sum, regardless of whether or not the subject matter itself shocks you, this movie will put the viewer through the proverbial wringer. Give it a chance, and you will connect with the characters and then witness their destruction (spiritual and otherwise). It is a punishing but unforgettable experience. I'm not sure whether I'd necessarily recommend it or not; it all depends on your personal tolerance level with regard to an unflinching portrayal of human nature and behavior at their most extreme and, ultimately, tragic. For my part, while I don't expect to watch this film very often in the future, I'm sure glad it'll be on the shelf.

I watch this movie like twice a year and it gets to me every time. By far my favourite movie ever. Instead of a regular review, here is everything this movie does perfectly.

Character Development: this could really be separated into three biopics. The way The film is spliced between three main characters that evolve an enormous deal over 100mins is a work of art within itself.

Plot structure and timing: This film is the pinnacle of an effective slow burn. At no point does the runtime seem to drag on, but it is slow enough to make the payoff incredibly valuable. Plot structure and timing are two of the most difficult things in film making, and they were executed perfectly in this one.

Sound and score: one of the most effective scores to date. The ups and downs of this film are only expressed further with an extremely effective and catchy score. At no points does it feel obnoxious or out of place, and you'll be thinking of it long after your viewing.

Cinematography: The beautiful mix of cinematography that are found throughout this film is perfect. Extreme close ups, split screen scenes and snapshots are all used to express the films ideas in a beautiful way. It does an excellent job to break up the story and to show you the multiple perspectives.

An incredible third act: So many great films fall down during the third act. Many-a-film has been ruined by a less than average third sequence, but this one ties up the whole story in a beautiful, non-abrupt way. I couldn't think of a better ending.

Performances: Each and every main performance in this film is done with grace and respect. I am always super surprised at Jared Leto's performance, as I've never seen him as an excellent actor. He steals the show here, with a genuine and emotional performance.

I really cannot think of anything I don't like or would change about this film. Incredibly engaging, beautiful story and told excellently.

Do yourself a favour and watch this masterpiece of filmmaking

This movie is about how drugs can affect your life. Watching this movie really hurts. If you want to convince someone to stop doing drugs / live more healthy this is the movie to do it. Great acting (especially by Ellen Burstyn) and a realistic / convincing story but man is it painful to watch. This is the kind of movie you are happy to have watched at some point but you don't want to rewatch it because it is a real mood killer.

9/10 would recommend if you are looking for a heavy, dramatic movie.

Often hype about films lead to disappointment and after waiting 14 months after release for my local cinema to show this film, I was done thinking about it. Thank goodness too, rather than challenge my brain (not hard to do unfortunately) this film went straight for the heart, ripped it out and kicked it around the floor for 90 minutes. As the addictions plunged further into the depths of Hell, I felt myself more and more arrested by the film. I've never left a film shaking or feeling physically ill- not including Pearl Harbour, of course :) You want to look away, but cannot.

This movie is by no means flawless, but then again I would like to hope that the flaws add to the gritty reality of the film. The ending was truly the most frightening thing I have ever seen in film- forget the cheap scares of The Exorcist, Psycho and the endless bile of the 'slasher flick', this stuff is REAL.

In a country amid a 'war against drugs' this is a powerful film which could do more to turn kids away from drugs than any measly government "task-force" or classroom lecture.

I just saw Requiem For A Dream and I have to say, I was blown away. Not since 1995's The Basketball Diaries, has a film so accurately portrayed the craving and depravity of a person dealing with(or succumbing to) addiction. It is a beautifully articulated piece of artwork, intricately presented on a silver platter. Director Darren Aronofsky shines in his brilliant direction and style, in this depiction of the downward spiral of the lives of four people, living with their respective addictions.

Jared Leto, gives an excellent, solid performance as Harry Goldfarb, a man living an inch from his life, always in search of a fix. In an emotional powerhouse of a performance, he proves to audiences that he can shine through in a major role as opposed to previous smaller roles in Fight Club and American Psycho. However, it appears to be a Hollywood in-joke of sorts in that it seems he has a penchant for mutilation or at least the roles he seems to take on seem to have for him. In Fight Club, he had his face rearranged and in American Psycho, his head cut off. In Requiem however, it is the mutilation of his life, his whole character, that takes centerstage, ending in a satisfying climax of gargantuan proportions in which he gives the audience more than their money's worth in his power-packed performance.

However, the real star of the film lies in the talent of Ellen Burstyn. Audiences will wonder at her appearance at the beginning of the film, not really knowing if it is, in fact, her. Her performance as a television, sugar and eventually, diet pill-addicted mother of Harry shows that she's still got it after all these years. If you want to make a comparison of her thespian skills throughout the years, watch the revived version of The Exorcist. She can only get better. She takes on the role of Sarah Goldfarb with gusto, never backing down for a second. Totally throwing herself into the role, you tend to forget how she really looks like, given only fleeting moments in the film which suggest her real appearance. I have to say, she's got guts. How many female actresses her age would dare to have a camera strapped to her person(as Aronofsky so creatively did), an inch away from her face with a wide angle lens? She definately deserves her Oscar nomination, if not, the Oscar itself, for her tour-de-force performance.

The other characters themselves hold their own with the two abovementioned powerhouses. Jennifer Connelly and Marlon Wayans both realistically portray their respective roles as Marion Silver, Harry's girlfriend and rebellious suburbanite chick, who degenerates to prostitution for her fix and Tyrone C. Love, Harry's best friend and fellow pusher. Here, Wayans shows that he can lose his comic edge if needed, to portray a boy trapped in a man's body, just yearning for his mother's approval but seeking it instead, in drugs. Connelly as well, who has been taking on smaller roles and projects over the last few years, is finally given enough room to play with her character and gives a winning performance in Requiem.

The cinematography of Matthew Libatique gives total light on the chracterizations of the people in habiting Aronofsky's sick world, from the sliently flickering sick-green flourescents to the exaggerated wide angle shots and the beautifully sad and haunting Coney Island picturesque of the pier which suggests a certain beauty amidst all the sadness and depravity. A Downer Picturesque, as portrayed by the photographs of Robert Frank and the Frank influenced cinematography of Darius Khondji in Seven. In my books, Matthew Libatique has just joined those ranks.

Jay Rabinowitz' editing stands out as well, with in-your-face smash title cards(emphasising the downward crash of the character's lives through the seasons), as well as the close-up constructions of the drug taking process. The latter sequences, edited so tightly and seamlessly, make the moment so beautiful but so fleeting, as is the case with drugs. The sequences are almost like a drug, making you crave for more of them, a fix which you get, whenever the characters get their own fix in the film. Lots of people might misinterpret this as glamourising the drug culture but these moments are so fleeting that they're over before you even know it, and then it's back to Harry, Marion, Sarah and Tyrone's sick and depraved search for the next fix, which very accurately portrays the twisted quest of a true and sincere addiction.

The film is also superbly scored by Clint Mansell and hauntingly performed by the Kronos Quartet. A series of hauntingly shocking, yet mind-numbingly beautiful pieces which linger in your head long after you've left the cinema.

Lastly, the direction of Aronofsky, brilliant, beautiful, empathic. There are not enough words to describe his direction or this film and I think the best way to say it is that I am speechless. Aronofsky has shown me that, jaded by so many films, something can still prompt me to sit up and take notice. To see something that I have never seen before or learn something I don't already know. The ending, is sheer power. A masterpiece of all the elements of what filmmaking is about, mixed together in some sick souffle and thrown into your face, burning hot and scalding. The film leaves a deep impression, in fact, a huge scar. And it is a scar I am proud to wear.