Les utopies par stupéfiants de quatre habitants de Coney Island sont brisées lorsque leurs addictions s'aggravent.Les utopies par stupéfiants de quatre habitants de Coney Island sont brisées lorsque leurs addictions s'aggravent.Les utopies par stupéfiants de quatre habitants de Coney Island sont brisées lorsque leurs addictions s'aggravent.
- Réalisation
- Scénario
- Casting principal
- Nommé pour 1 Oscar
- 37 victoires et 69 nominations au total
- Donut Cop
- (as Mike Kaycheck)
Résumé
Avis à la une
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
9/10 would recommend if you are looking for a heavy, dramatic movie.
This film is not for the squeamish. It involves many horrible aspects of life. It shows the terrible things human beings are capable of doing, to themselves and the consequences, of such poor decision-making. Requiem for a Dream (2000), does manage to pull at your emotions and makes you feel, very sorry for these people. I won't say anymore, but there is a reason why Ellen Burstyn was nominated for the Best Actress Oscar for this film. The directing, camera-work and editing, is fantastic. Aronofsky's direction is quite fitting, for the drug-incited delusions seen in the film. Jennifer Connelly's performance is staggeringly good. She definitely leaves her comfort zone for this film. For myself, Requiem for a Dream (2000), was shocking, brought out many emotions and contained a life-lesson, we should all pay attention to.
PMTM Grade: 9.0 (A-) = 9 IMDB.
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.
Le saviez-vous
- Anecdotes(at around 44 mins) During Ellen Burstyn's impassioned monologue about how it feels to be old, cinematographer Matthew Libatique accidentally let the camera drift off-target. When director Darren Aronofsky called "cut" and confronted him about it, he realized the reason Libatique had let the camera drift was because he had been crying during the take and fogged up the camera's eyepiece. This was the take used in the final print.
- GaffesWhen the characters take Heroin, either injected or snorted, the sequence showing their eyes dilating is inaccurate. Opiates produce a constricting of the pupil. However, the dilating is correct when the characters are using Ecstasy and Cocaine.
- Citations
Sara Goldfarb: I'm somebody now, Harry. Everybody likes me. Soon, millions of people will see me and they'll all like me. I'll tell them about you, and your father, how good he was to us. Remember? It's a reason to get up in the morning. It's a reason to lose weight, to fit in the red dress. It's a reason to smile. It makes tomorrow all right. What have I got Harry, hm? Why should I even make the bed, or wash the dishes? I do them, but why should I? I'm alone. Your father's gone, you're gone. I got no one to care for. What have I got, Harry? I'm lonely. I'm old.
Harry Goldfarb: You got friends, Ma.
Sara Goldfarb: Ah, it's not the same. They don't need me. I like the way I feel. I like thinking about the red dress and the television and you and your father. Now when I get the sun, I smile.
- Crédits fousThe man on the train who says "You're whacked" to Sara when she tells him that she's going to be on TV is credited as "You're Whacked".
- Versions alternativesAvailable in both the uncut, unrated theatrical version and an edited, R-rated version (mainly for conservative rental stores like Blockbuster.)
- Bandes originalesBialy & Lox Conga
Performed by The Moonrats
Marcel Reginatto - Saxophone, Vocals
Brian Emrich - Bass Guitar, Vocals
Oscar Oñoz - Trumpet, Vocals
Theodore Birkey - Keyboards, Vocals
Tico Torres (as Hector Torres) - Percussion, Vocals
Darren Aronofsky - Vocals
Engineered, Programmed and Mixed by James Murphy for DFA at Plantain Recording House NYC
Meilleurs choix
Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- Réquiem por un sueño
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 4 500 000 $US (estimé)
- Montant brut aux États-Unis et au Canada
- 3 635 482 $US
- Week-end de sortie aux États-Unis et au Canada
- 64 770 $US
- 8 oct. 2000
- Montant brut mondial
- 7 391 471 $US
- Durée1 heure 42 minutes
- Couleur
- Mixage
- Rapport de forme
- 1.85 : 1