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IMDbPro

Personal Velocity: Three Portraits

  • 2002
  • R
  • 1h 26min
NOTE IMDb
6,4/10
4 k
MA NOTE
Fairuza Balk, Parker Posey, and Kyra Sedgwick in Personal Velocity: Three Portraits (2002)
Trailer
Lire trailer2:15
1 Video
66 photos
DramaRomance

Ajouter une intrigue dans votre langueThree women's escapes from their afflicted lives. Each struggles to flee from the men who confine their personal freedom.Three women's escapes from their afflicted lives. Each struggles to flee from the men who confine their personal freedom.Three women's escapes from their afflicted lives. Each struggles to flee from the men who confine their personal freedom.

  • Réalisation
    • Rebecca Miller
  • Scénario
    • Rebecca Miller
  • Casting principal
    • Kyra Sedgwick
    • Parker Posey
    • Fairuza Balk
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,4/10
    4 k
    MA NOTE
    • Réalisation
      • Rebecca Miller
    • Scénario
      • Rebecca Miller
    • Casting principal
      • Kyra Sedgwick
      • Parker Posey
      • Fairuza Balk
    • 73avis d'utilisateurs
    • 43avis des critiques
    • 70Métascore
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 6 victoires et 5 nominations au total

    Vidéos1

    Personal Velocity
    Trailer 2:15
    Personal Velocity

    Photos66

    Voir l'affiche
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    Rôles principaux46

    Modifier
    Kyra Sedgwick
    Kyra Sedgwick
    • Delia Shunt
    Parker Posey
    Parker Posey
    • Greta Herskowitz
    Fairuza Balk
    Fairuza Balk
    • Paula
    John Ventimiglia
    John Ventimiglia
    • Narrator
    • (voix)
    Ron Leibman
    Ron Leibman
    • Avram Herskowitz
    Wallace Shawn
    Wallace Shawn
    • Mr. Gelb
    David Warshofsky
    David Warshofsky
    • Kurt Wurtzle
    Leo Fitzpatrick
    Leo Fitzpatrick
    • Mylert
    Tim Guinee
    Tim Guinee
    • Lee
    Patti D'Arbanville
    Patti D'Arbanville
    • Celia
    Ben Shenkman
    Ben Shenkman
    • Max
    Joel de la Fuente
    Joel de la Fuente
    • Thavi Matola
    • (as Joel De La Fuente)
    Marceline Hugot
    Marceline Hugot
    • Pam
    Brian Tarantina
    Brian Tarantina
    • Pete Shunt
    Seth Gilliam
    Seth Gilliam
    • Vincent
    Josh Philip Weinstein
    Josh Philip Weinstein
    • Oscar
    Lou Taylor Pucci
    Lou Taylor Pucci
    • Kevin
    Mara Hobel
    Mara Hobel
    • Fay
    • Réalisation
      • Rebecca Miller
    • Scénario
      • Rebecca Miller
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs73

    6,44K
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    Avis à la une

    kinolieber

    Three terrific actresses / Three excellent short films

    The best thing about this film are the three superb performances by the lead actresses in each segment. It's also a chance to explore the potential for short form film narrative by putting three short films together to create a full length feature. If these three films had been produced individually, almost no one would ever see them. The film is exciting too, as an example of the artistic possibilities of low budget digital film making. As others have mentioned the narration almost sinks the movie. I'd love to see a DVD alternative version without it.
    uberchick

    An Intimate Thread

    I saw this film tonight at the First Annual Tribeca Film Festival and understood its success at Sundance. In short, this film is about the awakening of three different women in very different lives and circle around a news report of a shooting in Manhattan and an ensuing car accident. With the telling of each woman's tale, Miller uses a brilliant 'degree of relation' to the accident in order to develop an engaging and powerful film.

    Delia casually watches the news report of the accident while waiting for the cook to bring up her next order in a small-town diner in upstate New York. Though the audience does not see a particularly unusual response that she has to it, we can imagine that her difficult circumstances allow her to relate to it on a level of shared human suffering.

    Greta, who's story is told in a series of flashbacks, watches it on the morning news minutes before she has her epiphany about her failing marriage and the new turn that her life is taking as a prominent editor for a large Manhattan publishing house. Because it is the only scene in her story that takes place in the present time, the audience is left to wonder what sort of pivotal role the news report has played in her epiphany.

    Finally, Paula's story brings the accident close to home as she is a witness to it. Her epiphany was a direct result of the accident since it was a near-death experience for her. She's not only shocked from the impact of it, but her struggle to explain it with cosmic signs allows her to transcend the accident and the events following it.

    The performances were real, the direction was brilliant, and the common thread that ran through the intimate details of the women's awakenings flowed easily, despite the segmented telling of their tales. Miller's work in this film has inspired me to seek out her feature debut, _Angela_ as well.
    tedg

    Stalled

    I don't know why there are so many recent attempts at this sort of thing: individual episodes that approach and overlap the same concept. Perhaps it is because it is easier to craft episodes with power rather than worry about an arc of 90 minutes or more.

    But we do have them. Some work amazingly well. I found 'Things you can tell' nearly lifealtering because of the crafty way all the actresses picked up each others' mannerisms to merge into the same woman. '!0 Conversations' was a different take, with the action all occurring in the same world. Less effective overall (with a more overt politics) but well structured.

    This, however, is a mess. It bludgeons. It repeats. It insists on obviousness. No subtly is allowed: either an effect shouts or is bleached away. And the worst thing, the most damaging thing that can be said: there is no reward, no insight, no enrichment for the rawness we experience.

    Wallace Shawn and a talented cinematographer wasted as well. Shame.

    The reliable Parker Posey has a line so wonderful, so noticeably superior to all else, I am convinced she made it up: she says she needs to get an underwater camera.

    Ted's Evaluation -- 1 of 4: You can find something better to do with this part of your life.
    robototron

    contrived and difficult

    as you probably have heard, this is a movie that consists of three portraits. three very contrived, hard-to-watch portraits.

    this movie charges out of the gate with incredible potential, including a great cast, an effective score, and nearly disorienting (yet, rather successful) camera work. additionally, at the start of the first portrait, the narrative freezes, and the narrator urges the viewer to, "wait!" so he can explain something about what's going on. this device is wonderful, and immediately gives the viewer a healthy shot of intrigue. additionally, at this point, you'll probably be really excited at the unorthodox pacing that the film seems to be setting up.

    that's all in the first few minutes. and this movie literally screamed in a nosedive downward from there.

    while "personal velocity" bucks conventions in many ways, it bucks the concept of storytelling so much that it is simply contrived. want to see development, plot, resolution? not here. this movie tries HARD to dodge all these things, and relentlessly starves the viewer of any of these elements with its spare dialogue.

    but in the absence of these elements, what's left is - quite frankly - repetition. the characters simply keep doing what they did in the first moments of their portrait (or at least what the filmmakers set them up to do). and while they rather gratingly repeat their actions, there is no true character development.

    to combat this (and surely the problem of converting short stories to film), the movie employs a narrator. this (and the repetition) is the downfall. first of all, who is the narrator? well, it's a male, which is strange since this is mainly a story about three women. ok, but why is he male? and why is he speaking so conversationally at some points? and why does he know of all these women? none of these questions are answered, and the viewer is forced to contend with this narrator who speaks incessantly throughout the entire film.

    now this narrator suffers from an additional problem, which plagues the film: heavy-handedness. the narrator says things like, "she could feel the emotion like a vortex pulling her soul inward." that's actually not a direct quote, but it's very close. i am not exaggerating. at one point a character says, "you look you're waiting for something." and the narrator breaks in, "she was, she always has been." this movie can't afford such lead-weighted narration. and it certainly does not fall in line with the narrator's other parts where he's talking about how great kyra sedgewick's ass looks in jeans.

    in the end, you've got however many minutes (i don't know 90ish?) of superb acting and inventive cinematography. but anchoring it down without an inch of slack to go anywhere is an overbearing narrator, and three equally overbearing and repetitious movements of what could have probably been a compelling film.
    3hollywoodshack

    Reasons I couldn't watch for 10 minutes

    Closeup- Beth in Car Door Window-Door handle opening as someone gets in-Closeup of his handsome face--Beth: Can you excuse me, I have to stop for donuts. Closeup of Shop Door, Beth walking in then ignition key turning as hitch hiker moves her car. Beth looks away. Beth: Hurry with that couple of dozen, I'm pregnant. She carries the donut box out, gets into the car. The Hitch Hiker's hand grabs a donut from the box, Closeup of a donut hole. His mouth munches one down. Cut to Rain falling on car back window, steam rising and groans from within while he makes out with her. Later, interior, apartment, Beth's hand is seen picking up a script. The cover page reads, "Never use close camera angles or other devices so often it makes the viewer lose interest in the characters and story. Try to film a movie the way you'd like a live audience to watch it. Grade F, see me. Professor Hollywood Hack."

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Maria Elena Ramirez's debut.
    • Citations

      Greta Herskowitz: How could he still love me? If he does, it's because he doesn't know me. I'm rotten with ambition, a lusty little troll, the kind of demon you'd find at the bottom floor of hell pulling fingernails off the loansharks.

    • Crédits fous
      To my mother
    • Connexions
      Featured in Personal Velocity: Creating 'Personal Velocity' (2003)

    Meilleurs choix

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    FAQ20

    • How long is Personal Velocity?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 20 décembre 2002 (États-Unis)
    • Pays d’origine
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Personal Velocity
    • Lieux de tournage
      • Ellenville, New York, États-Unis
    • Sociétés de production
      • Blue Magic Pictures
      • Goldheart Pictures
      • IFC Productions
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 125 000 $US (estimé)
    • Montant brut aux États-Unis et au Canada
      • 811 299 $US
    • Week-end de sortie aux États-Unis et au Canada
      • 29 943 $US
      • 24 nov. 2002
    • Montant brut mondial
      • 890 502 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 26 minutes
    • Couleur
      • Color
    • Mixage
      • Dolby Digital
    • Rapport de forme
      • 1.85 : 1

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    Fairuza Balk, Parker Posey, and Kyra Sedgwick in Personal Velocity: Three Portraits (2002)
    Lacune principale
    By what name was Personal Velocity: Three Portraits (2002) officially released in India in English?
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