A woman takes the law into her own hands after police ignore her pleas to arrest the man responsible for her husband's death, and finds herself not only under arrest for murder but falling i... Read allA woman takes the law into her own hands after police ignore her pleas to arrest the man responsible for her husband's death, and finds herself not only under arrest for murder but falling in love with an officer.A woman takes the law into her own hands after police ignore her pleas to arrest the man responsible for her husband's death, and finds herself not only under arrest for murder but falling in love with an officer.
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- 6 wins & 7 nominations total
Featured reviews
Quite a few people seem to think Tykwer's last 2 films (Heaven and The Princess and the Warrior) are pretentious, and I suppose I can see what they mean. Still, I have to disagree. I'll take Tykwer's abstract, philosophical, but admittedly flawed films over most of the over calculated, manipulative and cold stories that are so common.
I just have to respond to some of the comments that have been made about "Heaven."
"The central story of intrigue and suspense is completely supplanted." "Heaven" is *not* about intrigue or suspense. So that "central story" is not supplanted at all.
"An Overrated Movie With a Bad Screenplay and a Ridiculous End" You're taking the end literally? Well, of course you think it is ridiculous.
My point is, I can understand people not liking this film. It is definitely not for everyone. The problem is, many of the reasons given for not liking it show that the posters just aren't getting what the point of the film really is. I suggest some of them watch it again and let go of what they think should happen and judge it by what actually does happen.
I just have to respond to some of the comments that have been made about "Heaven."
"The central story of intrigue and suspense is completely supplanted." "Heaven" is *not* about intrigue or suspense. So that "central story" is not supplanted at all.
"An Overrated Movie With a Bad Screenplay and a Ridiculous End" You're taking the end literally? Well, of course you think it is ridiculous.
My point is, I can understand people not liking this film. It is definitely not for everyone. The problem is, many of the reasons given for not liking it show that the posters just aren't getting what the point of the film really is. I suggest some of them watch it again and let go of what they think should happen and judge it by what actually does happen.
Tykwer once gave us the kinetic, frantic styling of "Run Lola, Run", a tale that's all about movement. His approach to "Heaven" is quite different however, parts of the film being almost like a meditation and relying necessarily on a still and collected aura. Visuals are important all the same, though, since there isn't much exposition in the dialogue. What talking there is is made up more of imperatives and sharp, harsh sounds. The transition of moods is conveyed to us largely using silence and the picture we see on screen, so our two leads have to be expressive, and Blanchett in particular expertly generates empathy for her character, with minimal fuss.
Coming to the experience of watching this film knowing as little about events as possible is vital, I think. The film entranced me from its first unusual shot, and it was difficult to reflect too long on individual instances because the telling is so seamlessly smooth in its moment. For some watchers, this will marry perfectly with how they like to take in art, but I myself admit to preferring standout scenes that I'll remember, rather than preserving the unity of the piece as a whole. I was raised as a 'style over content' man and unfortunately it must be ingrained within me now, despite having broadened my tastes as I grew. That would explain the comparatively low rating for a film I have otherwise praised, but at least I found the unusual story to be a joy and appreciated what I saw as the film's underlying ethos. To wit:
... that the consequences of what must be irreversible decisions are inevitable, but that is not to deny an uplifting element that can also coexist alongside. Even at the height of despair and utter nihilism about life in general, she's still able to find a kind of solace in the company of someone who will sacrifice himself for her, unconditionally. Even at your darkest, somehow support will always be available, somewhere. I find that to be a rather comforting and positive notion.
It's like life, sooner or later an ending will be met, but what's important is to seize the little moments of happiness and peace where you can.
The framework of the story overall might have been depressing, but it's an important message, and I enjoyed seeing it play itself out. The form of presentation is regrettably one to which I'm not properly accustomed, so I doubt I got the best out of it, but nevertheless I still have to say it proved to be remarkably memorable and moving.
Coming to the experience of watching this film knowing as little about events as possible is vital, I think. The film entranced me from its first unusual shot, and it was difficult to reflect too long on individual instances because the telling is so seamlessly smooth in its moment. For some watchers, this will marry perfectly with how they like to take in art, but I myself admit to preferring standout scenes that I'll remember, rather than preserving the unity of the piece as a whole. I was raised as a 'style over content' man and unfortunately it must be ingrained within me now, despite having broadened my tastes as I grew. That would explain the comparatively low rating for a film I have otherwise praised, but at least I found the unusual story to be a joy and appreciated what I saw as the film's underlying ethos. To wit:
... that the consequences of what must be irreversible decisions are inevitable, but that is not to deny an uplifting element that can also coexist alongside. Even at the height of despair and utter nihilism about life in general, she's still able to find a kind of solace in the company of someone who will sacrifice himself for her, unconditionally. Even at your darkest, somehow support will always be available, somewhere. I find that to be a rather comforting and positive notion.
It's like life, sooner or later an ending will be met, but what's important is to seize the little moments of happiness and peace where you can.
The framework of the story overall might have been depressing, but it's an important message, and I enjoyed seeing it play itself out. The form of presentation is regrettably one to which I'm not properly accustomed, so I doubt I got the best out of it, but nevertheless I still have to say it proved to be remarkably memorable and moving.
for silence. for delicate story. for perspective of love, revenge, game with past and definition of truth. for images of Tuscany. for sky, romanticism, for Cate Blanchete and Giovanni Ribisi. for exploration of limits and special May 23, for masks of society, triumph of nuances, science of details, delicate touch, drawing of characters, heavy words, basic solutions, impression of fairy-tale or touching song, aura of things, looks and common pieces as parts of a puzzle who describes shadow of feelings. more than film - a meditation. or bitter way to understand reality more than a web without sense. a fascinating meeting with a fabulous mode to say the essential phrases.
This is not an ordinary movie. Watching this film is like watching a poem. it is too bad that some reviewers here have to see everything in the plug and play mode meant for short attention spans. This is a work of art intended to be tasted, smelled, seen, and touched. It enlivens the senses, touches the heart, and moves you with little dialog. Blanchett doesn't have to speak. Her face tells the pain of her loss, her remorse for her actions, and her lack of relief from her revenge. Ribisi is stunning as the outwardly simple, infatuated boy-like man with subtly revealed inner strength and cunning. Sometimes it is nice to take a break from the usual fare and take a ride on a work of art. I loved this film and will watch it again.
A gorgeous film, start to finish. Within ten minutes you'll know your in the hands of a real talent. By the middle you'll be hypnotized. It's ravishing and beautiful.
And yet it's not all soppy. The whole point of seeing this film isn't pretty pictures, but a slowly evolving story and relationship between two people caught in a hellish situation. That it's gorgeous, fascinating, and spell-like all in one is just part of the treat.
I've seen other posters here complain that the direction of this film isn't in the tradition of "Three Colors" or other of Krzysztof Kieslowski's work; as if, because the story is based on one of his ideas, the follow-through had to be some sort of homage. That strikes me as totally irrelevant. The idea came to other hands, who made a film according to their own lights. There's no need to compare what-might-have-beens. This is a beautiful, transcendent film. See it.
And yet it's not all soppy. The whole point of seeing this film isn't pretty pictures, but a slowly evolving story and relationship between two people caught in a hellish situation. That it's gorgeous, fascinating, and spell-like all in one is just part of the treat.
I've seen other posters here complain that the direction of this film isn't in the tradition of "Three Colors" or other of Krzysztof Kieslowski's work; as if, because the story is based on one of his ideas, the follow-through had to be some sort of homage. That strikes me as totally irrelevant. The idea came to other hands, who made a film according to their own lights. There's no need to compare what-might-have-beens. This is a beautiful, transcendent film. See it.
Did you know
- TriviaCate Blanchett jumped at the chance of shaving off her hair for the film, finding the experience to be very liberating.
- GoofsCrewmembers are briefly reflected in the front of a train as we see the main characters walk away from the train. Specifically, look for a man in a red tee-shirt.
- ConnectionsFollowed by L'enfer (2005)
- SoundtracksFür Alina
Composed by Arvo Pärt
Performed by Alexander Malter (piano)
Produced by Manfred Eicher
ECM New Series
Courtesy of Universal Edition, Vienna
- How long is Heaven?Powered by Alexa
Details
- Release date
- Countries of origin
- Official site
- Languages
- Also known as
- Рай
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $11,000,000 (estimated)
- Gross US & Canada
- $784,399
- Opening weekend US & Canada
- $51,909
- Oct 6, 2002
- Gross worldwide
- $4,251,037
- Runtime
- 1h 37m(97 min)
- Color
- Sound mix
- Aspect ratio
- 1.85 : 1
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