Loved the movie. How's Tsoi? -" Mom, we're all very sick. Mom, I know we've all gone mad. A very personal story is well conveyed through the remarkable performances of Adam Driver and Alba Rorwacher.
This picture by the Italian screenwriter and director Saverio Costanzo tells a difficult story about the struggle of two young parents for the health of the child, one of whom clearly suffers from a certain mental abnormality, believing that the baby should be fed exclusively with environmentally friendly products, in which the content of the small substances necessary for proper growth is so small that the risk of subsequent development lag in all its hypostases seems inevitable. The father tries to balance the vital help of his child and the containment of a pathologically unstable wife, who every day becomes more dangerous. . .
The film raises such perceptibly weighty and vital problems for a thorough examination as motherhood, child health, vegan lifestyle, the impact of mental disorders on the family atmosphere. The director of the film brilliantly enriched this difficult, vital story with a high level of realism, giving the opportunity to the two main actors of the film - Alba Rorwacher and Adam Driver - with the permission to say, play out to the fullest. And indeed, the actors incomparably embodied the images of the highest degree of living heroes, each in their own way worried about the newborn firstborn, of course, deep down wishing him only good. However, this very "good" must obviously be objectively correct, as well as completely necessary for the competent, gradual development of the "child", who needs everything at this stage of his life, that "get constant care, quality nutrition and feel comprehensive parental love", in particular (or to be more precise, first of all) "from the mother". And they must not live under the incessant experiments of madmen, the so-called "parents." That is why the father of the child takes matters into his own hands, making a decision that can greatly aggravate the abnormal state of the mother. What will happen to the child? .
This film work, in addition to bold directing and stunning actors, has an incredible atmosphere of immersion in the world of this small cell of society due to camera camera work, sometimes seemingly unprofessional, which creates a sense of the direct presence of the viewer in the cramped apartment of a young family, in which the aura of irreconcilable opposition of reason and madness, responsibility and egocentrism, help and wrecking, love and destructive attachment hovers. "Hungry Hearts" are difficult to perceive, because they set out an alarming dilemma of the principles of family relations, in which it is necessary to put far away selfish requests in order to preserve peace and harmony between loved ones, especially if they embark on a complex and unimaginably thorny path of parenthood.
And humanity is long ago / Pathologically painful (c)
More precisely, it is not just humanity that hurts, but the institution of the family. It is not just experiencing a deep crisis, but in fact is on the verge of collapse.
And this collapse of the institution of the family in this European sense, with all the comforts, with all the tenderness, cleanliness and other things, is well shown in the film Hungry Hearts.
There is no action in the film and it may seem boring at first. The first few minutes you need to force yourself to watch to get to the end. But then interest gradually comes, because in the new family of young people quarrels begin, which grow from trifles into serious conflicts.
What are the challenges of the family in the film?
1. They don't prepare for family life right now. No word at all. With young people, no one conducts any preparatory activities for family life.
2. Moreover, they are not prepared for the birth of children. Everything they know from family life comes from TV shows and porn movies, so where the kids come from, they learn quickly and early. That is why husbands do not know how to communicate with wives, wives with husbands. They perceive each other as an abuza, while saying “I love you”, which sounds simply sacrilegious.
3. The fact that people do not know how to communicate begins manipulation, including threats and violence. Violence takes many forms, primarily physical. Modern husbands often become tyrants, because they have many traumas from childhood and do not know how to communicate with women. This young man, with a tyrannical mother, eventually became a tyrant in his own family. And his wife, who had no childhood and grew up an orphan, was a victim.
4. The film also shows the most severe type of violence - gaslighting, when a person begins to suggest that he (she) - crazy (y). At the same time, there is no support for the victim of violence at all. And then she really goes crazy. Gaslighting works at the level of suggestion and has a very great power. Its worst manifestation is driving a person to suicide.
5. All the social mechanisms of family destruction in modern Europe are also shown in this film. The system of social patronage for the weaning of children who remain useless to anyone. A child has at least one parent who can take care of them. Mostly not, and no one needs it.
6. The main problem of the modern family is selfishness. Nobody wants to be reckoned with. Everyone thinks only themselves right. So families collapse. Here is the example of this young broken up family, too, confirms this.
Anyway, it's a great movie. A social and psychological drama that deserves attention.
The story of a mad mother who took fashion for naturalness
Even if you do not follow the fashion trends, you definitely managed to pay attention to how many in recent years there are various kinds of “ecological” initiatives.
Store shelves are filled with products that exploit the belief in organic food. People refuse to use plastic, sort garbage, clutter and try to conform to the philosophy of minimalism. A huge number of people unite in various groups and together profess and promote different ideas of a natural lifestyle.
All these movements are quite peaceful, but they can have a completely destructive effect on people living in megacities.
This is the story told by the film “Hungry Hearts” in 2014 with Adam Driver and Alba Rorwacher in the lead roles.
The film begins as an ordinary love story - two meet, two fall in love, two marry and have a child. . .
However, with the development of the plot, we realize that the story of a woman who gradually goes crazy in the quest for naturalness and naturalness plays out before us.
She renounces professional medicine, believing in the power of traditional medicine, mediums, and the theory of indigo children. Having given birth to a child and living in the center of the metropolis, she avoids going out because of contaminated air.
The main character builds a greenhouse on the roof of high-rise buildings and grows vegetables there. She refuses to feed the child anything she considers harmful.
As a result, the worried father takes the child to the doctor and learns that the baby is malnourished, lagging behind in development and if he does not begin to feed normally, he will become disabled or die. . .
The film Hungry Hearts is a rather strange independent film. At first glance, he exploits the problem of a woman, which changes dramatically with the appearance of a child in her womb.
However, if you look more broadly, it becomes clear that this tape is about insanity, which each of us can master. Scientifically unfounded ecological ideas take on the most bizarre forms and easily master progressive youth. However, the inability to lead a natural lifestyle, living in a large city, can significantly worsen the well-being of a person.
If you are interested in ideas of zero waste, natural nutrition and the like, then we recommend you to watch this film - Hungry Hearts 2014.
Perhaps the first film that I really wanted to write a review of, rather than just think about what I saw. I'm not a good writer, but I will say it.
I will not hide - I came to the film only because of Adam Driver, but in the end I was deeply satisfied with what I saw.
The film can be viewed from two sides: from the aesthetic component and from the moral awareness. With the first part, I can say without a doubt that from the very beginning the author of the work set a contrasting background. In the beginning, everything is done in bright colors, rich, lively, not covered with a problem. But then this 'patient' yellow-green hue began to be added. There was an absolute rejection of the picture. The color-light scheme made it clear that something was going absolutely in the wrong direction, there was tension, trembling. And in the denouement, we were given a dazzlingly bright image that sums it up. They literally threw this incredible sun in our face.
On the second side, we were very smoothly shown the extinction of the main character, as she gradually withdraws into herself, closes. How his fanatical faith simply destroys not only himself, but also other people around.
Of course, the finale was not completely unexpected. I think he was even logical. Thank you very much to the director.
At the end.
9\10
It’s less because the film is complicated. All spectra. But this does not diminish its beauty, depth.
Look at that.
It is a very difficult film about love and loneliness. It began with a meeting in New York in the most comical circumstances of two young men - an American and an Italian. And it turns out that Mina, the main character, has no special attachments in life. Her mother died in early childhood, and with her father, who raised her, she does not maintain contact. I don't know why. And this is only the first ambiguity in circumstances that are extremely important for understanding the meaning.
Minu has nothing to hold, but her need to love is enormous. Therefore, she easily agrees to change her job and country of residence for the sake of her beloved. Even though the country she lives in is the United States. Hard and cruel, not experiencing sympathy for other people's problems. And betrayal of a small homeland, no matter how indifference it occurs, does not pass without a trace.
And then - the continuation of Mina's closure in the family and in himself. Which multiplied the pregnancy. Is it not because life around her is alien that she so easily accepts that her son is different? That’s what it says, but I’d like to talk more about it. In general, there are quite a lot of interesting hints about the psychological interpretation of the behavior of the characters, and especially the main character. But the disclosure of the topic does not always occur.
In general, I agree with those reviewers who believe that the disadvantage of the film is that the whole story is presented from the point of view of a man. No, he is not American grayness at all, he loves his wife very much and strives to understand her even in whims. And the phrase he often says - I know she only has me and a son - is not empty, it is deeply felt by him. But still it is much deeper inscribed in the surrounding banal reality. And in general, the character of Mina, in my opinion, is still of greater interest.
It's so incomprehensible why she doesn't want to go out even to walk with her son, what scares her? Perhaps there are delusions here, but delusions are nothing but an inadequate reflection by a subtle person of gray ordinaryness.
In general, I believe that all these cartoons about “indigo children” are created in order to direct deeply sensitive people away from protesting against the extremely superficial “positive” in which they are offered to live, alas, not only in the West.
Extreme is a reaction to a banality that is overlooked. It is terrible to starve a child and not let him develop. But the system of medical patronage in the United States, as shown in the film, is not much better. And I understand why Mina wants to protect her child, while falling into the other extreme.
And the main thing is that she has no one to consult with what she thinks, it is even difficult to formulate the questions that arise before her. There are no people around whom life is as frightening as hers. So it remains to build life on books of very dubious content.
The ending of the film is both very banal and very scary. And one question arises – could it be otherwise?
Maybe someone will think that I think something for the authors of the film. But this is only due to the inconsistency of serious issues and their disclosure, which here – alas – not at the level. This is the main contradiction of such an extraordinary film, I think.
6 out of 10
Existential drama about how sometimes selfishness is stronger than love and common sense
All families are happy in the same way, but each family is unhappy in its own way. It is this phrase that first comes to mind when you begin to watch the characters of the film “Hungry Hearts”. Funny acquaintance in a delicate situation (Jud and Mina are locked in the toilet of a cheap Chinese restaurant) develops too quickly, and now the characters are involved in a responsibility that is unlikely, they were morally ready – they will become parents. And if for other couples the birth of a new life is usually a miracle, for Jude and Mina everything “miraculous” is distorted so much that it becomes the beginning of an endless destructive nightmare, from which no one will be able to escape unharmed.
So, love, family, child – it would seem that we should see joy and happiness on the faces of the main characters, but instead, literally from the first minutes, we see masks: the bride at the wedding is callous to what is happening to obscenities, the new mother-in-law, trying to get into the trust of her daughter-in-law, advises her to come to her “better” without a son, the groom sings songs in Italian, trying to impress her Italian bride. Each of them plays its own roles, and in each of their movements there is so much mechanics that one involuntarily begins to wonder: are the characters really sincere? In the end, every fairy tale ends, and what remains behind it is the truth. And if the bitten apple was the reason for the expulsion of Adam and Eve from paradise, then Jude and Mina have an apple of discord, because of which all the characters are on the edge of a psychological abyss, became their own son.
And it hurts. Scary. Disgusting. Unbearable. And so real that you can't close your eyes and run away.
Director Saverio Costanzo is not for nothing called the master of psychological drama. Skillfully building mise-en-scene conflict between the characters, emphasizing their soul throwing surreal images of what is happening, the constant play of light and shadow in the frame and close-ups, Constanto confronts us with one indisputable truth: how often, hiding behind good intentions and their “love”, “starved hearts”, in fact, pursue purely their personal goals.
After all, the child is only a cover in the fight for his ideas and his way of life, and in fact, none of the heroes need: everyone tears him up “like an ace of a heating pad,” proving to each other that this is how and only this will be best for him. And everyone is trying to impose his policy, just to assert himself. Mina is convinced that she is a mother, she knows everything better, Jude is convinced that she will be able to cope with her wife’s “gaining momentum” madness, Jude’s mother is convinced that only she can protect her grandson and stop the disaster.
But Costanzo does not stop there, he goes even further: by drawing the viewer into a psychological duel between the characters, he blurs the boundaries between the space of reality and the space of the image. And so you stop watching a movie that tells a story, you get the feeling that you're peeping at people in the keyhole, and Jude and Mina may well be the passers-by you encountered yesterday, your neighbors on the landing, your acquaintances, your friends' friends, and even your friends.
Of course, you have to give credit to the actors. Adam Driver was especially impressed: after pop roles, he appears in a completely new light. And it is very unexpected and wonderful when an actor can be so reincarnated in his dramatic hero: he is so natural in the frame that he believes every emotion, he wants to empathize and support. Despite the “non-Hollywood appearance”, he has so much charisma, charm and “vitality” that he is more attractive than many “sweet-faced” actors. Because he's real, and that makes him even more perfect. Undoubted discovery of the year.
A deep festival poem for existentially minded minds
Particularly impressive look is not recommended. This is a complex and difficult life story told by Saverio Costanzo, an Italian director-psychologist. So he was dubbed after the release of the series “Patients” – works about a psychotherapist and his patients.
But back to the hungry hearts. This picture is ephemeral and abstract. With a third of the film, there is a tension that cannot be brought down by anything. The director introduces you to the state of heroes: a state of isolation, crampedness and hunger. Of course, all these sensations are existential in nature, but are transmitted through quite understandable physical needs of a person.
Film mania. It's about being obsessed, not wanting to see the true essence of things. It's about us covering ourselves up as children, husbands, or friends to shut the fountain of emptiness that comes out of the center of the body -- the depths of the body. And to look deep into yourself is scary, very, very scary! And we feel that fear: sticky, viscous, sucking. Costanzo achieves this with ease: we observe the flair of death almost from the beginning. It would seem, wedding, fun, dancing... However, from this moment begins a difficult story of heroes who quietly, almost without hysteria plunge into the darkness of despair. It's about the victim getting stuck in front of the rapist and can't do anything: run away, defend, or breathe.
Of course, it would not have been possible to enter this state without the brilliant work of the operator and his lighting technicians. We are now in a bright world, then in a world of shadows, where everything is incomprehensible and surreal, where the faces of the heroes are distorted, as if we were in a mirror. The production operator plays with optics and changes the objects to wide-angle ones, which distorts the bodies, hands, heads, noses. At some point, the thought comes: what happened to them? How did they get to this? What are they carrying on their bent shoulders? How will they handle it? I think the director invites the viewer to answer these questions himself, to pass through his self and perhaps to reach his own depths.
The film scares, attracts and causes mixed feelings.
The main characters - Jude (Adam Driver) and Mina (Alba Rorwacher) meet in the most unromantic place that can be imagined - in the "trap" in the form of a toilet, the door of which does not open. Mutual sympathy, quick love, pregnancy, wedding... A child is born and then a psychological drama awaits us - a heavy, full of emotions and an oppressive atmosphere.
I watched the film partly because of Adam Driver, now popular because of Star Wars, and partly because of the interesting description. Honestly, I didn’t expect what I saw in the end. The film seemed strange to me, some scenes were quite long, but it leaves a strong impression. Perhaps the best part of the picture is the acting. It was like watching the lives of real people, so naturally and vividly they keep in the frame. The film itself is very realistic.
Mina, frankly, wanted to kill. Alba Rorwacher masterfully embodied the heroine for whom you have negative feelings. Obsessed with crazy ideas, doing stupid things that can cost a child her life. But in the end, I felt sorry for her.
Judah understands from beginning to end. Adam Driver perfectly conveyed all the experiences of his character - you sincerely believe and empathize with him. He is well suited for dramatic roles.
But what I didn't like was the cameraman's job. It's just dragging - awkward, uncomfortable angles, because of which the already not the most cute actors look even more unpleasant than they should not be, too many unnecessary close-ups, twitches, from which you get tired. Sometimes it seemed as if someone was shooting on a tablet. This is a bit of a bad movie.
Also in the film there were scenes that could be without regret cut, because they are drawn out and simply unnecessary.
But mostly, the picture was recognized by critics and received so many festival awards. A film about what can lead to a marriage concluded on emotions. What can lead to a strong belief in dubious books and advice? And the final - although expected, but still sharp as a shot.
I wouldn’t say the movie is for everyone. This is a heavy drama, very peculiarly filmed and even sometimes too realistic. No pleasure, especially aesthetic, the film does not cause. But he cannot remain indifferent. I recommend it to view fans of the genre, as well as those who are ready to squander some moments.
An indie movie. That says it all. This is a festival pamper, he does not need to be watchable. The fact that the pace of the story is very slow is half the trouble. But almost nothing happens in the frame, almost nothing to tell! Not only is the development of events slow, and there are almost no events, there is nothing to develop!
The stated topic is potentially interesting and extensive, here it was possible to develop a conflict, such a drama with a thriller to knead! But everything happens melancholy-phlegmatically, as if all the heroes are half asleep. Look at any episode of Honey, We Kill Our Children: there’s as much drama in a minute of timing as there isn’t in the whole Hungry Hearts movie! There, examples of parental inadequacy are much more vivid, and conflicts do not pass silently, and the characters are more interesting.
In general, the potential of the topic is not disclosed and just a pity for the time spent. Yes, the actors play well, but a very peculiar camera work lubricates the impression. So a few spoons of honey in a barrel of viscous and viscous tar does not paint the big picture, in my opinion.
A wonderful scene-prologue of the film Saverio Costanzo instantly cuts into the memory, so as not to get away from it. In a sense, the absurd situation paints a picture in which the two main characters - hungry hearts - are trapped in the form of a toilet room. While all would be well, there is a terrifying stench inside for a young man whose stomach could not withstand the attack of spoiled food. The door is closed, the window does not open, the heroes meet.
After the toilet scene unfolds the story of a family drama with elements of disturbing suspense and a sense of claustrophobia. After the birth of a child and changes in the character of a woman, it becomes interesting to follow the relationship of the spouses to the victorious end. If anyone notices the parallels with the "apartment trilogy" Roman Polanski, that's all right. The Italian director agrees that comparisons cannot be avoided. The atmosphere is in place.
It should be noted that a serious problem with a woman is demonstrated from the point of view of the spouse. Apart from dreams, there is nothing else to cling to. Mina seems to be slowly shrinking within itself, away from all people and the intrusive world. And the child, according to the mother, should be with her, because only she knows what is best for the child. In most moments, I wanted to strangle the heroine so much that disgust arose for a reason.
On the other hand, you can see how lonely a foreigner feels in New York. One son gives her the feeling that she is alive and able to move on. However, the gradual obsession with healthy eating without meat only exacerbates the already heated conflict between husband and wife. Amazingly, they recently rejoiced at a noisy wedding, and by the end turned into completely strangers. This is not a good thing.
The film would have lost a lot without a strong cast. Volpi Cup of Venice for both performers says a lot. Alba Rorvacher ("Perfect Strangers) skillfully played a woman to whom you feel negative emotions. Adam Driver seems like a scenery, but then the viewer sees how worried he is for his boy. The conflict of their characters is set so that with each new scene it intensifies. They did the job well.
So "Hungry Hearts" is a love story of two people who are ordered to the happy end. What happiness can we talk about when a rational man and a closed woman must coexist in a space closed to the outside world, while a child is forced to grow up with them. It is not his fault that he was born. A creepy, melancholy, touching and empathetic film that is definitely not for one-time viewing.
8 out of 10
P.s. Adam Driver sang a song in Italian. Voice allows.
The stupidest incident introduced Jude and Mina. The young people did not have time to look back as they got married and got a son. But even before the birth, Mina, after several nightmares that she considers prophetic, and a visit to a palmistress who only confirmed her fears, begins to behave slightly inadequately. After the birth of a child, her mania is rapidly gaining momentum and leads to insurmountable disagreements between parents how to raise a baby.
Adam Driver, who grew up with “Girls” Lina Dunham, together with Italian Alba Rorwacher under the wise guidance of the director and screenwriter Saverio Costanzo created an absolutely enchanting family drama. All three received the Venice 2014 awards, Rorvacher and Driver – Volpi Cups for the best actors, Costanzo – a secondary Pasinetti award and a special mention from the organizers. The jury of the Venice Film Festival can sometimes surprise with some absurd decision, but in this case they want to applaud for such a result - the performance of Rorwacher and Driver want to applaud standing.
Artists, all their careers used to play along with the main performers, almost the entire timekeeping of "Brave Hearts" single-handedly occupy the space of this film - ridiculous acquaintance, bed, love, work, wedding, childbirth, verbal skirmishes, tears, love, skirmishes, quarrels, truces, love, again fighting and tragic, sharp as the sound of a shot, the finale. Putting your hand on your heart, approximately such an outcome we expected, but it did not become more digestible and pleasant to taste - shock and trembling all over your body are provided to you.
Hard movie, hard to watch and understand. Thank you Saverio Costanzo for creating this cruel masterpiece that makes you cry and worry about the fate of the heroes. It was a capitalized movie.