PLOT Lelay Marie is a French journalist to death and survived the tsunami. Returning to Paris, he wonders about his experience hanging between shimmer and dark, alienating fiance and editor. Marcus is an English child survived the mother a drug addict and his twin brother, hit by a car and a tragic destiny. Lost and 'odd' but stubbornly tries in vain to get in touch with Jason, which wears the hat, and preserves the remains lovable. George Lonegan is an American worker can see beyond life. Decided to reject that gift and to finally win a life normal, George 'listens' to the novels of Dickens and attended a course in Italian cuisine. It will be the "Little Dorrit" by British writer to take him to London, where he lives and Marcus presents his new book, Marie. The meeting will be inevitable. George Marcus and Marie will find relief and answers on this side of life.
You can not see "beyond" of things without being a prisoner of pain. I know George and Marie, adult protagonists Hereafter, which have hovered in the doorway, experiencing death and escaped to better enjoy all that remains live in the world. A world made less imperfect by a boy in his eyes and gestures, something kind. Something that will appeal to Matt Damon and George will find a bank to his solitude. In an extraordinary composure of classicism, which gives a moment of almost unbearable tension in the sequence of long and fierce tidal wave, the latest film by Clint Eastwood teaches something about life confronting death, that occurred (Marie), that suffered (Marcus ), the shared (George). Hereafter
acknowledges that life is an experiment with a term to be set through prospects for this front: on this side and beyond the boundary that separates the presence absence. It is this line of demarcation to make a pivot for mounting alternate lives of a woman, a man and a child inside a geometry of dazzling clarity and urban spaces designed to pass on to their destiny as a social novel by Dickens. Destinies inevitably derailed and hit hard by nature (the tsunami in Indonesia), from the social tensions (the terrorist attacks on the London Underground), the fatality (the accident), for which they meet for a moment (or life) in a mutual exchange of salvation. Because from time Eastwood's characters have left the typical American hero isolationism in favor of a dialectic that has in place multi-party claims and contrast.
Hereafter is no exception and prepares l’incontro, il controcampo del campo: lo sguardo di Cécile De France che ha visto, quello di Matt Damon che riesce a vedere, quello del piccolo Frankie McLaren che vuole andare a vedere. Facendosi in tre l’autore mette lo spettatore al centro di qualcosa di indefinibile eppure familiare come il dolore dell’essere, produce punti di vista potentemente fuori binario sul tema della morte e offre a Damon l’occasione di comporre la migliore interpretazione della sua carriera. Disfandosi della cifra della neutralità, il divo biondo conquista l’emozione e la cognizione del dolore, abitando un sensitivo che ha visioni di morti (e di morte) al solo contatto delle mani, una tristezza profonda piena di pietà e il desiderio di smettere of viewing the past of those who remain and imagine the future (and taste) of a kiss. Hereafter
Clint Eastwood has a vocation to the nuances, dares to explore the death with the grace of the poet, and asks questions on matters philosophical and spiritual in contrast to the weakness of the present and in a poignant epilogue to a feeling of energy crop in the future. Harvest inevitable, as a transition and all other dynamic nature.
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