Rendező:
Roman PolańskiForgatókönyvíró:
Rafael YglesiasOperatőr:
Tonino Delli ColliZeneszerző:
Wojciech KilarTartalmak(1)
A film egy dél-amerikai országban játszódik, egy véres diktatúra leverését követően. Paulina ebéddel várja férjét, Gerardo Escobart, aki a rezsim ellenes mozgalom vezetője volt. Gerardo egy ismeretlen férfival tér haza, aki segített neki, amikor defektet kapott az úton. A nő lassan rádöbben, hogy az idegen egyike volt azoknak, akik korábban kihallgatták, megkínozták és megerőszakolták. Nem ismeri a férfi külsejét, ugyanis be volt kötve a szeme, de az illata, a hangja és a zenei ízlése alapján felismerte őt. Bár nem biztos a férfi kilétében, a feltörő emlékek hatására váratlanul felébred benne a bosszúvágy. A szerepek ezúttal felcserélődnek: kínzóból áldozat, áldozatból pedig kínzó lesz. (Mokép)
(több)Recenziók (4)
Briliáns színházi pszichológiai dráma, amely a bűn, a bűnösség és a büntetés jogának etikáját boncolgatja. Filmalkotók generációi tanulhatnak abból, amit Roman Polanski itt egy nappaliban és három színésszel készített. Sigourney Weaver itt élete alakítását nyújtja.
()
A superb conversational thriller that reliably keeps the viewer guessing, thanks mainly to the excellent performance of Sigourney Weaver, who very convincingly straddles the border between a traumatised person longing for revenge and madness. Polanski has never impressed me very much (not even this time), but this film at least doesn’t feel as cold and emotionless as the rest of his work. Death and the Maiden really deserves attention.
()
Sigourney Weaver became a superstar of the highest caliber and a sought-after representative of strong female characters thanks to her role as Officer Ripley in the Alien saga. However, the Film Academy avoided her for a long time. Most film fans associate her acting peak with the Oscar-winning film Gorillas in the Mist, but I argue that she showcased her acting mastery best in Polanski's unassuming intimate film Death and the Maiden. Polanski often and successfully used stage adaptations as a starting point for his dramas. I consider this piece to be his "most theatrical." Three top-notch actors and an excellent screenplay keep the viewer in suspense and uncertainty until the very end, unsure of which side of the conflict to take, who the actual victim is, and which path leads to coming to terms with a dirty past. Polanski directed an emotionally charged conversational drama that only has one weakness, which is that some viewers would (quite understandably) prefer a more visually appealing form of an impressive thriller. Overall impression: 90%.
()
Another dense filmmaking experience from the master. A film built on three exceptional performances and a thematically strong and rewarding story. Gradually escalating and revealing a shocking truth that is clear from the beginning, but we want to hear it at the end. The ending is not cathartic, is just natural, and the rest is a solid psychological game of who with whom. Too bad that the hints of legal issues and the question of guilt/innocence and the right to punish/not to punish are much less entertaining than the similarly atmospheric, depressing but much more personal and intimate Bitter Moon, which the viewer can relate to much better.
()