#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – In upstate New York in the 1850s, Abigail begins a new year on the rural farm where she lives with her husband Dyer. As Abigail considers the year to come through her journal entries, we experience the marked contrast between her deliberate, stoic manner and her unraveling complex emotions. Spring arrives and Abigail meets Tallie, an emotionally frank and arrestingly beautiful newcomer renting a neighboring farm with her husband, Finney. The two strike up a tentative relationship, filling a void in their lives which neither knew existed.
Plot: In 1856, two women forge a close connection despite their isolation on the American frontier.
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“The World to Come,” the film adaptation of Jim Shepard‘s 2017 short story of the same name, is just as sophisticated and lovely as the author’s elegant prose. Shepard also co-authored the screenplay (with Ron Hansen), and his eloquent writing makes for a lovely film about two women longing for intimacy in the 1800s.
In upstate New York, Abigail (Katherine Waterston) is devastated by grief when her only child dies at the age of four. She does what she can to take care of the home and her farmer husband, Dyer (Casey Affleck). Between the cooking, cleaning, and milking cows, Abigail quietly pens diaries of her feelings, narrating the story from her point of view by reading from her ledgers.
A little excitement comes into the woman’s life when newcomers Finney (Christopher Abbott) and Tallie (Vanessa Kirby) move to town. The two women instantly hit it off and soon learn that they share a much deeper connection than a simple friendship. Their desire leads to a secret affair, causing everyone’s way of life to crumble.
There isn’t much to the story, but director Mona Fastvold‘s thoughtful, beautiful storytelling brings Shepard’s descriptive writing to life. There’s a simmering feminist undercurrent here too, as the film explores the harsh realities that women faced during this period in American History. It was a time when a woman’s self-worth was tied to her becoming a mother, and she was made to feel less than adequate if she could not or would not produce a child. It was a time when women were expected to perform certain duties, controlled by a domineering man or religion. Tallie and Abigail have two very different husbands, one is kind and the other cruel, and their love story is one exhilaration and sadness. Each are imprisoned in a life they can’t escape.
The film features stellar performances from the entire cast, including some of the best career work yet from Kirby and Waterston. Affleck is reliable as a kind man who is full of empathy, while Abbott gives Finney just the right amount of reprehensible. The acting here is just as phenomenal as the writing, and when paired with Fastvold’s choreographed direction, makes “The World to Come” a stunning period drama.
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I’m admittedly not the biggest lover of period pieces or romances set in past centuries. As weird and maybe even unfair as it might sound, in a general way, the dialogues always feel just way too poetic and overly sophisticated for my taste. When it comes to emotional investment in a character or in a relationship, I need realistic elements to grab on to: authentic development, lifelike conversations, and genuine performances. As much as this might upset some people, a film is different from a play or a book. For example, narration often works better in the latter’s case than in a cinematic adaptation.
This prologue serves as a disclaimer for every reader to understand that my opinion about movies within this genre isn’t usually highly favorable. So, unless I strongly believe the film is a total disaster, I’ll never not recommend it. With this said, I know I’ll probably be in the minority regarding The World to Come, but it’s yet another romantic drama that I struggle to really enjoy. It has plenty of remarkable technical aspects and some good performances, but concerning its story and characters, I find it to be quite underwhelming and less surprising than I expected.
First of all, I also confess I have a problem with extensive voice-over throughout the entire runtime of any movie of any genre. Unless the narration holds some sort of unique quality, I find it difficult to be genuinely compelling or entertaining. Ron Hansen and Jim Shepard’s screenplay has as much narration – a character’s thoughts – as it has actual dialogues, which ultimately becomes a divisive aspect I was never comfortable with. On one hand, it undeniably adds substance to Abigail’s emotions by thoroughly describing what she feels about everything and everyone, mainly Tallie, so it’s obviously a crucial part of the narrative.
On the other hand, it carries the exact same tone from beginning to end, without ever having bursts of energy, a humorous observation, or something different from the monotonous, dull sensation of hearing someone merely reading a script. Mona Fastvold employs a purposefully slow pace, which I actually find pretty adequate, but the admittedly well-developed relationship between the two women doesn’t completely compensate for the otherwise unexciting story. Sadly, I don’t believe I cared as much as I was supposed to about Abigail and Tallie. Regarding the husbands, I understand the necessity of making them look apathetic or extremely jealous so that the romantic relationship at the center of the film flourishes, but that partially hurts my interest in the movie.
Even though it’s not exactly the most captivating film I’ve seen lately, it still boasts two good lead performances from Katherine Waterson and Vanessa Kirby. Both share convincing chemistry that turns the intimate scenes more sincere. Technically, I must praise Daniel Blumberg’s beautiful score, which might just be the element that truly kept my eyes on the screen. Jean Vincent Puzos’s striking production design is hard to go unnoticed due to the wonderful scenery. Luminita Lungu’s costume design feels appropriate, but it’s really Blumberg’s music that steals the spotlight. It’s the only component of the movie I’m interested in returning to.
The World to Come is yet another romantic drama set hundreds of years ago that unfortunately didn’t fully convince me. Mona Fastvold’s direction is quite strong, and she shows an excellent control of the purposefully slow pacing. However, Ron Hansen and Jim Shepard’s screenplay relies too much on detailed narration that, despite adding some layers to its characters, ultimately becomes repetitive, overwhelming, and tiresome. Katherine Waterson and Vanessa Kirby try to keep the narrative afloat with two remarkable performances, but they can’t compensate for the unsurprising, underwhelming storytelling. Gorgeous production/set/costume design elevate the film, but it’s the vital musical score without which I would struggle to stay captivated that saves the overall viewing. Story-wise, the best compliment I can offer is that it enlightens its viewers about how women were mistreated at the time and how homosexual relationships have as much or more chemistry as a heterosexual one. Since I’m not the target audience, I still recommend it to fans of the genre.
Portrait of Two Women Extinguished…
Against the warmest 19th century colour, when being yourself was forbidden, a relationship begins but is thwarted, with fossil control and dominance reinstated. Two great performances from Katherine Waterstone and Vanessa Kirby amplified through the acute and sensitive direction of Mona Fastvold.
The intentions and aesthetic aims of this are righteous and therein lies the problem.
The work is from a prose piece and it may be more successful in that medium, some of which was transferred in the overuse of the voice over narration.
As cinema it doesn’t gel despite the pleasant landscapes and settings. It is as Scorsese said of most American cinema, a book with some pictures, and the sources of that weakness are in the script and the direction.
Other problems manifest in the acting which is reactive and somewhat inert, but also as in the script, which is very anachronistic. The ideas and use of speech is more akin to the present than of the mid nineteenth century in rural America.
Films are not documentaries but it strains credibility to set a story in one time and impose, perhaps unwittingly, contemporary mores. That aspect implies the righteousness, and even smugness, of the work, and as something that is implied in the title of the film.
Perhaps read the original story instead.
Original Language en
Runtime 1 hr 45 min (105 min)
Genre Drama, Romance
Director Mona Fastvold
Writer Ron Hansen, Jim Shepard
Actors Katherine Waterston, Vanessa Kirby, Casey Affleck
Country United States
Awards 4 wins & 8 nominations
Production Company N/A
Sound Mix N/A
Aspect Ratio 1.66 : 1
Camera Aaton A-Minima, Zeiss Master Prime Lenses, Arriflex 416, Zeiss Master Prime Lenses
Laboratory Cinelab, Bucharest, Romania (processing), Harbor Picture Company, New York (NY), USA (digital intermediate)
Film Length N/A
Negative Format 16 mm (Kodak Vision3 50D 7203, Vision3 200T 7213, Vision3 500T 7219)
Cinematographic Process Digital Intermediate (master format), Super 16 (source format)
Printed Film Format 35 mm (blow-up), DCP