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★ 6.720181h 29m

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جريمةدراماإثارة

يعمل محارب سابق على البحث عن وملاحقة للفتيات المفقودات، وحين يحاول في إحدى المرات إنقاذ فتاة من شبكة لتسيير الدعارة، تذهب محاولته تلك في مسار خاطئ بشكل مرعب، فتسيطر عليه الكوابيس، وفي نفس الوقت تُكشف مؤامرة كبرى قد تؤدي بحياته أو قد تساعد على يقظته.

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جريمةدراماإثارة

السنة

2018

المدة

1h 29m

IMDb

6.7

Playback

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Release2018

Runtime1h 29m

IMDb★ 6.7

شاهد الآن

طاقم العمل

Lynne Ramsay

Director

Joaquin Phoenix

Joe

Judith Roberts

Joe's Mother

Ekaterina Samsonov

Nina Votto

DP

Dante Pereira-Olson

Young Joe

LC

Larry Canady

Cincinatti Cab Driver

Vinicius Damasceno

Moises

NR

Neo Randall

Moises's Friend

Frank Pando

Angel

John Doman

John McCleary

EL

Edward Latham

Drug Dealer

Alex Manette

Senator Albert Votto

Claire Hsu

Staring Girl

DO

Denis Ozer

Afghan Boy

TS

Tia Sofia Begh

Afghan Girl

LL

Lucy Lan Luo

Dead Girl

AM

Annie Mac-Yang

Dead Girl

LT

Lilian Tsang

Dead Girl

MH

Mengqi He

Dead Girl

Lynne Ramsay

Writer

Jonathan Ames

Writer

الإعلان الترويجي

اختيارات مميزة

هل تريد المزيد من الترفيه؟ استكشف منصة الألعاب المقترحة ووجهة الدراما القصيرة التي نوصي بها.

ألعاب فورية

Gamixo

العب ألعاب المتصفح الخفيفة مثل الألغاز والورق والرياضة والتحديات السريعة خلال ثوانٍ.

دراما قصيرة

VSKIT Drama

شاهد المسلسلات القصيرة الرائجة وقصص الرومانسية والدراما الجديدة مع تحديثات يومية سريعة.

التعليقات

6 تعليق

Lil_shawty306Dec 24, 2024

Pretentious, boring, overly reflective, and clearly aimed at film buffs who will no doubt find all sorts of "references" in this film. Unfortunately, the end product was a very tedious experience in trying to stay awake.

P H Y S SDec 24, 2024

If you thought this was a film about a disturbed loner avenging an innocent, you got snookered. The only way to understand YWNRH is through a Freudian lens. The theme of this film is not father-daughter incest as it appears, but rather mother-son incest. Joe has an incestuous relationship with his mother. "Stay with me a little longer," she says when he puts her to bed. In the next scene, she is trying to cajole him into coming into the bathroom where she is naked. The multiple references to PSYCHO are not a coincidence: this too is the story of a man transformed into a serial murderer by his obscene mother. The story proper is nothing is a paranoid delusion: hence the title of the film and the mysterious "invisibility" of the main character. The true story: Joe, as a child, is dragged into an incestuous relationship by his mother. His father, whose job ought to be to prevent this regressive fusion, does not have the authority to separate them. He is too violent, too weak, or too absent: we never find out. All we ever see of him is a hand holding a hammer. This scene must be understood as a metaphor. Father discovers their relationship and explodes; as he rages impotently with his hammer, mother and son exchange a complicit glance under the bed. Translation of the mother's wink: "He's impotent. You're still MINE." On mother's credenza is a photo of her as a young and beautiful woman and a photo of her son. Father has been eliminated from the picture. Joe rescues abused girls. This is a fantasy. No abused girl ever existed, only an abused boy. Joe invents the story of a girl abused by her father as a displacement of the true abuse: a boy by his mother. What actually happens in the movie, and what is fantasy? What actually happens is very simple. Joe murders his mother. Joe commits suicide. Perhaps the homosexual encounter in the sauna and the drugs are true. Everything else is a delusion that he creates to escape from the horror of the truth. In Joe's fantasy, he is a powerful man and not a victim. He has a benevolent father figure (McCleary). He makes ample use of the hammer which appears to be the only trace of a paternal legacy. The Nina character is how Joe sees his mother: as a beautiful, innocent, prohibited object of desire. Joe's delusion is simultaneously an attempt to understand the truth and an attempt to flee the truth. David Lynch uses this technique more explicitly in LOST HIGHWAY, MULHOLLAND DRIVE, and TWIN PEAKS. It is very effective on film and Lynne Ramsay is right to exploit it. In Joe's delusion, the father (represented by the two- dimensional Votto and Williams characters) takes "illegal" possession of his daughter. In reality, this is how the young Joe perceives his father's possession of his mother: as an unbearable crime that must be punished. Did Joe murder his own father? It is possible. Note that in all of Joe's traumatic flashbacks, women are being murdered, not men. These flashbacks are not real. They are irruptions of Joe's deepest fantasy: murder his mother. He never went to Iraq. One day, like Ed Kemper, Joe finally kills his mother. He is the one who shot her in the head. To exculpate himself, he flees into an unbelievable political conspiracy fantasy in which all symbolic fathers are pedophile criminals. Why is Joe so protective of his mother's privacy? Because he doesn't want anyone to find out what is going on between them. I wasn't sure the director understood her own story until the moment she replaced Joe's sinking mother with Nina. Here she could not be clearer: Nina is just a fantasy screen for Mother. In reality, Joe really does shoot himself in the diner. The fantasy of a happy future with Nina is just a screen. I have read Jonathan Ames before and the theme of maternal incest is often implied (his fascination for transsexuals is further proof of an Oedipal thematic). Good movie.

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