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Critics Consensus Ambitious and visually absorbing, A Hidden Life may prove inscrutable to non-devotees -- but for viewers on Malick's wavelength, it should only further confirm his genius. 80% TOMATOMETER Total Count: 212 72% Audience Score Verified Ratings: 252 A Hidden Life Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. A Hidden Life Videos Photos Movie Info Based on real events, A HIDDEN LIFE is the story of an unsung hero, Franz Jägerstätter, who refused to fight for the Nazis in World War II. When the Austrian peasant farmer is faced with the threat of execution for treason, it is his unwavering faith and his love for his wife Fanni and children that keeps his spirit alive. Rating: PG-13 (for thematic material including violent images) Genre: Directed By: Written By: In Theaters: Dec 13, 2019 limited Runtime: 180 minutes Studio: Fox Searchlight Pictures Cast News & Interviews for A Hidden Life Critic Reviews for A Hidden Life Audience Reviews for A Hidden Life A Hidden Life Quotes Movie & TV guides.
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A Hidden Life Theatrical release poster Directed by Terrence Malick Produced by Elisabeth Bentley Dario Bergesio Grant Hill Josh Jeter Written by Terrence Malick Starring August Diehl Valerie Pachner Matthias Schoenaerts Music by James Newton Howard Cinematography Jörg Widmer Edited by Rehman Nizar Ali Joe Gleason Sebastian Jones Production company Elizabeth Bay Productions [1] Aceway Studio Babelsberg Distributed by Fox Searchlight Pictures Release date May?19,?2019 ( Cannes) [2] December?13,?2019 (United States) Running time 174 minutes Country United States Germany Language English German Budget $7?9 million [3] Box office $4. 1 million [4] [5] A Hidden Life (formerly titled Radegund) is a 2019 epic historical drama film written and directed by Terrence Malick, starring August Diehl, Valerie Pachner, and Matthias Schoenaerts with both Michael Nyqvist and Bruno Ganz in their final performances. The film depicts the life of Franz Jägerstätter, an Austrian farmer and devout Catholic who refused to fight for the Nazis in World War II. The film's title was taken from George Eliot 's book Middlemarch. The film had its world premiere at the Cannes Film Festival in May 2019 and was theatrically released in the United States on December 13, 2019. [6] It was the final film to be released under the Fox Searchlight Pictures name before Walt Disney Studios changed the company's name to Searchlight Pictures on January 17, 2020. Plot [ edit] Austria, 1939. Peasant farmer Franz Jägerstätter ( August Diehl), born and bred in the small village of St. Radegund, is working his land when war breaks out. Married to Franziska (Fani) ( Valerie Pachner), the couple are important members of the tight-knit rural community. They live a simple life with the passing years marked by the arrival of the couple's three girls. Franz is called up to basic training and is away from his beloved wife and children for months. Eventually, when France surrenders and it seems the war might end soon, he is sent back from training. With his mother and sister-in-law Resie ( Maria Simon), he and his wife farm the land and raise their children amid the mountains and valleys of upper Austria. Many scenes depict cutting and gathering hay, as well as the broad Inn River. As the war goes on, Jägerstätter and the other able-bodied men in the village are called up to fight. Their first requirement is to swear an oath of allegiance to Adolf Hitler and the Third Reich. Despite pressure from the Mayor and his farm neighbors, who increasingly ostracize him and his family, and from the Bishop of Salzburg, Jägerstätter refuses. Wrestling with the knowledge that his decision will mean arrest and even death, Jägerstätter finds strength in Fani's love and support. Jägerstätter is taken to prison, first in Enns, then in Berlin and waits months for his trial. During his time in prison, he and Fani write letters to one another and give each other strength. Fani and their daughters are victims of growing hostility in the village over her husband's decision not to fight. Fani is eventually able to visit her husband in Berlin. After months of brutal incarceration, his case goes to trial. He is found guilty and sentenced to death. Despite many opportunities to sign the oath of allegiance, and the promise of non-combatant work, Jägerstätter continues to stand up for his beliefs and is executed by the Third Reich in August 1943, while his wife and three daughters survive. Cast [ edit] Production [ edit] Development [ edit] On June 23, 2016, reports emerged that A Hidden Life (initially titled Radegund) would depict the life of Austria’s Franz Jägerstätter, a conscientious objector during World War II who was put to death at the age of 36 for undermining military actions, and was later declared a martyr and beatified by the Catholic Church. It was announced that August Diehl was set to play Jägerstätter and Valerie Pachner to play his wife, Franziska Jägerstätter. [7] Jörg Widmer was appointed as the director of photography, having worked in all of Malick's films since The New World (2005) as a camera operator. Writing [ edit] Malick said A Hidden Life will have a more structured narrative than his previous works: "Lately ? I keep insisting, only very lately ? have I been working without a script and I've lately repented the idea. The last picture we shot, and we're now cutting, went back to a script that was very well ordered. " [8] Filming [ edit] The film began production in Studio Babelsberg in Potsdam, Germany in summer 2016. From 11 July through 19 August 2016 the production shot on location in South Tyrol. Locations there were the church of St. Valentin in Seis am Schlern, the valley of Gsies, the village of Rodeneck, the mills in Terenten, the meadows of Albions in Lajen, the Seiser Alm, the Taufers Castle, the Fane Alm in Mühlbach, the Puez-Geisler Nature Park, the renaissance Velthurns Castle in the village of Feldthurns, the Franzensfeste Fortress, the gardens of the bishop's Hofburg in Brixen and the Neustift cloister. [9] [7] In August 2016 reports emerged that some of the film's scenes were shot in the small Italian mountain village of Sappada. [10] Post-production [ edit] Actor Franz Rogowski said in a March 2019 interview that no one knew how the film would turn out or when it would be released, considering that it had been in post-production for more than two years at that point. Rogowski added that Malick is "a director who creates spaces rather than produces scenes; his editing style is like that. " [11] Music [ edit] The film's original score was composed by James Newton Howard and features violinist James Ehnes, who had also performed with the composer on his violin concerto released in 2018. [12] [13] It was released by Sony Classical Records on December 6, 2019. Speaking about the score, Newton Howard stated that "It is a spiritual sounding score... Terry often spoke about the suffering inherent in love, and you feel yearning, suffering and love in that piece" The score features 40 minutes of original score mixed with selected classical works by Bach, Handel, Dvorak, Gorecki, Pärt and many others. It was recorded at Abbey Road Studios in London in one day in June 2018 with a 40-piece string section conducted by Pete Anthony with Shawn Murphy as score mixer. [14] All music is composed by James Newton Howard, except where noted. A Hidden Life (Original Motion Picture Soundtrack) No. Title Length 1. "A Hidden Life" 2:51 2. "Israel in Egypt, HWV 54, Part I, No. 16 "Chorus: And Believed The Lord"" (Simon Preston conducting the Choir of Christ Church Cathedral, Oxford and English Chamber Orchestra) 4:25 3. "Surrounded by Walls" 2:53 4. "Return" 2:41 5. "Indoctrination" 2:12 6. "Morality in Darkness" 3:13 7. "Love and Suffering" 7:44 8. "Tabula Rasa: II. Silentium" ( Jean-Jacques Kantorow conducting the Tapiola Sinfonietta) 15:46 9. "Hope" 2:30 10. "Descent" 6:25 11. "Czech Suite in D Major, Op. 39: I. Allegro Moderato" ( Antoni Wit conducting the Polish National Radio Symphony Orchestra) 3:54 12. "Kleines Requiem für eine Polka, Op. 66: IV. Adagio Cantabile" ( Rudolf Werthen conducting the I Fiamminghi) 6:25 13. "Knotted" 3:39 14. "There Will Be No Mysteries" 4:42 Total length: 69:30 Release [ edit] A Hidden Life premiered in competition at the 72nd Cannes Film Festival on May 19, 2019. [15] The following day, the film was acquired by Fox Searchlight Pictures for $12?14 million. [16] [3] The film screened at the Vatican Film Library on December 4, 2019, with Malick making a rare public appearance to introduce the film. [17] It was released in limited release in the United States on December 13, 2019 followed by a wide release in January. [18] Reception [ edit] On review aggregation website Rotten Tomatoes, the film holds an approval rating of 80% based on 211 reviews, with an average rating of 7. 44/10. The site's critical consensus reads, "Ambitious and visually absorbing, A Hidden Life may prove inscrutable to non-devotees?but for viewers on Malick's wavelength, it should only further confirm his genius. " [19] On Metacritic, the film has a weighted average score of 78 out of 100, based on 43 critics, indicating "generally favorable reviews". [20] Peter DeBruge of Variety writes: "Whether or not he is specifically referring to the present day, its demagogues, and the way certain evangelicals have once again sold out their core values for political advantage, [ A Hidden Life] feels stunningly relevant as it thrusts this problem into the light. " [21] Jägerstätter biographer Erna Putz was touched by the spirituality of the film after a private screening in June 2019, stating that Malick has made an "independent and universal work". She also considered Diehl and Pachner's performances to be accurate to who Franz and Franziska were ("Franz, as I know him from the letters, and Franziska, as I know from encounters. "). [22] Accolades [ edit] References [ edit] ^ McCarthy, Todd (May 19, 2019). " ' A Hidden Life': Film Review | Cannes 2019". The Hollywood Reporter. Valence Media. Retrieved May 24, 2019. ^ "The Screenings Guide 2019". May 9, 2019. Retrieved May 9, 2019. ^ a b D'Alessandro, Anthony (May 23, 2019). "The Epic Three-Year Journey Of Terrence Malick's 'A Hidden Life': Can Disney-Fox Searchlight Improve Auteur's B. O. Track Record? ? Cannes". Deadline Hollywood. Retrieved May 23, 2019. ^ "A Hidden Life (2019)". Box Office Mojo. IMDb. Retrieved 23 February 2020. ^ "A Hidden Life (2019)". The Numbers. Retrieved February 23, 2020. ^ "Cannes festival 2019: full list of films". The Guardian. Retrieved 18 April 2019. ^ a b "Terrence Malick Announces Next Film 'Radegund, ' Based on the Life of Franz Jägerstätter". The Film Stage. 2016-06-22. Retrieved 23 June 2016. ^ Sharf, Zack (6 April 2017). "Terrence Malick Vows to Re
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Film a hidden life ?????. Movie A Hidden life story. The most iconic and best female superhero of all times. I didn’t put any of Terrence Malick’s films on my list of the best movies of the decade, but I did mention him as one of the decade’s best directors. The run of movies that he’s made in the past ten years?“ The Tree of Life, ” “ To the Wonder, ” “ Knight of Cups, ” and “ Song to Song ”?is, in effect, a single movie, ranging over the places and experiences of his life and linking them to a grand metaphysical design. He is, moreover, one of the few filmmakers?ever?to realize a style that matches such a transcendent goal. Yet, when I heard that the subject of Malick’s new film, “A Hidden Life, ” would be the story of an Austrian soldier who refuses to fight on behalf of Nazi Germany, I worried. Malick’s recent string of glories focusses on places that he knows well and at first hand. He has spent plenty of time in Texas, France, and Hollywood, but he has, of course, never been to Nazi Germany. Even so, I walked into “A Hidden Life” buoyed by confidence in the impulses and intuitions of such a great director. It’s painful to discover that “A Hidden Life” is as aridly theoretical and impersonal as its bare-bones description suggests. It’s based on the true story of Franz Jägerstätter (August Diehl), an Austrian farmer living peacefully in the rustic farm village of Radegund with his wife, Fani (Valerie Pachner), their three young daughters, her sister (Maria Simon), and his mother (Karin Neuhäuser). In 1940, he’s conscripted into the Army?at a time when Austrian soldiers, in the wake of the Anschluss, were forced to swear an oath of loyalty to Hitler. Franz doesn’t believe in the Nazi cause or agree with its racial hatreds. He thinks that Germany is waging an unjust war, and he doesn’t like Hitler. He shows up for military duty grudgingly but refuses to swear the oath, claiming conscientious-objector status, and is consequently arrested and imprisoned. Meanwhile, his outsider status?as other men in the village have gone off to fight and die?leads to Fani and their children being ostracized, apart from the secret support of a few friends who share Franz’s sympathies but not his resolve or courage. The movie includes heavily edited illustrative clips from newsreel footage, showing the destruction of the Second World War, Hitler giving speeches, and Nazi rallies. These clips present both a mystery and an authenticity that nothing in the rest of the film can match. For that matter, clips from home movies of Hitler appear, appallingly, as part of a dream sequence, but they seem tossed in, mainly serving as a reminder of Hitler’s ubiquity at the time. This historical footage overwhelms the entire movie, turning the dramatization into a virtual puppet show. Franz and Fani are seen romping through the fields of Radegund, like blissfully ignorant children, until the lightning bolt of the military draft strikes their household, in 1940, two years after the Anschluss and seven years after Hitler came to power. It’s as if politics and its cultural and local correlates had never existed in Austria. The townspeople appear to have been living like Rousseauian innocents, in a state of natural nobility tinged by a golden drop of Catholicism?happy, safe, and holy. Their village is a hermetic, apolitical, and utterly pre-modern agrarian paradise. The first sign of trouble, ludicrously, is the sound of an airplane overhead, which makes Fani tilt her head upward in bewilderment. Meanwhile, the village’s committed Nazi mayor (Karl Markovics) drunkenly rails against “outsiders” and “immigrants”?but did he and his hatreds suddenly come from nowhere? Austrian politics throughout the nineteen-thirties were turbulent, and the Anschluss happened in 1938, yet it seems that politics didn’t penetrate the village’s rustic fabric until the draft snapped up Franz, in 1940?and, even then, he takes his conscription and training as a sort of summer-camp game (though he is conspicuously alone among recruits in not applauding a newsreel of German military victories). Returning home, Franz worries about the possibility of being called to active duty; he refuses to say “Heil Hitler” to passersby. (His response of “Pfui Hitler” gets him into trouble. ) Then, in 1943, he is asked to report to the barracks for active duty; that’s when he refuses to swear the oath to Hitler. The familiar freedom of Malick’s rhapsodic cinematography is here largely sacrificed to illustrative and indicative images (the cinematographer is Jörg Widmer, who was a camera operator on several of Malick’s earlier films) and the acting is constrained to match, reduced to facile theatrics and superficial expressions, smiling and frowning, gleeful frolics and heavy trudges. Before the trouble strikes, family happiness is shown in the carefree laughter of a game of blind man’s bluff, the ardent young couple romps in the fields while cutting hay or travelling a farm road. The natural splendors of Radegund are postcard-like; the plunging and surging camera work is merely a tic. More or less every shot represents a descriptive line in a screenplay rather than a free observation or a distillation of inner experience; each image checks off predetermined points rather than effecting discoveries. The entire movie seems designed to illustrate a thesis, one that’s explicitly stated in the film, albeit inversely. “A Hidden Life” is designed solely to contradict the warning of Nazi officials that Franz’s resistance is futile, not only because he’ll be executed but because his sacrifice will be forgotten and remain unknown and without effect or influence. By the very fact of making the film, Malick both remembers the story and calls it to viewers’ minds?though he isn’t the single-handed recoverer of an otherwise-lost historical event. The letters between the real-life Franz and Fani have survived and have been published, and they provide the basis for the film (as well as the texts for some of its voice-overs). Malick is transmitting a story of which powerful documentary traces remain. What’s missing from his depiction of Franz’s resistance is literally the documentary aspect, the element of the story that connects it directly to Malick’s first-person obsessions. It is Malick’s extreme and original approach, in his past decade of work, to experience and observation that has led to his furiously lyrical transcendental style. The present-tense-based dramatizations that, when they involve Malick’s own life and his own places, people, and activities, have been so comprehensively challenging, prove, in “A Hidden Life, ” vague, impersonal, and complacent. Malick has turned his own idiosyncratic manner into a commonplace, a convention, a habit. There’s one moment in which Malick declares something like an artistic purpose?a scene in which an artist painting scenes from the life of Christ on the walls of the local church complains to Franz of his own inadequate work as a painter of consolation rather than of torment, of reverence rather than of sacrifice. (The artist also alludes to the vain confidence of parishioners that they’d have stood with Jesus rather than with his persecutors?a line that hits Franz like a challenge. ) Malick stands on both sides of the equation: he offers images of earthly rapture, suggesting the virtual paradise given to humanity, and he also offers images of torment and agony, suggesting the spoliation, through sin, with which humanity has besmirched that paradise.
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