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The roads not taken premiere. Türkischer laden schorndorf. The roads not taken interview. The roads not taken trailer german. Click To Watch And Download Movies For Free Watch The Roads Not Taken Full Movie: The Roads Not Taken?(2020) with English Subtitles ready for download,?The Roads Not Taken?2020 720p, 1080p, BrRip, DvdRip, Youtube, Reddit and High Qualit It’s a character study. One that marks the spaces in between conversations. The silences, moans and groans. It’s about someone living in a parallel world of dreams and a patchwork of memories. Leo (Javier Bardem), a writer, is suffering from dementia. Barely able to live on his own. Tended to by a caregiver. His life is managed by his twentysomething daughter Molly (Elle Fanning), a journalist, who is torn between her career and his day-to-day needs. She is bewildered by his lapses. Molly: “Where have you been all day dad? ” Exasperation comes with the territory. Leo is oblivious to the amount of attention he needs and the time she gives him. He’s floating in and out of reality?more and more. And on this day, his determined offspring is taking him to the dentist and other appointments. Their story is told over a 24-hour period. Javier Bardem and Elle Manning in The Roads Not Taken (Photo/NNPA) The main problem for this well-intentioned project, by writer director Sally Potter (Orlando), is that it focuses on a writer who second guesses the choices he has made in life. Many of them selfish. He stopped to form a family, but there is no indication that he appreciates what he has. It’s easy to sympathize with the disease. Not so much with the self-involved man. A touch more empathy might be placed with his daughter, but in ways her ineptness tests your patience too. A responsible person, when taking a man with cognitive deficits into a store, would watch him like a hawk. She flubs that. Plausibility isn’t a major concern in Potter’s underdeveloped script. Sympathetic characters also are not high on that list. She guides the actors like a drama coach working with students, rather than an astute director helping Oscar-caliber professionals find the core of their characters. Her process of taking this well-intentioned premise from story to script to screen seems like it skipped a couple of steps. Bardem’s interpretation of what’s on the page is as well formed as it can be. He searches for depth that doesn’t exist in this fairly shallow role. In the film The Sea Inside, Bardem played a quadriplegic with even less control of his body and could only use his head to communicate. He was far more expressive in that movie largely because its screenplay and direction gave him the tools he needed to do a stellar job. Fanning seems to grasp at straws. Laura Linney plays her mother like she is doing an off- Broadway play. It’s a very studied performance that never finds the emotional core of the estranged wife. Selma Hayek, as Leo’s old girlfriend, is wasting her talent. The artistry that surrounds this family portrait is impeccable. Subtle string music cries and sings a constant dirge (composer Sally Potter). The colors (salmon and lime colored walls) are so beautiful that they almost steal your eyes away from the story (art directors Bárbara Perez-Solero and Linda Wilson). Leo’s New York apartment, his old house in Mexico, a waterside bar in Greece, a seedy NYC garage?they all represent his surroundings and backlight his tale in the most atmospheric ways (production designer Carlos Conti, The Mustang; set decorators Deila Picirilli and Linda Wilson). The lighting, which is equally exquisite, flatters the deep crevices of Bardem’s aging face. The composition of each shot is pure art, from hallways, to bedrooms, to kitchens (cinematographer Robbie Ryan, The Favourite) Maybe if Leo was so evil in his last life, his current purgatory would be karmic and more compelling to watch. Maybe if he had been a saintly man previously, the tragedy of his current situation would be absolutely heartbreaking. Neither is the case. As is, audiences may find it a struggle to like Leo. A struggle to like the film. That’s unfortunate, since so many adults are becoming caregivers to parents with dementia. This could have been a road map for many. Instead it ends at a fork in the road. Visit NNPA News Wire Film Critic Dwight Brown at and BlackPressUSA Editor’s note: This review was originally published at the 2020 Berlin Film Festival. Bleecker Street releases the film on Friday, March 13. Molly (Elle Fanning) is sick of the way that people tend to dehumanize her dad (Javier Bardem), as soon as they realize that he suffers from some kind of advanced dementia. The cab drivers are nice enough, but the dentist, the eye doctor, and even Leo’s ex-wife (Laura Linney) talk to him as if he’s nothing more than his tragically premature condition. “Why does everyone always refer to dad as if he’s not here?, ” Molly asks her mom. And the inevitable, exasperated reply is one of those lines that you can hear in your head before it’s even spoken: “Is he? ” That might sound like a rhetorical question, but Sally Potter’s “The Roads not Taken” doesn’t frame it like one. On the contrary, this curious and heartfelt dirge of a movie hinges on the magical thinking that Leo has actually left his body, and that nobody knows where he went. The shell is still there, mumbling and walking and pissing itself in public, but the ghost has gone AWOL. RELATED ‘I Will Make You Mine’ Review: Cinema’s Most Casual Trilogy Ends on a High Note ‘Lapsis’ Review: Clever Sci-Fi Dramedy Tackles Corporate Greed With Style and Surprises Potter, an idiosyncratic British filmmaker (“Orlando, ” “Yes”) who seems to have rediscovered an urgent creative purpose in her 60s, draws from her personal experience of caring for her younger brother as he died from early onset Alzheimer’s. At first, she captures the inner tension of loving someone in that state ? the heartbreaking friction between presence and absence. But Potter is determined to fracture her movie even further from there and develop it into a strained, time-hopping tale about ? well ? the roads not taken. Where has Leo gone? Into the other lives that he might have lived had he never emigrated from Mexico to New York, or had he returned home after having Molly and pursued a solitary existence as a writer. The moribund character drama that Potter wrings from that premise is far too sensitive and searching to become what Leo might describe as “a beautiful disaster. ” And yet, its hero’s journey back to himself is impossible to square with a disease that doesn’t just obfuscate a person’s identity, but obliterates it completely. There’s nothing speculative or romantic about a massacre like dementia. It’s a process of erosion, not discovery; it asks “what was, ” not “what might have been. ” And while it’s touching how Potter tries to restore a measure of humanity to someone who’s being robbed of what little they have left, her movie never takes you anywhere because there’s nowhere for Leo to return. The exact nature of Leo’s dementia is never diagnosed on screen, but it’s rather advanced by the time that “The Roads not Taken” begins. Molly shows up at her dad’s ramshackle Brooklyn apartment beside the Myrtle Avenue J/M/Z tracks, relieves Leo’s hired aide, and immediately puts on a brave face and a pained smile to prepare for the day they’re about to spend together. Fanning is a palpably intuitive actress, and you can feel her character negotiating her grief in real time ? fighting to find her dad inside the ruins of his own mind, even if there’s no reality in which she could. If she keeps looking, he must still be in there. She refuses to treat his mutterings like gibberish, which means that when Leo mentions a mystery woman named Dolores, his daughter interprets it as a clue.
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