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100 M genre=Drama writed by=William Nicholson Annette Bening Just watching this mad me tear up,cant wait to see this. Annette Bening and Josh O'Connor in 'Hope Gap' (Photo credit: Robert Viglasky) BFI London Film Festival William Nicholson’s Hope Gap, starring Annette Bening, Bill Nighy and Josh O’Connor had its U. K. premiere at the BFI London Film Festival. Hope Gap is William Nicholson’s second feature film. Known for his work as a screenwriter?being one of the writers for Ridley Scott’s? Gladiator? (2000)?and young adult novels, Nicholson had his big break with? Shadowland, a drama he made for the BBC, produced by David Thompson, which went on to win the BAFTA for the Best British Television Drama.? Shadowland was subsequently expanded by Nicholson into a play. It had such a great success on Broadway that the stage play was then adapted into a film directed by Richard Attenborough and starring Anthony Hopkins. The screenplay was eventually nominated for the best screenplay award at the Oscars. His first feature was a beautiful film called? Firelight, starring Sophie Marceau and Stephen Dellane, produced by Disney for $9. 5 million but which sadly did not do so well in the box office, probably because it was not so well marketed and distributed. Hope Gap is also derived from one of Nicholson’s stage plays, named? The Retreat from Moscow, which starred John Lithgow, Eileen Atkins and Ben Chaplin. In his filmic adaptation of his own play, Nicholson now directs Josh O’Connor, as the 28-year-old son Jamie, Annette Bening playing the mother Grace and Bill Nighy, who plays Edward the father. Autobiographical in nature, the film tells the story of the break-up of a thirty-year marriage, with the grown son finding himself stuck in the middle. The name of the original play refers to a moment in history during Napoleonic times, when soldiers were wounded, the carriage would deliberately drive over rotten ground in the hope that the wounded soldiers would fall off and thus be left behind. This is a story which the history teacher Edward repeats twice throughout? Hope Gap, serving as a metaphor as to how he views the state of his marriage with Grace. Hope Gap? is an intense film, portraying the crudeness of all three of its characters’ emotional states after the break-up. The film is at times too emotionally draining, lightened up with some funny moments. At the London Film Festival, where the film had its U. premiere this Friday, Nicholson discussed his career and the making of? Hope Gap. The film is based on his own life when his parents separated when he was 28. Like the character Jamie, he was being pulled between his parents, acting as the go-between. It felt for him like something was parting inside him, he said. Bill Nighy in 'Hope Gap' Nicholson explains how he changed some details of what happened in his life to make the story more cinematic. In one sequence at the beginning of the film, Edward tells Jamie that he plans to leave Grace that very day. Edward tells his son before he even reveals this to his own wife first. The suspense builds as Grace returns from church completely unaware of what is about to befall upon her. This is an element which Nicholson added to create a more emotional scene for the break-up. For Nicholson, his film is entirely dependent on the casting and the actors’ performance. Annette Bening’s performance is heart-breaking, showing the extent of her character’s despair at being left by her husband, feeling that her thirty years of marriage was just a lie. Although at one point, her character plunges a little too much into pathos. In one sequence, when Jamie comes to visit her, now alone in the big family home, he finds notes with the words “I love you” everywhere, in the fridge, amongst the cutlery. She tells him it is in the hope that upon seeing it her husband might decide to return to her. Bill Nighy’s character is withdrawn, the typical closed-off English man unable to articulate his emotions. Josh O’Connor’s performance communicates this state of being torn between two parents, unable to take sides. It is his scenes with Annette Bening that are most poignant. It is, however, unclear from whose perspective this story is being told. While the film has Jamie’s voice-over narrating some aspects from the son’s point of view, the film also shows Grace’s memories. This confusion is apparent from the very opening sequence, in which Jamie narrates his memory of the beach named Hope Gap. At the same time, the film shows Bening sitting on the beach looking at a young boy, suggesting that she is also remembering the time when her son was still a child. Hope Gap was an independent production with David Thompson as producer.? Hope Gap? is distributed by Curzon in the U. K.

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William Nicholson's drama stars Annette Bening and Bill Nighy as an aging British couple navigating an unexpected divorce. Hope Gap arrives as a rare modern example of the old-school British playwright brand of cinema, in which the camera is trained obediently upon well-spoken actors as they precisely enunciate their well-wrought lines. Aside from the occasional drone shot that ventures out past the white cliffs to scenically take in the English Channel below, this is a film that could as easily have been made in 1949 as in 2019, which to a handful of viewers will represent a good thing but to others will seem impossibly retrograde. A mature public, which represents the target audience for veteran screenwriter William Nicholson's study of the divorce of a longtime couple played by Annette Bening and Bill Nighy, will mostly wait to catch this on home screens rather than in a cinema. Puzzling though it may be, the film's title is positively scrutable compared to that of the play it is based on, Nicholson's The Retreat From Moscow. Napoleon's humiliation, a tad grandiose a metaphor for a husband's abandonment of his presumably once-cherished wife, is mentioned briefly in the drama, which originally debuted onstage at the 1999 Chichester Festival. With John Lithgow and Eileen Atkins in the leading roles, the Broadway production was a modest success and multiple Tony Awards nominee in the 2003-04 season. Act one is set almost entirely in the cozy Seaford, East Sussex, home of Edward and Grace, whose 29th anniversary is approaching (in the stage version they've been married 33 years). Wasting no time, Nicholson fearlessly gets right to the point in exposing the couple's winterish discontent. Grace issues such tart complaints as, “Do I have to do everything? ” and “I say things. Why don't you say things? ” and then boldly inquires, “We are happy, aren't we?, ” to which Edward blandly replies, “Why wouldn't we be? ” In search of a bit of solace, Grace thereupon toddles off to Sunday mass; naturally, Edward is a non-believer. Thus is laid out the measure of Edward's displeasure. “Things are coming to a head, ” Edward, a teacher, warns his son Jamie (Josh O'Connor), who's briefly down from London and learns the news of his father's intention to leave his mother before she does. “She'll be better off without me, ” Edward insists, before adding that, oh, by the way, “There's someone else. ” When he succinctly announces all this to Grace upon her return from church, she is incredulous and insists that he stay so they can right the ship. For his part, Edward believes that saying “I'm no good for you” should be enough; all he wants is a quick exit from the excruciating situation, which he manages. The only thing missing here is a curtain coming down or a title announcing, “End of Act One. ” Every dramatic detail in this relatable microdrama is scrupulously tended to, every comma and period is in place, every sorry admission is conveyed with just the right measure of weary regret or anger, and each attempt by Grace to perform a last-minute rescue proves more pathetic than the last. What's most admirable in the writer's approach is his even-handed fairness toward both characters, his refusal to point a finger of blame or subtly take sides. Neither is more in the wrong than the other; the only thing that's unfair is that one of them has someone else to go to, while the other is left high and dry. Bening, employing a steady, all-purpose British accent, credibly registers the full measure of shock, dismay and disbelief that any woman, but perhaps especially a long-married one in her 60s, might be expected to convey. As for the older-looking Edward, he just wants to get out of the room and go somewhere to quietly read a book without Grace bothering him all the time. Nighy has often played wild, unhinged, hilarious characters, so his seriously tamped-down turn here reveals the far opposite end of his range. What's odd about this take on a long-term couple's break is that it is conducted in front of an adult son, so there's hope after the half-hour first act that Jamie, who is in his mid-20s, might emerge with a monkey wrench to twist the drama in an unexpected direction. Unfortunately, the young man, both as written and acted, proves to be a wash-out, a gaping-mouthed lad who has no spark, insight or anything useful to say and is scarcely believable as the son of his two intelligent, if emotionally imbalanced, parents. The fact that O'Connor resembles neither of the actors playing his parents can't go unnoticed, either. After a spell spent sharing Grace's self-imposed solitary misery, the film turns to the couple's first post-split encounter where they're meant to sign papers giving her full ownership of their house, which unsurprisingly doesn't go as planned. Visits to the great cliffs overlooking the Channel provide an occasional visual break (the pic's title refers to a certain spot along the coast), but nothing can conceal that the whole enterprise feels hyper-calculated in what might call an anti-Pinterish way, in that bile and biliousness are held in check. Nicholson directed one previous film, the 1830s-set romantic melodrama Firelight in 1997, and his approach here can simply be called direct and fully devoted to the support of the script. The issue is that there is no subtext or undertones, the suggestion of nuance and complexities. The characters proclaim their positions, announce what they feel and think but, despite this, we know little about them other than their feelings about the immediate subject at hand. Hope Gap may engage the mind up to a point with its pithy dialogue and resourceful players, but it offers little insight into the complexities and wages of wedlock. Production company: Origin Pictures Cast: Annette Bening, Bill Nighy, Josh O'Connor Director-s creenwriter: William Nicholson, based on his play The Retreat From Moscow Producers: David M. Thompson, Sandra McDermott Executive producers: Hugo Heppell, Nicolas D. Sampson, Arno Hazebroek, Cristos Michaels, Gavin Poolman, Alex Tate Director of photography: Anna Valdez-Hanks Production designer: Simon Rogers Costume designer: Suzanne Cave Editor: Pia Di Ciaula Music: Alex Heefes Casting: Gary Davy Venue: Toronto International Film Festival (Special Presentations) 101 minutes.
Hope gap free watch tv. Very enjoyable drama about an couple whose marriage is strained and break up and the effects on each and their grown son. Some humour but a serious film. Performances are first class and as usual Annette Bening is outstanding. John O'Connor (Gods Own Country) also is a stand out. Because there just wasnt enough of Robbie in The Last Waltz. Hope gap free watch app. Hope Gap Free. A great three hander dealing with relationships in a real way without being banal. Great use of dialogue and poetry. A mature movie that s satisfying without being trite. “I can’t bear to think you’re unhappy, Jamie, ” the mother tells her son. “I’m fine, ” he replies. “Fine isn’t the same as happy, ” she reminds, adding to her husband, “ We’re happy, aren’t we, Edward? ” He looks away as he says, “Yes, we’re fine. ” Annette Bening in ‘Hope Gap’ Roadside Attractions/Screen Media Here is the first trailer for? Hope Gap,? starring Bil Nighy as a man who ups and leaves his wife (Annette Bening) for another woman after 29 years. the ensuing emotional fallout the dissolution has on their only grown son (Josh O’Connor). Unraveled and feeling displaced in her small seaside town, Grace ultimately regains her footing and discovers a new, powerful voice. ‘Gladiator’ & ‘Shadowlands’ scribe William Nicholson wrote and directed the film, which he calls his “most intense and loving” movie yet. Roadside Attractions and Screen Media teamed to acquire? Hope Gap? in November 2018 and will release it in theaters on March 6. Have a look at the trailer above and the key art below, and tell us what you think. Roadside Attractions/Screen Media.
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Hope Gap Free watch now. Hope gap free watch download. Hope gap free watch band. The view from halfway down. Hope Gap Free watch blog. The most relaxing sound in the world to hear would be Mr Rogers and Bob Ross having a conversation. Hope gap free watch video. Synopsis Grace (Annette Bening) and Edward (Bill Nighy) have been married thirty-three years. When their son Jamie (Josh O’Connor) comes home?to visit them in the fading seaside town where he grew up. Edward tells him that he plans to leave Grace, the next day. Hope Gap ?tracks the unravelling of three lives, through stages of shock, disbelief and anger, to a resolution, of sorts. It’s tender, it’s funny and above all, true. There are no easy answers, no simple paths to redemption,?but in the end, it is a story of survival. A story of hope. Director WILLIAM NICHOLSON Writer WILLIAM NICHOLSON (Breathe, Everest, Gladiator, Shadowlands) Cast ANNETTE BENING (Film Stars Don’t Die in Liverpool, The Kids Are All Right, American Beauty), BILL NIGHY (Their Finest, The Best Exotic Marigold Hotel, Love Actually), JOSH O'CONNOR (God's Own Country) Producers DAVID THOMPSON (the Sense of an Ending, Woman in Gold) Production Credits ORIGIN PICTURES.
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??????????? Genial excelente Don Medardo y sus playes un gran homenaje saludos desde Ecuador Orquesta Candela??????. I hope she doesn't get taken. Hope gap free watch without. Hope gap free watch free. Oh great. ANOTHER divorce movie. Meh. Hope Gap Free watch video. 2 / 5 stars 2 out of 5 stars. The Oscar nominee wrestles with an ill-fitting British accent playing a woman whose life crumbles after her husband leaves for another woman Annette Bening plays the gregarious and needy wife Grace in Hope Gap. Photograph: Robert Viglasky A s well-trodden as the subject might be, there remains something horribly compelling about watching the end of a marriage play out on screen, the uneasy little details of what happens when someone switches to I Don’t proving hard to resist. In Hope Gap, Oscar-nominated screenwriter William Nicholson’s second film as director, we’re given an all-too-familiar set-up (husband tells long-serving wife that he’s leaving her for a younger woman) and the stage is set for blistering quarrels, messy untangling and two awards-aiming performances. But despite the clear dramatic potential of the wounds of divorce, proved time and time again by films ranging from An Unmarried Woman to this Oscar season’s Marriage Story, Nicholson fails to give his film the specificity and emotional depth required to make it seem necessary. We’ve been here before and nothing in the film’s 100-minute length truly justifies why we’re back here again. In the coastal town of Seaford, Grace (Annette Bening) and Edward (Bill Nighy) share a modest life, a comfortably learned dynamic set firmly, perhaps boringly, in place after 33 years together. Grace is gregarious and needy, Edward reserved and serious, and while her desire for more affection and vocal reassurances might cause mild tension, her pleas have become part of the script they’re both used to playing out day after day, year after year. But when Edward urges their son Jamie (God’s Own Country’s Josh O’Connor) to return for the weekend, it soon becomes clear that something is brewing. Grace’s paranoia over Edward’s lack of eye contact and nervousness around her is suddenly, abruptly justified when he announces that he’s leaving her for another woman. While there’s a nervy propulsion behind these initial scenes, especially during Edward’s painful pre-dump prep, the breakup happens so soon into the film that we’re left scratching our heads over what’s to come next. It turns out the answer is largely nothing and in place of a plot, there’s a repetitive cycle of crying, beach-walking and moping that might have felt less plodding if we had more investment in the couple at its centre. Their relationship is painted with recognisably broad strokes (the nagging wife and repressed husband) and despite two inarguably accomplished actors, there’s a niggling disconnect. Nighy’s well-meaning, if unacceptably cowardly, husband is played with an affecting subtlety but a miscast Bening struggles to match him. She’s hampered with an ill-fitting British accent she’s never truly comfortable with and so much of her performance is muddied by her struggle to sound believable as a Brit that little room is left for her to seem believable as a person. It’s ultimately as awkward for her as it is for us. There are glimmers of insight along the way, particularly in how Grace compares a divorce to a murder and how spurned women are devalued in comparison with widows, but it’s mostly surface. Introducing their son as a key component is an interesting move but it’s never one that really pays off and Nicholson’s attempts to capture twentysomething life border on embarrassing. There’s the odd excursion into the city and a handful of supporting characters but it’s mostly a three-hander in a limited number of locations. Aware of how stagey this might seem, Nicholson and cinematographer Anna Valdez-Hanks do offer up some stunning coastal vistas but matched with a swelling score, we’re left craving a narrative of equal weight and as devastating as Grace’s predicament is, the pathos never comes. Divorce is painful but Hope Gap isn’t damn near painful enough. Hope Gap is showing at the Toronto film festival.
Plot twist: Mr. Rodgers changed his name from Steve to Fred after Endgame. Como siempre hermosa la mujeres colombiana hermoso el mix de don merardo y su player bendiciones q sigan cosechando muchos exito bendiciones desde ecuador guayaquil. Thank you William Nicholson for saving my Dinard Film Festival 2019. After viewing several so un-innovative "real stories" Red Joan, Fisherman's Friends) and "social realism" films (The Last Tree, VS - even though VS's world of rap battles was fascinating) I was getting really disappointed in British cinema.

Hope Gap made up for all that. It is beautifully acted (Annette Bening is extraordinary) deep and subtle, and does carry you away.

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