Beyond the Hills

Not rated yet!
Director
Cristian Mungiu
Runtime
2 h 30 min
Release Date
12 September 2012
Genres
Drama, Romance
Overview
A drama centered on the friendship between two young women who grew up in the same orphanage; one has found refuge at a convent in Romania and refuses to leave with her friend, who now lives in Germany.
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VJ Morton2
Right Wing Film Geek



(Reviewers' Site/Bio)
  • Toronto 2012 capsules — Day 7
    GREAT EXPECTATIONS (Mike Newell, Britain, 6) In between this film and my next, I called my parents, and my father wanted to know what I had just gotten out of. I said “an adaptation of Dickens’ GREAT EXPECTATIONS” / “How was it?” / “Fine. Nothing special but it is what it is and good for […]
    ...
    (Review Source)
  • By Popular Demand … OK by the demand of one taffy
    (”Beyond the Hills” is briefly mentioned in this.)

    By Popular Demand … OK by the demand of one taffy

    After persistent heckling for one of the two cinephile Dan Owens I know, here is my annual “What I am seeing at Toronto this year” post. Though I regret to inform Alex Fung that his annually awaited “Canadian bilingualism, c’est le suck” rant, which he says marks the start of TIFF, is still to come. This is being posted using my work laptop Mac in Cincinnati airport (yeah … Washington to Toronto via Cincinnati … cheapness trumps geography and geometry) while I am traveling on a *US* airline (Delta) rather than that prisoner of sensitivities to frogdom [Victor looks up how you say “Air Canada” in French … oh … wow] Air Canada. So not yet, Alex … coming soon.

    Anyhoo … as always, this schedule is subject to change depending on buzz. There is also one time, the first Saturday morning, where I know I’ll have to sacrifice at least one of a cluster of three films, and buzz will determine what I do (though given commercial release patterns, I’m likeliest to skip ARGO). I also quickly reconciled myself to not seeing Paul Thomas Anderson’s THE MASTER — the screening I wanted to go to was sold out, and it will have a week-long run in 70mm in Washington, so I didn’t try too hard to juggle things around. The absence of the new Leos Carax and Alain Resnais films — THAT I haven’t quite gotten over yet.

    Thu 6 Sept.

    Noon SANS SOLEIL (Chris Marker, France, 1982) Jackman Hall
    615pm TABU (Miguel Gomes, Portugal) Lightbox 1

    Fri 7 Sept.

    Noon RUST AND BONE (Jacques Audiard, France) Ryerson
    315pm THE GREAT KILAPY (Zeze Gamboa, Angola) Cineplex 2
    600pm THE PERVERT’S GUIDE TO IDEOLOGY (Sophie Fiennes / Slavoj Zizek, Britain) Isabel Bader
    930pm FRANCES HA (Noah Baumbach, USA) Ryerson

    Sat 8 Sept.

    930am ME AND YOU (Bernardo Bertolucci, Italy) Cineplex 2
    1100am ARGO (Ben Affleck, USA) Elgin Theatre
    1245pm WHAT MAISIE KNEW (Scott McGahee and David Siegel, USA) Lightbox 1
    600pm AMOUR (Michael Haneke, France) Elgin Theatre
    900pm SOMETHING IN THE AIR (Olivier Assayas, France) Elgin Theatre

    Sun 9 Sept.

    1130am LOIN DU VIETNAM (a buncha commies, Frogland, 1967) Lightbox 3
    300pm ERNEST AND CELESTINE (Benjamin Renner, Vincent Patar, Stéphane Aubier, Belgium) Cineplex 6
    615pm THY WOMB (Brillante Mendoza, Philippines) Cineplex 9
    945pm WHAT RICHARD DID (Lenny Abrahamson, Ireland) Scotiabank 2

    Mon 10 Sept.

    900am THE ACT OF KILLING (Joshua Oppenheimer, Christine Cynn, Anonymous, Indonesia) Bloor
    noon AT ANY PRICE (Ramin Bahrani, USA) Ryerson
    300pm EVERYDAY (Michael Winterbottom, Britain) Cineplex 7
    545pm FOXFIRE: CONFESSIONS OF A GIRL GANG (Laurent Cantet, Canada/France) Ryerson
    900pm THE CLOUD-CAPPED STAR (Ritwik Ghatak, India, 1960) Lightbox 4

    Tue 11 Sept.

    1100am BYZANTIUM (Neil Jordan, Britain) Elgin Theater
    300pm NO (Pablo Larrain, Chile) Bloor
    600pm MUSHROOMING (Toomas Hussar, Estonia) Cineplex 5
    800pm PASSION (Brian DePalma, USA) Winter Garden Theatre
    1000pm ARTHUR NEWMAN (Dante Ariola, USA) Scotiabank 1

    Wed 12 Sept.

    1100am GREAT EXPECTATIONS (Mike Newell, Britain) Elgin Theater
    345pm IN THE HOUSE (Francois Ozon, France) Lightbox 1
    645pm REALITY (Matteo Garrone, Italy) Lightbox 1
    930pm BEYOND THE HILLS (Cristian Mungiu, Romania) Scotiabank 3

    Thu 13 Sept.

    115pm POST TENEBRAS LUX (Carlos Reygadas, Mexico) Lightbox 3
    330pm CAUGHT IN THE WEB (Chen Kaige, China) Lightbox 1
    600pm BARBARA (Christian Petzold, Germany) Ryerson
    900pm CAMP 14: TOTAL CONTROL ZONE (Marc Wiese, Germany) Lightbox 2

    Fri 14 Sept.

    915am IN THE FOG (Sergei Loznitza, Russia) Lightbox 2
    1130am JAYNE MANSFIELD’S CAR (Billy Bob Thornton, USA) Ryerson
    415pm PIETA (Kim Ki-duk, South Korea) Scotiabank 9
    630pm IN ANOTHER COUNTRY (Hong Sang-soo, South Korea) Scotiabank 1
    845pm IN THE NAME OF LOVE (Luu Huynh, Vietnam) Cineplex 2

    Sat 15 Sept.

    900am KEY OF LIFE (Kenji Uchida, Japan) Scotiabank 11
    1230pm CLANDESTINE CHILDHOOD (Benjamin Avila, Argentina) Cineplex 3
    400pm BIG IN VIETNAM (Mati Diop, France) and MEKONG HOTEL (“Joe,” Thailand) Cineplex 9
    545pm ROOM 237 (Rodney Ascher, USA) Cineplex 2
    915pm NIGHT ACROSS THE STREET (Raul Ruiz, Chile) Lightbox 4
    midnight JOHN DIES AT THE END (Don Coscarelli, USA) Ryerson

    Sun 16 Sept.

    1230pm THE SUICIDE SHOP (Patrice Leconte, France) Scotiabank 2
    345pm ZAYTOUN (Eran Riklis, Israel) Lightbox 2
    615pm DORMANT BEAUTY (Marco Bellocchio, Italy) Scotiabank 4
    945pm TO THE WONDER (Terence Malick, USA) Lightbox 1

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    September 5, 2012 - Posted by | Uncategorized

    1 Comment »

    1. […] Film Geek is heading to the Toronto International Film Festival.Rightwing Film Geek is heading to the Toronto International Film […]

      Pingback by Rightwing Film Geek is heading to the Toronto International Film Festival. « The Rhetorican | September 5, 2012 | Reply


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    (Review Source)

The American Conservative Staff1
The American Conservative



(Reviewers' Site/Bio)

  • Out in the Fields with God
    (”Beyond the Hills” is briefly mentioned in this.)
    “What went we out into this wilderness to find?” With that resounding, iconic opening line, The Witch announces that it may not be what you were expecting. Writer/director Robert Eggers’s “New-England folktale” may have been marketed as a horror movie, but horror is only one of its genres–and not the most prominent. The Witch is a family tragedy and a religious drama, and these elements are even more successful than the horror-show aspect. That may be why the small daytime audience with whom I saw the movie were vocally disappointed with it. “I want my money back!” one groused. Imagine buying a ticket for A Nightmare on Elm Street, only to end up watching Beyond the Hills. For me The Witch was stunning, a brilliant tale that deserves to be a genre classic–but you should probably know what you’re getting into. The Witch begins with a heresy trial, in which New England Puritans exile a dissident whose vision of God is even more uncompromising, even more hellfire-and-brimstone, than their own. William (Ralph Ineson, growly of voice and harrowed of face) takes his wife and children and leaves the settlement. The family sings hymns as their small cart rattles out into the unknown. They settle on the edge of a vast, threatening wood. The family holds fast to its fairly terrifying faith (“I love thee marvelous well,” the father tells his son, who wants to know if the baby will go to Hell, “but it is only God who knows who is a son of Abraham and who is not”) but they simply can’t make the farm produce. The corn fails. The father begins to venture into the woods to set traps. He begins to keep secrets from his wife (the unforgettable Kate Dickie). And then, while daughter Thomasin (Anna Taylor-Joy) is playing peek-a-boo with the baby, something comes from the woods and snatches the infant away. What follows from this awful event is supernatural—we’re shown early on that the witch is real and horrifying, a baby-killer who revels in slaughter. But it’s also the utterly natural story of a family torn apart by isolation and economic pressures. I watched most of this movie with an expression not of fear, but of horrified pity, as the family tears itself apart with little need for a witch’s help. The Witch is pervaded by the fear of God. There are occasional references to His mercy but only as something to beg for, not something to trust in; this is the God of Hosts, not the Prince of Peace. The movie treats its characters’ religion without a hint of condescension or even disbelief: This is a movie about what it’s like to do your best to love and serve a God of wrath. It’s about the view from within that faith. The mother’s speech about the way her baby’s disappearance has brought her from blissful faith and “ravished” union with God to torturing doubt is one of the best, most nuanced expressions of religious anguish I’ve seen in cinema. And the scene in which a possibly-possessed child begins to pray and quote the Bible is flat-out shocking, totally unexpected and yet drawn from the wellsprings of Christian faith. The end credits say that the dialogue is taken from actual colonial-era documents, which may be hard on the audience, but it gives The Witch the ring of authenticity. Almost every aesthetic choice is right. The semi-archaic dialogue, the foreboding violins and high eerie hymns; the faces of the family, made for Rembrandt. There are little touches like the fact that Thomasin has just reached menarche, or the way William’s own guilt makes him less susceptible to wild accusation. The horror imagery–a broken egg, a rearing black goat–is deployed rarely but punchily. The first quarter or so of the movie is that overcast steel-gray color we always see in movies nowadays, a depressing grimth that strikes me as a bit cliched, but after that we begin to get gorgeous, painterly scenes set in candlelight, blending domestic cares and sacred beauty. The actors are without exception convincing. The final scene is a bit standard-issue, but by that time I had been brought into the world of The Witch and didn’t need more than a few hints and allusions. In many guides to Catholic confession you’ll find a list of possible sins, organized according to the Ten Commandments, and somewhere (I think right at the top under the First Commandment) it will offer, “I have despaired of the mercy of God.” The Witch is a story not so much about the sin of witchcraft—although its view of witchery is, let’s say, not revisionist!—but about this other, sadder sin. Eve Tushnet is a TAC contributing editor, blogs at Patheos.com, and is the author of Gay and Catholic: Accepting My Sexuality, Finding Community, Living My Faith, as well as the author of the newly released novel Amends, a satire set during the filming of a reality show about alcohol rehab. Follow @evetushnet ]]>
    ...
    (Review Source)

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