Summary
In the midst of so much gratuitous misery that seems to be fashionable in today's cinema, where the protagonist faces a series of despicable characters, Lone Scherfig's film lives up to its title, since its protagonist, a mother with two children, he finds a true solidarity network that brings light and hope to a situation of sudden and absolute helplessness
Review
Clara (Zoe Kazan) escapes with her two children to New York from an abusive husband, a policeman (Esben Smed), with a car as all capital. In the city, her path will meet Alice, a nurse (Andrea Riseborough), Jeff, a giddy young man (Caleb Landry Jones) and Mark, who runs a peculiar Russian restaurant (Tahar Rahim) owned by a phlegmatic Bill Nighy.
As in any choral film, the way in which all the characters converge at the hand of Alice (a true fairy godmother of what we could precisely define as a fairy tale or a Christmas tale) can be somewhat forced. Each of the characters carries a backpack and it will be seen if she manages to alleviate it and lighten those of the others.
Following Clara (a middle-class mother suddenly faced with homelessness) we will enter the world of social assistance in New York City, with an approach that avoids outrageousness, although for some it may be indulgent or naive.
The cast performs solvently, from the charming Zoe Kazan (notable in The Plot Against America) to a Tahar Rahim on the antipodes of his assassin from The Serpent, to the multi-faceted, altruistic and committed Alice of Andrea Riseborough.
In the midst of so much gratuitous and schematic miserabilism that seems to be fashionable in today's cinema, where the protagonist faces a series of despicable characters, Lone Scherfig's film lives up to its original title, as Clara meets with a true solidarity network that brings light and hope to a situation of sudden and utter helplessness.
In the midst of so much gratuitous misery that seems to be fashionable in today's cinema, where the protagonist faces a series of despicable characters, Lone Scherfig's film lives up to its title, since its protagonist, a mother with two children, he finds a true solidarity network that brings light and hope to a situation of sudden and absolute helplessness
Review
Clara (Zoe Kazan) escapes with her two children to New York from an abusive husband, a policeman (Esben Smed), with a car as all capital. In the city, her path will meet Alice, a nurse (Andrea Riseborough), Jeff, a giddy young man (Caleb Landry Jones) and Mark, who runs a peculiar Russian restaurant (Tahar Rahim) owned by a phlegmatic Bill Nighy.
As in any choral film, the way in which all the characters converge at the hand of Alice (a true fairy godmother of what we could precisely define as a fairy tale or a Christmas tale) can be somewhat forced. Each of the characters carries a backpack and it will be seen if she manages to alleviate it and lighten those of the others.
Following Clara (a middle-class mother suddenly faced with homelessness) we will enter the world of social assistance in New York City, with an approach that avoids outrageousness, although for some it may be indulgent or naive.
The cast performs solvently, from the charming Zoe Kazan (notable in The Plot Against America) to a Tahar Rahim on the antipodes of his assassin from The Serpent, to the multi-faceted, altruistic and committed Alice of Andrea Riseborough.
In the midst of so much gratuitous and schematic miserabilism that seems to be fashionable in today's cinema, where the protagonist faces a series of despicable characters, Lone Scherfig's film lives up to its original title, as Clara meets with a true solidarity network that brings light and hope to a situation of sudden and utter helplessness.