Wonderland (1999)

Calificación de los usuarios:

7.0/10   

Director:

Michael Winterbottom

Guionista:

Laurence Coriat (writer)

Fecha de Lanzamiento:

21 agosto 1999 (Taiwan)

Género:

Drama

Frase comercial:

Everybody's looking for something.

Plot:

There's little wonder in the working-class lives of Bill, Eileen, and their three grown daughters. They're lonely Londoners...

Plot Keywords:

Working Class | Guy Fawkes Day | Marital Relations | Contact Ad | Family Relationships

Premios:

1 win & 5 nominations

Comentarios de los usuarios:

Thank You Michael Winterbottom

Reparto

Shirley Henderson	...	Debbie
Gina McKee	...	Nadia
Molly Parker	...	Molly
Ian Hart	...	Dan
John Simm	...	Eddie
Stuart Townsend	...	Tim
Kika Markham	...	Eileen
Jack Shepherd	...	Bill
Enzo Cilenti	...	Darren
Sarah-Jane Potts	...	Melanie
David Fahm	...	Franklyn
Ellen Thomas	...	Donna
Peter Marfleet	...	Jack
Nathan Constance	...	Alex
Anton Saunders	...	Danny

También conocida como:

Snarl Up (UK) (working title)
Untitled Love Story (UK) (working title)
Wonderland (Argentina) (video title) (Spain) [es]

MPAA:

Rated R for some strong sexuality, and for language.

Duración:

108 min

País:

UK

Idioma:

Inglés

Color:

Color

Relación de Aspecto:

2.35 : 1

Sonido:

Dolby

Clasificación:

Finland:K-15 | Iceland:L | South Korea:18 | Argentina:13 | Chile:14 | France:U | Germany:12 (bw) | New Zealand:M | Spain:13 | Switzerland:12 (canton of Geneva) | Switzerland:12 (canton of Vaud) | UK:15 | USA:R

Locaciones de Filmación:

London, England, UK

Compañía:

British Broadcasting Corporation (BBC)

Conexiones de Película:

References Elizabeth (1998)

Banda de Sonido:

Angel

Thank You Michael Winterbottom

I caught this on TV without knowing who it was by and I was instantly captivated. The first thing is that it's filmed and set where I live, around the Elephant and Castle and Walworth Road, and it's about the people I see every day. It's absolutely spot on about the kind of lives people around here lead and the way individuals and different social groups interact.

What lifts it above the sort of social realism common in British cinema is the cutting, the cinematography and Michael Nyman's lovely music, which must be his best work post-Greenaway. While I've never been a big fan of the 'poetry of degradation' school of art, somehow the ugliness and squalor of South East London are transformed by this film and the lives of the characters are invested with real dignity.

Though it may deal with the same sort of subject matter as Ken Loach or Mike Leigh, the style and approach are very different - the difference between a great piece of prose and a poem. I guess you could say Winterbottom and Nyman do for London what Scorsese and Herrmann did for New York in Mean Streets and Taxi Driver.

This is a beautiful film and I feel real gratitude to Michael Winterbottom for bringing our lives to the screen in such a way.