Code 46 (2003)

Calificación de los usuarios:

6.3/10   

Director:

Michael Winterbottom

Guionista:

Frank Cottrell Boyce (writer)

Fecha de Lanzamiento:

7 mayo 2004 (Italy)

Género:

Drama | Romance | Ciencia-Ficción | Suspenso

Frase comercial:

In the future...love is a dangerous game.

Plot:

A futuristic 'Brief Encounter', a love story in which the romance is doomed by genetic incompatibility.

Plot Keywords:

Love | Totalitarian | Future | Affair | Clone

Premios:

4 wins & 9 nominations

Comentarios de los usuarios:

Warmth in a Cold World

Reparto

Tim Robbins	...	William Geld
Togo Igawa	...	Driver
Nabil Elouahabi	...	Vendor
Samantha Morton	...	Maria Gonzales
Sarah Backhouse	...	Weather Girl
Jonathan Ibbotson	...	Boxer
Natalie Jackson Mendoza	...	Sphinx Receptionist (as Natalie Mendoza)
Om Puri	...	Bahkland
Emil Marwa	...	Mohan
Nina Fog	...	Wole
Bruno Lastra	...	Bikku
Christopher Simpson	...	Paul
Lien Nguyin	...	Singer in Nightclub
David Fahm	...	Damian Alekan
Jeanne Balibar	...	Sylvie

MPAA:

Rated R for a scene of sexuality, including brief graphic nudity.

Duración:

92 min

País:

UK

Idioma:

Inglés

Color:

Color

Relación de Aspecto:

2.35 : 1

Sonido:

DTS | Dolby Digital

Clasificación:

Argentina:16 | Finland:K-15 | New Zealand:R13 | Iceland:12 | South Korea:18 | Australia:MA | Germany:12 | Italy:VM14 | Japan:PG-12 | Singapore:R21 | UK:15 | USA:R (certificate #40188)

Locaciones de Filmación:

Blackwall Tunnel, London, England, UK

Compañía:

British Broadcasting Corporation (BBC)

Trivialidades:

Mick Jones of The Clash sings the Clash song "Should I Stay Or Should I Go" in the karaoke-esque club scene, but he appears to get the words wrong. The song goes "If I go there will be trouble. If I STAY it will be double", but he sings "If I go there will be trouble. If I GO it will be double".

Errores:

Continuidad: After William brings Maria coffee in bed, she stands up and takes off her gray shirt revealing a black sleeveless top. She has the gray shirt on again while she's sitting on the toilet.

Citas:

Maria: You have a kid?
William: Yeah?
Maria: Chico or chica?
William: Chico.
Maria: I bet he's special.
William: He *is* special.
Maria: Everybody's children are so special. It makes you wonder where all the ordinary grown-ups come from.

Conexiones de Película:

Apareció en Obtaining Cover: Inside Code 46 (2004) (V)

Banda de Sonido:

Should I Stay or Should I Go

Warmth in a Cold World

'Code 46' is the most beautiful film I've seen in quite some time. It's funny how something entirely new is produced when the properties of film noir and futuristic sci-fi are married. Like 'Until the End of the World,' 'Strange Days,' and 'Gattaca,' three films which 'Code 46' potently recalls, this is above all else a mood piece, wherein character and plot are secondary to the drifty, elegiac flow of the film.

The action is underplayed, and the performances have an earthy tone; Tim Robbins recalls William Hurt in 'Until the End of the World' and Bill Murray in 'Lost in Translation,' in that his perpetual jet lag has cultivated an easy, weary charm. The movie is set, one gathers, in the future (or an "alternative present," to paraphrase another reviewer). Like the best futuristic films, it's set on the same planet Earth, but the planet's simply been restructured; the old occupants have left and the new ones have moved in. No longer are there countries, only cities, only business destinations.

Pleasure is not a goal, but a side effect. The locations photographed are, as in 'Alphaville,' as in 'Sans Soleil,' not manipulated or artificial, but they are photographed in a new way. Contemporary cities look futuristic, commercial, busy, cold, with pools of dark glass and beads of light from skyscraper windows. For me, this kind of imagery is the among the most romantic and evocative. Cold, impersonal environments like these simultaneously forbid and necessitate human warmth. Intimacy becomes something to escape into.

Michael Winterbottom and his screen-writing partner Frank Cottrell Boyce have done great work before, and inevitably, a lot of viewers and critics are dismissing 'Code 46' as a number of things, including listless and convoluted, but I think that's symptomatic of approaching this film with the wrong expectations. Far beyond simply being a trivial footnote in what will hopefully be a career of formidable longevity, I think 'Code 46' is perhaps Winterbottom's best work yet, the movie I intuited Winterbottom had dormant in him. The movie has a sort of purging effect, like Wenders' 'Until the End of the World,' and as with that film, my immediate environment felt different to me, changed, upon exiting the theater.