La riche propriétaire d'une galerie d'art reçoit le brouillon du nouveau roman de son ex-mari, un thriller violent qu'elle interprète comme une menace voilée et un conte de vengeance symboli... Tout lireLa riche propriétaire d'une galerie d'art reçoit le brouillon du nouveau roman de son ex-mari, un thriller violent qu'elle interprète comme une menace voilée et un conte de vengeance symbolique.La riche propriétaire d'une galerie d'art reçoit le brouillon du nouveau roman de son ex-mari, un thriller violent qu'elle interprète comme une menace voilée et un conte de vengeance symbolique.
- Nommé pour 1 oscar
- 21 victoires et 153 nominations au total
Robert Aramayo
- Turk
- (as Rob Aramayo)
Bobbi Salvör Menuez
- Samantha Morrow
- (as India Menuez)
Evie Pree
- TV Woman #1
- (voice)
Beth Ditto
- TV Woman #2
- (voice)
Histoire
Le saviez-vous
- GaffesTony fires the pistol, a Sig Sauer P226 semi-automatic 9mm, twice and is then knocked out by the dying man he shot. The hammer on a P226 cocks and remains cocked after each round is fired, but when Tony wakes up the next morning the hammer is down. There is no way that could have happened; the hammer should have remain cocked.
- Citations
Edward Sheffield: [to Susan] When you love someone you have to be careful with it, you might never get it again.
- ConnexionsFeatured in Breakfast: Episode dated 16 October 2016 (2016)
- Bandes originalesBaudelaire
Written and Performed by Serge Gainsbourg
Courtesy of Mercury France
Under License from Universal Music Enterprises
Commentaire en vedette
Susan Morrow is a successful gallery owner. She is married to businessman Hutton Morrow, who is constantly travelling. She receives a manuscript of a novel, Nocturnal Animals, written by her first husband, Edward Sheffield. The gritty content of the novel strikes a chord with Susan and she starts to remember the times she and Edward had together. While this draws her closer to him, there are unresolved issues between the two.
Intriguing movie that operates on two levels. There's the relationship drama involving Susan and Edward and the crime drama in the novel. The novel becomes the story-within-a-story, with, cleverly, Jake Gyllenhaal as the link between the two. Having Amy Adams play Susan and Isla Fisher the lead female character in the dramatisation of the novel is also a masterstroke, due to them looking so alike. (I only realised that it was Isla Fisher once I saw the credits. I had to go back to her scenes to confirm it was her, I was so convinced the character was played by Amy Adams).
Unfortunately, the two levels are not created equal. I found myself far more interested in the novel's story than the main story. The novel was unflinchingly gritty and included a good revenge plot and theme. The main story was interesting only for the Susan-Edward backstory, and didn't really progress much, feeling more like wrapping around the novel story, without contributing much itself.
There was still heaps of potential for both stories and the movie as a whole though, but the conclusion is a bit of a let-down. The novel ends in strange, contrived-feeling, fashion. The main story and movie ends quite flat. I'm a veteran of many anticlimactic endings, so very little tends to surprise me, but I was genuinely surprised when the closing credits started to roll. I thought "That can't possibly be it". But it was.
A more profound tying together of the two stories and a punchy ending (to both) and Nocturnal Animals would have been superb.
This said, there is still a lot to be admired about the movie. The novel story was done well and was helped by great performances from Michael Shannon and Jake Gyllenhaal. Shannon received a Best Supporting Actor Oscar nomination for his effort. In addition, the Susan-Edward backstory was interesting.
Intriguing movie that operates on two levels. There's the relationship drama involving Susan and Edward and the crime drama in the novel. The novel becomes the story-within-a-story, with, cleverly, Jake Gyllenhaal as the link between the two. Having Amy Adams play Susan and Isla Fisher the lead female character in the dramatisation of the novel is also a masterstroke, due to them looking so alike. (I only realised that it was Isla Fisher once I saw the credits. I had to go back to her scenes to confirm it was her, I was so convinced the character was played by Amy Adams).
Unfortunately, the two levels are not created equal. I found myself far more interested in the novel's story than the main story. The novel was unflinchingly gritty and included a good revenge plot and theme. The main story was interesting only for the Susan-Edward backstory, and didn't really progress much, feeling more like wrapping around the novel story, without contributing much itself.
There was still heaps of potential for both stories and the movie as a whole though, but the conclusion is a bit of a let-down. The novel ends in strange, contrived-feeling, fashion. The main story and movie ends quite flat. I'm a veteran of many anticlimactic endings, so very little tends to surprise me, but I was genuinely surprised when the closing credits started to roll. I thought "That can't possibly be it". But it was.
A more profound tying together of the two stories and a punchy ending (to both) and Nocturnal Animals would have been superb.
This said, there is still a lot to be admired about the movie. The novel story was done well and was helped by great performances from Michael Shannon and Jake Gyllenhaal. Shannon received a Best Supporting Actor Oscar nomination for his effort. In addition, the Susan-Edward backstory was interesting.
- grantss
- 3 oct. 2017
- Lien permanent
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Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langue
- Aussi connu sous le nom de
- Nocturnal Animals
- Lieux de tournage
- sociétés de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 22 500 000 $ US (estimation)
- Brut – États-Unis et Canada
- 10 663 357 $ US
- Fin de semaine d'ouverture – États-Unis et Canada
- 492 648 $ US
- 20 nov. 2016
- Brut – à l'échelle mondiale
- 30 311 857 $ US
- Durée1 heure 56 minutes
- Couleur
- Mixage
- Rapport de forme
- 2.35 : 1
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