User reviews

A visit from the bailiffs sets the scene, as they evict you from the place that's been a screen, from a world that's left you shattered, broken, worn out, weak and battered, now you're on the street and thoroughly demeaned. There are others who have also lost a place, who have lost all that they had, fallen from grace, they take their chance, but at what cost, as you pursue, oppose, accost, to recover sanctuary, your sacred place.

Some wonderful performances in a film that demonstrates how insecure the world can be, how subtly things can change for the worse and run out of control, and how the security and safety you've become accustomed to, can so very easily be removed.

The concept of the American dream emerged after World War II, when the US began to establish itself as a great world power. Since then, the dream of a better life, nurtured not only by American citizens, but also by foreigners who move there in order to find a more dignified survival, has been the subject of countless films, as in the drama House of Sand and Fog, Vadim Perelman's first film work.

In this feature film by Russian (USA based) Vadim Perelman, the concept of 'family' once again assumes an important place in the narrative, which revolves around Kathy (Connelly), an ex-addict who, after being abandoned by her husband, she is surprised by a notification that her house will be auctioned in order to pay taxes related to her company. The problem is that Kathy doesn't own any business - but before she can clear up the misunderstanding, the property is sold to an Iranian immigrant (Kingsley) for a value far below the market price. With nowhere to sleep, the girl gets help from Lester (Eldard), one of the police officers responsible for her eviction, who recommends a lawyer. Unfortunately, to resolve the impasse, the new owner of the house would have to resell it to City Hall for the same amount paid in the auction - something he refuses to do. From there, Kathy and Behrani (the immigrant) begin a real psychological battle that results in pain and suffering for all involved.

With a script bound by a structure in which it is not possible to measure or compare the dimension of suffering between Kathy and Behrani, director Perelman manages to create an excellent situation of injustice in which no one is to blame and everyone is a victim. And the mise-en-scène, aided by the natural landscape of Northern California, give the dense and suffocating atmosphere that surrounds the dreams of the two characters. Almost always surrounded by a strong fog, the much-disputed house is the very representation of this dream, which sometimes has the image dissipated by reality.

In fact, the beauty of this project (adapted from the book of the same name by Andre Dubus III) begins in its title: when identifying the house that becomes the center of the dispute as being from 'House of Sand and Fog', the film (and the book, of course,) summarizes, in a poetic way, the true meaning of property, which, for Kathy and Behrani, represents more than a simple material asset. For the girl, the house is both an icon of her past (since she inherited it from her father) and a symbol of her recovery. Keeping the property is a sign of maturity, of responsibility fulfilled - and losing it would be further proof of your inability to take care of yourself. For Behrani, the place represents, first and foremost, a good investment - and, consequently, the possibility of recovering part of the luxurious lifestyle he got used to in Iran, where he was an influential military man in the government. In addition, the immigrant counts on the money he will earn from the sale of the property to be able to pay for his youngest son's studies and, as if that were not enough, he still sees, in the property, a reflection of his old beach house. In other words: like sand and mist, which seem compact from a distance, but which slip through your fingers when touched, the house Kathy and Behrani wanted is an ethereal, elusive dream.

Another fascinating element of House of Sand and Fog concerns the personalities of its protagonists, who are not divided between 'Good' and 'Evil'. Behrani, for example, is an authoritarian man (inherited from his military past) and proud, but he is not cruel. And, despite recognizing that the simplest way to resolve the issue would be to return the property to the municipality, the subject considers (with some reason) that he should not be harmed by an administrative error - after all, he had worked hard to save the necessary money. To acquire the property and renovate it, and he cannot accept that his family's future is compromised by bureaucrats. Incidentally, Ben Kingsley, an actor with an already brilliant resume, delivers one of his best performances by perfectly illustrating his character's moral dilemma, humanizing him and transforming him into a complex and real figure. While portraying the Iranian's pride in resigning from the underemployment he had accepted to support his family, Kingsley moves the viewer in a scene in which the subject becomes totally vulnerable in the face of unexpected pain.

Meanwhile, the beautiful Jennifer Connelly takes on yet another suffering character and offers the ideal counterpoint to the usually confident Behrani, as Kathy always seems ready to fall apart. On the other hand, Officer Lester, played by Ron Eldard, is the only element of House of Sand and Fog who could be held responsible for all the suffering that unfolds, as he is a selfish guy who doesn't hesitate to use his badge to try to intimidate the immigrant family, revealing a despicable streak of xenophobia. And, since I mentioned the Behrani family, I must highlight the excellent performance of Shohreh Aghdashloo, who, as the wife of the ex-soldier, becomes the apparently most fragile person in history, since, as she does not understand English, it depends on the husband to understand what is happening - and unfortunately, Behrani is not very willing to explain the situation, leading her to fear even deportation (which would result in the death of her family, who are persecuted in Iran).

As much as the initial essence addressed by the plot seems to be somewhat empty or not very decisive, it is clear that the story manages to lean towards a brusque analysis of the choices we make and the modeling of our actions according to the individual principles of the characters. Once the climax starts to set in, it's impossible to deny how much depth the plot gains, revealing itself to be quite daring by touching pretentious social points, but without getting involved in a climate of cliché or falling into the fact that some films they intend to make social approaches end up forcing the development of facts in order to find out something in the end, as if they needed to force the public to have some kind of reaction or emotion. The investment in working minimally on the evolution of events is crucial so that everything that is articulated by the script gains credibility and gives a greater meaning to the film. The harmony captured by Perelman between the script and the direction is an interesting aspect to analyze, since we were able to perceive a certain affinity and awareness of what needed to be done to make a scene yield good moments. Using a lot of a dark and cold atmosphere, we can still see the director's pessimistic sensibility, as if he were warning the audience that the psychological and moral weights would be focused.

Perelman, by choosing a great cinematographer to accompany him, makes his tragic journey more surprising. Roger Deakins, responsible for the photography of the great Fargo, gives the proper treatment to the mist, making it a kind of character in the plot, as the presence of the natural phenomenon surrounds the house and surrounds certain spaces in a frightening way. Creating a melancholy and cold color scheme, Deakins helps Perelman build the mood of the film, which ends up being safely driven by the newcomer - especially when it comes to the performances. At times, Perelman reveals his inexperience in including less-than-subtle (or effective) shots, such as the one in which he rotates the camera around Connelly in order to create a superficially dramatic moment, but these small flaws do not compromise the final result.

House of Sand and Fog is a strong film, extremely touching. Its characters pursue their dreams in such a way that they put themselves in extreme situations. Furthermore, it is not a Manichean story. There are no good guys or bad guys, which brings the film even closer to real life. Ben Kingsley and Jennifer Connelly deliver truly inspired performances. The desperation of its characters seems to have been incorporated by the actors to the last hair and it is also in the actors that the strength of the film is based. The work shows how difficult it can be to pursue a dream. And it's not just about the American dream, it's about any desire we have. The film shows the rawness of life in a way that it is impossible to feel compassion for its characters. The viewer ends up feeling sorry not only for one side of the story, but for both. They don't want to harm each other, quite the opposite. They're just chasing their dreams, as they say we should. Sad and morally complex, House of Sand and Fog is a film that fits perfectly into the Great Theme of the 2003 films: the family drama.

Jennifer Connelly is terrific ! This is a very sad story of a woman left by her husband, and lost her home ... Life can throw some curveballs, and sometimes, a person could never really recover from such tragic events... sometimes I when I see some homeless people, I just can't help but wonder if something similar to this has happened to them. Truly sad... a movie that makes you re-think of yourself, family, and other people.

Since antiquity, tragedy has been regarded as the highest and most important form of drama for its ability to arouse the deepest sense of pathos and empathy from its audience.

Remind yourself of this if you choose to watch 'House of Sand and Fog.' I can state emphatically that 'House' is one of the most artfully directed and acted films of the last five years, but make no mistake: it is a tragedy, and only the hardest and most jaded of hearts will emerge from the experience undisturbed. It is a dissertation on sorrow, and while I'm glad I saw it, I can't say I had a whole lot of fun.

'House' was directed by newcomer Vadim Perelman, who also adapted the screenplay from the acclaimed novel by Andre Dubus III. Perelman tweaks the story in some respects but is ultimately faithful to the novel's style and sensibility. As in the novel, the story is filtered through alternating perspectives, the foremost of which are Behrani (Ben Kingsley), a Persian ex-pat and a former high-ranking officer under the Shah in Iran, and Kathy Lazaro (Jennifer Connelly), a severely depressed recovering alcoholic tenuously holding onto sobriety but nevertheless gradually self-destructing after the collapse of her marriage.

The two characters are drawn together, appropriately enough, by the house of the title, a small but elegant coastal property in fictional Pacific County, California (the novel sets the house in Malibu). The house belongs to Kathy, who inherited it (along with her older brother, who lives elsewhere) from her deceased father. Kathy has become a victim of a bureaucratic snafu--she has been erroneously charged with delinquency on taxes for a non-existent business--but due to her textbook depressive refusal to open and answer her mail, she wakes up one morning to find that the county has evicted her and put her property up for auction.

Enter Colonel Behrani, a regal man of aristocratic bearing whose ruthless determination to maintain the standard of living his family has always been accustomed to is simultaneously honorable and pathetic. Behrani is the story's tragic hero in the classical sense. Behrani has been saving and shrewdly watching the classified ads waiting for a chance to snap up a foreclosure at a cut rate price, make modest renovations, and then resell the property at peak market value in order to acquire a six-figure nest-egg to fund his son's education and improve his family's future prospects in the US. Fortuitously, the house he buys at auction--Kathy's house--is a coastal property bearing some resemblance to his former home on the Caspian Sea, back before his family fled Iran. The house is seen in an early flashback, an eerie montage wherein a younger Behrani in full-dress service uniform observes as a row of enormous trees are severed at the trunk so that the sea will be visible from the balcony where he stands.

To elaborate the plot further would be too revealing, so I'll simply say that the lead performances in this film are sublime. I didn't think at first that I'd be able to believe the stunningly beautiful Jennifer Connelly as Kathy, a woman who redefines the term 'self-destructive,' and yet Connelly manages once again as she did in 'A Beautiful Mind' to prove that her talent and skill match or even exceed the looks. It really goes without saying that Ben Kingsley's Behrani is a stunning performance--Kingsley is a mesmerizingly charismatic screen presence and a chameleonic character actor; few actors in the history of film have been able to so convincingly disappear into their characters while projecting such a distinctive, distinguished persona. Both actors master these demanding roles such that the audience feels a broad scope of contradictory and ambiguous emotions towards their characters; neither is completely sympathetic nor despicable, and though in the Aristotelian sense Behrani is the story's tragic hero, it's resolution remains ambiguous, as does the ultimate responsibility for the tragic denouement.

The direction of the film has its occasional hitches, but many of Vadim Perelman's shots are brilliantly captivating. The Northern California coastline is exploited to maximum effect, and Perelman offers numerous shots and angles of seamless appeal--they are original and engaging without feeling forced or consciously 'film-schoolish.' It's quite a beautiful movie to look at, from the meticulous arrangement of the Behrani's luxurious furniture and decorations to the patience with which Perelman lets his actors' nuanced facial expressions and physical gestures unfold the depths of their characters.

I have some slight reservation about recommending the film simply because its tragedy is so unmerciful. And there are moments where you may find yourself exasperated with the characters and unwilling to maintain your sympathy for them. Personally, I think it's worth a look for the quality of the performances alone. It's also quite original and distinctive in style. It's devastatingly sad, however, and so should be reserved for appropriate moods.

In a tragedy that only the likes of Sophocles or Shakespeare could recreate, the film House of Sand and Fog proves that some dreams really can't be shared. The American dream is shattered for Colonel Behrani and Kathy Nicolo in this movie of devastating beauty. It is a film about the relentless struggle between an Iranian man and a post-alcoholic over a small house near a Californian beach. When Kathy loses her house due to county error, Behrani buys it for the sake of money and self-pride. Their worlds clash when they realize there is no perfect solution to this mistake, ending with a shockingly tragic twist. The acting put forth in this film was nothing less of amazing. Ben Kinglsey, as always, played his role as if he was really in it, really showing us his point of view and displaying his need for the house. Jennifer Connely played her role beautifully as well, showing the inward spiral she was facing and how her depression finally took her over. The story was nearly flawless with a few money and law errors. However, the tragic themes of the film ring through nonetheless. With a little less than a superior performance from Ron Eldard, the film still had wonderful acting and brilliant film technique. Based on the best-selling novel by Andre Dubus III, director Vadim Perelman does an incredible job of staying true to the novel, and using a few Russian film techniques to give a sense of emotion. This type of film truly will tug at your heart and bring tears, yet will give a sense of appreciation for the human life.

First of all, anyone who says that s/he didn't "get the point of this movie" needs to go back to watching movies produced solely by Jerry Brukheimer because the point could not be more apparent to anyone of any intelligence. House of Sand and Fog is a commentary on the cultural gap between American-born citizens and immigrants from war-ridden countries such as Iran. Unfortunately that gap is shown for what it is: wider than ever.

The character of Kathy is portrayed brilliantly by Jennifer Connelly as an emotionally unstable young woman caught up in the turmoil of losing both her husband and her family's home within eight months of each other. Kathy ignorantly fails to realize that the house her dead father has left her brother and her is in jeopardy of being put up for auction due to unpaid taxes. Kathy comprehends, too late, that the thirty years it took her father to pay off their home has been in vain when it is sold to an Iranian family shortly after auction. Her character is pinned against Ben Kingsley's Colonel Behrani when Behrani buys Kathy's auctioned house in order to return his own family to a sense of stability. The audience is conflicted by its empathy for both character's need to satisfy his and her own pride in family and the preservation of his and her heritage.

The catalyst for the two characters' conflict with each other is drawn from the supporting character of Officer Lester (Ron Eldard), a representation of the ignorance and lack of empathy some Americans feel towards people whose lives have led them to seek better ones in the United States. While Behrani's main motive is to protect his family and give it a sense of security, Lester puts his own selfish pleasures before the wellbeing of his own family. Behrani and Lester are complete opposites, Behrani clearly the nobler. It is clear why Kingsley chose to do this role: Kingsley's portrayal of an Iranian refugee is both superb and honest, not to mention Oscar-worthy. The film shows that there are greater sacrifices in this world than those materialistic in nature. Ironically many Americans might find that point hard to absorb, probably the reason why they are so quick to write off House of Sand and Fog as "one of the worst movies" they have ever seen. House of Sand and Fog is a film, not a movie. Those who give this film a thumbs down need to get a dictionary and distinguish the difference between the two terms. Andre Dubus III's novel has been done justice. Thumbs up.

We are told that Kathy Nicolo lost her house through no fault of her own, but she didn't open the communications from the county and she let the house fall into a deplorable state when she lost her husband. Her knight in shining armor planted drugs on a wife beater knowing that was the only way to get him in jail where he belonged. He constantly drinks in front of a recovering alcoholic. When he, let's say eases her into drinking again (yes, her own decision) that's when he beds her, before telling his wife of many years and mother of his children what's up. BUT, he does come to Kathy's aid, and immediately, in many ways. Colonel Massoud Amir Behrani was part of the Shah of Iran's war machine, buying fighter planes from Boeing. When he comes to America he keeps a prejudice and communicates it to his son, saying, "Americans don't deserve what they have, they are children," this though he insists he is an American citizen. He doesn't care that he bought his house through a governmental error that displaced the owner into homelessness, but once he understands how emotionally invested she is in the house it doesn't take him more than a beat to regret his decision to stand fast in his attempt to make four times his investment. They are all faulty human beings who are also jewels. They try. The acting is the jewel in this movie, by both leads.

"House of Sand and Fog" is by far the finest film I've seen this year, and probably the best I've seen since the dial turned from the 1990's into the new millennium.

Vadim Perelman makes a movie so astoundingly beautiful that one has to think he's been doing this for years, but this is his first film. Set in a fog-drenched Southern California community, Perelman sets two immoveable forces apart from each other -- Cathy, a recovering alcoholic burdened by the memory of her late father, still trying to prove that she is a responsible person in his eyes, and Behrani, a colonel driven out of Iran with his family and desperately trying to maintain a life of stability and promise. In these two roles, Jennifer Connelly and Ben Kingsley give steely performances, each presenting troubled souls trapped within stubborn facades. Connelly once again gives a masterful performance, balancing a reckless sensuality with the desire to find acceptance and love within anything, even a house where the memories have become so painful that the mail becomes too much to take.

Kingsley, of course, is perfect. The subtleties of his facial expressions when presented with moments of joy and frustration are masterfully restrained. This is his best performance of his illustrious career.

When Kingsley and Connelly finally clash, halfway through the movie, the movie, having until then been a paean to silence and unspoken loyalties, becomes a terrifying thriller, riveting everyone with whom I saw the picture. Perelman moves from a mood piece to a suspenseful drama effortlessly. A jaw-dropping conclusion completes a powerful, unbelievably sad piece of work.

After a couple years of not finding a movie that stirred me, this is it, what we all look for in movies -- a harrowing story, beautifully filmed, cathartic and elegant. Joy is very difficult to spot in the film, but "House of Sand and Fog" provides the joy we get when being moved to powerful emotions by a wonderful symphony.

My best film of 2003 -- unquestionably 10/10.

'House of Sand and Fog' is a very depressing film that revolves around a young troubled woman named Kathy and a down on their luck family of immigrants, the Behranis. The conflict between them arises out of a mistake on the part of the County and the tax department which end up having devastating consequences on the lives of these people.

I think one of the main themes that gets explored in the film and what I connected with is how and the extent to which a sense of honour and self respect can drive a person's behaviour and make him/her stubborn. Kathy refuses to reveal her divorce and her sorry financial condition to her family because of this self respect. The Behranis at least at the initial stage of the film are putting on this facade of extravagance because of this self respect and because of their need and urge to not lose their honour in the eyes of society. The Behrani's had come to America with an idea of what the American Dream was about. The initial part of their life in America was spent in affluence and luxury. But even after their lives took a bad turn in a financial way, they feel the need to keep up this disguise of being a happy, well-to-do 'American' family. So much so that when Massoud tells his wife that they may have to move to a smaller, more ordinary house, it becomes a mentally shattering experience for her. In her eyes, moving to a new house, means going back to being an 'Arab' and relinquishing their new 'American'-ness. The sense of feeling like an outsider as an immigrant gets explored. On the other hand Kathy's problem lies in the shame of having undone the work that her departed father did on the house that she inherited.

The film is an example of a director elevating a flawed premise through great storytelling. The tone that Vadim Perelman sets for the film is melodramatic. The dialogue is a bit theatrical. But Perelman remains consistent with that tone, so it didn't put me off. There are some great moments of visual flair like the scene where Massoud while he is checking out Kathy's apartment, notices a shining window in an otherwise pitch dark room, another great shot is the shot of Kathy in the bathtub with her reflection in the water. But what Perelman excels at the character scenes for the most part. He gets good performances out of the actors for the most.

But the screenplay is a bit flawed in my mind which could be due to what's present in the book which the film is based on. The basic conflict that sets up the film is a bit unconvincing. Also the way the situations and circumstances constantly escalate in the last act of the film become increasingly bizarre, ridiculous and not believable. Perelman elevates this material by chewing the scenery a bit with his direction which in a way hides the weaknesses of the story.

The acting for the most part is good. Ben Kingsley is powerful and commanding. Jennifer Connelly like she did in 'Requiem for a Dream' plays a broken character very well. Having said that there are a few scenes involving every actor that could come off as a bit fake, but I guess that goes along with the tone of the film. However Ron Eldard as the character of Lester was a bit boring. His characteristics, his mannerisms and his actions range from bland to really off-putting and maybe the writing has a lot to do with it.

'House of Sand and Fog' is a depressing, heartbreaking film. It is not a great film in any sense of the word. It has a lot of screenplay and writing issues which may have their source in the original novel in terms of realism. It is a good exploration of pride and honour. But it's still certainly worth watching for the direction, the acting and the themes. Recommended.

This film is based on Andre Dubus III'S acclaimed novel "House of Sand and Fog". Dubus created a story of immense power about cultures and the gap between them, about human pain, about hope and ultimately about humanity and sometimes its tragic loss. Colonel Behrani (Sir Ben Kingsley) and his family, buy a house on the fictional area Pacific County, intending to ameliorate their lifestyle, as they have been banished from their home country, Iran. However, the previous owner of the house, a depressed young woman and recovering alcoholic, Kathy Lazaro (Jennifer Connelly), turns up and reclaims her property, which was taken from her because of a bureaucratic error. And when Kathy's boyfriend, Officer Lester Burdon (very effectively performed by Ron Eldard), a racist obsessed with the concept of justice decides to help her, all hell breaks loose. I cannot speak of the plot any further without spoiling it, so I will stop here. How can one tell a story and be more than a mere narrator? How can a book be adapted to film, without merely repeating what the book itself says? Not only does newcomer director Vadim Perelman answer this question, he gives us one of the best films of the past decade. Perelman doesn't waste a single detail. Everything is brought together to create an astonishing emotional impact. Like great directors such as Tarkovsky have done, Perelman approaches his every character and pierces through her/his soul. Every scene takes you deeper and deeper into the soul of the characters, without ever being slow moving or over descriptive. As for the performances, what can I say? Rarely if ever has a single performance moved me as much as Kingsley's. This gigantic actor delivers one of his best performances to date, he has immaculate control over every single aspect of his character, physically and emotionally. Connelly, one of the most talented actresses working today, is also breathtaking, creating a performance that is a quiet outburst of pain and regret. Shoreh Aghdashloo, portraying the most tragic character of the film (at least this is my view of her character), is heartbreaking. This is acting in its supreme form, I really don't think it gets better. She truly deserved an Oscar for this. Young Jonathan Ahdout is also excellent, we will definitely be seeing more of him in the future. However, I must warn you: If you are going to see this movie, prepare for an emotional breakdown. It is really one of the most devastating films of the past years and if you'd rather see a pleasant film, this isn't for you.

The first half of this film was dramatic in a perfectly subtle way that had me on the edge of my seat. Jennifer Connelly, AKA the most beautiful girl ever, and Ben Kingsley both give terrific performances, leaving you captivated by the story. However, the second half of the film felt a bit too over-the-top and seemed unbelievable at certain parts. This was an extreme negative for me, considering how realistic the first half was. The characters' motives did not seem very organic and took me out of the film a bit. Perhaps the novel does a better job of making these characters' actions seem more believable towards the end. Despite me not particularly liking the ladder part of the film, it was still an extremely effective drama for the majority of its runtime and is a well-crafted film all in all.

Movie It's a great movie, without a doubt, a strong and intelligent offering with some of the strongest and most heartfelt performances I've seen for a long time. Jennifer Connelly is stunning, and I don't just mean in looks, her acting is amazing and is picked up on the audio commentary again and again. One scene early on requires her to shed a single tear while talking quite normally on the phone, as if on queue it drops. You can hardly believe someone could give such a heart wrenchingly emotional and confused performance as this and manage to retain a normal life, watching her you believe that she is in a downward spiral of depression and self destruction. A totally believable and emotionally charged performance.

Ben Kingsley also gives a great performance, although not so outwardly recognisable in emotion, it's only really until you watch the audio commentary and listen to the praise given by the Director and author that you realise how subtle and exacting his performance is. His character is defined by strength, beliefs and pride, and Kingsley gives an excellent performance, Shakespearean in stature.

The film itself is emotionally draining, and you feel you're being taken on that roller-coaster drop along with Connelly's character, but don't for a second think that you shouldn't see it for those reasons, it's a journey that is superbly rewarding as a movie and an education in the miscommunication of people. Particularly people of different cultures.

As the movie progresses and the events step further and further down towards their tragic conclusion, the characters become more and more complex. Starting as simple, pigeon holed characters that you've seen before, they soon become more real and pull you into the movie, wrapping you up in them. They become utterly engaging and you totally disengage from life around you.

There's a strong supporting cast, although the performance from Jonathan Ahdout is not too convincing, those around them are, I think a particular mention is required to Shohreh Aghdashloo who provides an emotional balance for the coldness of Kingsley's character and an emotional mirror to the devastation of Connelly's character.

Two things are mentioned in the audio commentary that I didn't really pick up on until then, but retrospectively you realise these contribute greatly to making it a great movie. The first is the subtlety, there are many images and scenes without words that you don't truly appreciate until a second viewing, or a very careful first one. The second is the way that Kinglsey praises the Director's style of never telling the audience what did happen and is going to happen, events just occur. For instance the breaking of the marriage of Ron Eldard, where there is no explanation given, it's just happened. This has the effect of treating the audience with respect and realising that they have intelligence, and it also makes for an excellent way of keeping the pace of the movie.

Picture Presented: The picture is crisp and sharp, a superb use of lighting in the movie moving from the bright opening beginning of the story it darkens through time to the bleak and dismal closing scenes. The light is always warm and inviting, with any artificial light looking sterile, and the darker shots bleak and dismal. Some of the time lapse shots between scenes are beautiful.

Audio Presented: The audio is very good, although there is nothing to really take advantage of a surrounding speaker system, the sound is kept sparse and atmospheric, with an extremely subtle and limited soundtrack it gives everything to the movie and never distracts.

Extras Presented: What strikes you about this DVD are the beautiful animated menus, black and white shots from through the movie fill the background giving you the feeling of mystery and indeed sadness.

The Deleted Scenes are good, although alongside they have a dull and very annoying commentary. Rather than talking about the scene and giving some insights you are treated to noises of laughter, snorting and approval interspersed with over the top bouts of backslapping. Awful, before it's over you're dreading the onset of the audio commentary. The Behind the Scenes is good, but nothing new.

The Photo Gallery is very well done as it's not a gallery at all, it's a featurette that is filled with stills between interviews with people talking about actors, characters and key scenes. It's a very engaging way of creating a gallery. Another huge extra is the Shohreh Aghdashloo Audition, it's truly amazing to see this actress work through some very emotionally harrowing scenes one after the other right in front of your eyes, it gives you a superb grounding in what it really means to be an actor and auditioning. With this performance it's hardly surprising she gained the role.

Finally there is the Audio Commentary, and after the pathetic commentary on the deleted scenes I was really concerned. However the backslapping was slightly subdued for the full commentary, still very evident but much more bearable due to the amount of information that was given about the story, filming and the actors themselves. Combining Kingsley, Vadim Perelman and Andre Dubus III, you are treated to a really wide view from story conception through development, filming, acting and ultimately post production. I really enjoyed this insightful commentary, although bordering on the crawling at parts, it gave you a lot more about the movie and the story. It also provides an interesting look at the actors and their methods.

Overall The movie is superb and firmly fixes itself in the realms of classic tragedy. The acting from both leads is stunning, particularly Connelly, and the supporting cast provide strong backing. Powerful, emotional and at times quite harrowing, this is superb entertainment and a movie deserving far more recognition than it did, again particularly for Connelly.

Massoud Amir Behrani (Ben Kingsley) and Nadereh (Shohreh Aghdashloo) are Iranian exiles. He is still maintaining a facade of success but is actually working menial jobs. He buys a bungalow at an auction, moves in his family and then intends to flip it. Kathy Nicolo (Jennifer Connelly) was wrongly evicted for $500 of unpaid business taxes. She has been depressed for months after being abandoned by her husband. Sympathetic Deputy Sheriff Lester Burdon (Ron Eldard) tries to help and has an affair with her. It's a desperate struggle for both sides.

This is a depressing tragedy. It is unrelenting in its direction. This is expertly laid down by newcomer Vadim Perelman. It does go to a very dark place but it is not coming out of nowhere. One must almost abandon all hope and enjoy this descend into personal destruction.

Excellent performances, strong story, riveting. This story would not work without Ben Kingsley. His characterization delivers complexity, strength and intelligence. This movie was well cast and certainly finds a way to touch a cord in everyone. The director did show a light touch where necessary but put the actors through their paces as the story unfolds. This is not light entertainment. It's about the human condition and how people find a way to cope with adversity..........or not. Better have a box of tissues because you will need it by the end of the movie. They want one more line out of me and it's proving tough. Hope this does it. I recommend this movie to anyone. The performances alone are worth it. Guarantee you that you will not walk away from this one without an opinion.

Such a great film. so emotional,i cried at the ending because it was just so sad. It just shows what can happen when people dont take responsibility but then want everyone else to pick up the pieces. Not an easy watch or an easy lesson. Give it a watch but not if you are feeling depressed. This could send you over the edge! lol

josephinerenae3's review is very informative without ruining the film, I completely agree.

I believe this film is raw, it shows different perspectives of lives in America: immigration, greed, sacrifice, and more.

This film is acted well through it all. Everyone does a great job, particularly Jennifer Connelly and Ben Kingsley (nothing short of what was expected from both).

This isn't a feel-good film, it's a film about society and human nature, with lessons to be learned.

Enjoy it for what it is, not for what you want it to be.

Greetings again from the darkness. Let me start by saying that this is a beautifully made and extraordinarily well-acted movie. First time director Vadim Perelman, who also wrote the screenplay, delivers the visual punch that was laid forth in best selling author's Andre Dubus' novel of the same title. Ben Kingsley delivers another powerful, and at times chilling, performance as an Iranian immigrant trying to do right for his family. The stunning Jennifer Connelly stretches her acting skills as never before as the lost puppy searching for meaning. Realizing this was a best selling book, I must still say that the foundation of the story is preposterous. Are we really to feel for the screwed up person who can't manage to open her mail? Are we supposed to feel disgust for the hard working immigrant who judiciously purchases a home at auction (and won't give it back) because the county might have made a clerical error? PUHLEEZE. She is an idiot and he has total legal rights to the property. Forget what the "right" thing to do is, given some emotional attachment she has to the house. She lost the house ... he did not steal it. This becomes even more ridiculous at the end which I will not give away. Remarkably, this did not ruin the movie for me. Watching the interaction between Connelly and Kingsley and Kingsley's wife is both fascinating and frustrating. Her slide back into addictive habits is painful to watch, even if it is carried a bit overboard. I feel certain this movie will receive critical acclaim due to the star power and the best selling book. Many will overlook the obvious flaw in the foundation of the story. Regardless, this is a well made and well acted movie that is worth seeing.

One of my all time faves. Watched it 3 times and still cried every time. Stunning performance by Mr Kingsley, reliable as usual! Please watch this movie!

Great movie, stunning performance from Connelly, what a beautiful tragic story with well cinematography execution by Roger Deakins. RIP James Horner, thanks for dramatic music background in every single scene, sounds like Hans Zimmer hehhe. Again, GOOD JOB!!!

This movie is undoubtedly the best of many good ones in the past years. After watching it last night, it is still with me - the glorious scenery, the entire cast and of course, most of all Ben Kingsley. Ben Kingsley should have gotten the Academy Award for his performance. Not once did I find the actor behind the character he was playing. I have seen him in many movies, each of which he epitomizes and becomes a chameleon changing colors becoming whatever his roll calls for. The cinematography was beyond beautiful; indescribably glorious, breathtakingly exquisite in both the colors and movement. The story was believable, tragic yet it hit the right notes of a man who is determined to regain at least some of the stature he had left behind. I truly loved the line which was spoken in the Iranian tongue and then translated "If a wounded bird flies into your house, you must take in in and heal it." The words might not be exactly correct but the meaning is obvious and quite eloquent.

The most interesting thing about this extremely well-made but overwrought melodrama is that it's the THIRD film now with a prominent shot of Jennifer Connelly standing on the end of a pier.

Connelly, one of my favorite young actresses (she should have won an Oscar for her work in "Requiem For A Dream"), plays Kathy, a mess of a young woman who is evicted from her house for failure to pay some taxes. She missed the notices because, lost in a depressed haze for several months, she never opened her mail.

Meanwhile, a Iranian immigrant named Behrani (Ben Kingsley) snaps up this seized property for a low price, further ruining Kathy's life. Behrani is not a villain, though. He's a complicated man with a family to provide for and his fortune (he was a prestigious Colonel back in Iran) is quickly disappearing.

For the first hour, "House Of Sand And Fog" seems like it's going to be an awesome movie. The struggle over the house is interesting, because both Kathy and Behrani are sympathetic in some ways AND unsympathetic in some ways. You honestly don't know whose side to be on. Another thing that makes the first hour so good is the slow building of suspense. We can see a situation that could possibly become violent looming in the distance, and there is some nice foreshadowing of it (especially a cringe-worthy scene involving nails).

Unfortunately, the classy thriller that "House Of Sand And Fog" seems to be developing into never arrives. It almost gets there, but instead takes off into a rather unsatisfying and unrealistic direction. Plus, that second hour is slooooooow.

The performances given by Kingsley and especially Connelly are extremely good, and the film LOOKS great, full of gorgeous shots and it has a pleasingly rich and dark color palette. But all those things should be in the service of a good story, and after the excellent first hour, "House Of Sand And Fog" just doesn't have that.

Vadim Perelman's "House of Sand and Fog" looks at the way that goals can have terrible outcomes for all interested parties. When a woman loses her home for nonpayment of taxes, she stops at nothing to reclaim it, even as an Iranian refugee family buys it. What caught my eye is that both she and the new family have suffered adversity: her husband abandoned her, and the patriarch - a colonel in the old country - now works menial jobs. This house may have a beautiful view of the Pacific Ocean, but what happens over the course of the movie is anything beautiful. It is a REAL downer.

While due credit should go to Jennifer Connelly as the original owner and Ben Kingsley as the patriarch, I think that a lot of credit should go to Shohreh Aghdashloo as the matriarch. Simply trying to hold her family together while still agonizing over the loss of their livelihood in the old country, she's a delicate but benevolent person. This is one of the most depressing movies out there, but I think that it's something that everyone should see.

PS: The son mentions SAVAK. SAVAK was the Shah's security force from 1957 to 1979. Amnesty International reported that it had the worst human rights record on the planet.

Boy, did my opinion change on this after the second viewing. On the first, I found it utterly fascinating and a pleasant surprise. I rated it a '9." On the second, I got so annoyed at two of the characters I lost interest in ever seeing this film again and lowered it to a "6."

So, with that in mind, my recommendation would be to definitely see the film but don't buy it. In other words, rent it.

It's hard to review this movie without spoiling it, so all I will say is the ending is a shocker. Overall, the film is anything but uplifting as very flawed characters make poor choice after poor choice and their lives spiral downwards. It can get more than a little uncomfortable to watch.

However, in the "good news" department, the story will keep you riveting all the way; the ending is one you'll never forget and the camera-work in here is exquisite. One of the best cinematographers in the business, Roger Deakins, shot this film and he did his normal superb job.

Ben Kingsley is an actor who seems to be playing more and more intense roles (Sexy Beast, Suspect Zero, etc.) and he excels at it. Iranian Shohreh Aghdashloo plays his wife in here and she is outstanding, in a very understated and perhaps unappreciated performance. The two people that really bothered me, which also means they did a fine acting job, were the characters played by Jennifer Connelly and Ron Eldard.

This is one intense movie and I will provide this public service message to you: if you are on depression medicine, stay away from this film!

the film on the whole approaches utter hack work. the direction vacillates between sloppy and grotesque heavy-handedness; it's like being beaten about the head with a two-by-four--not much in the way of subtlety. kingsley's good; shohreh aghdashloo is splendid; connelly's adequate in an underwritten, unsympathetic and utterly preposterous role. the story's basic concept is so weak to begin with, it's hard to suspend disbelief as much as we're asked to.