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Watch NOW!! Nocturnal Animals (2016) [HD] (3D) regarder en francais English Subtitles

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Sinopsis :A woman named Susan receives a book manuscript from her ex-husband — a man she left 20 years earlier — asking for her opinion of his writing. As she reads, she is drawn into the fictional life of Tony Hastings, a math professor whose family vacation turns violent.
Cast: Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Taylor-Johnson, Isla Fisher, Armie Hammer, Laura Linney, Andrea Riseborough, Michael Sheen, Zawe Ashton, Jena Malone, Kristin Bauer van Straten, Ellie Bamber, Karl Glusman, Robert Aramayo, Graham Beckel, India Salvor Menuez, Imogen Waterhouse, Neil Jackson, Franco Vega, Lee Benton, Maria Zyrianova, Jack Wallace, Amanda Fields, Celeste Octavia, Tamara Robertson, Stephanie Walters, Chelsea Taylor, Carson Nicely, Nick Hounslow, Tonia Marie Rosée, Josh Ford, Piper Major, Peggy Fields Richardson, Lori Jean Wilson, Michele Dunn, Janet Song
Genre: Drama, Thriller
Production:Universal Pictures, Focus Features
Keyword :female nuditybased on novelhostageloss of daughtermother daughter relationshiploss of wifeoverbearing motherflashbackdeath of wifeunfaithful wife

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Nocturnal Animals is fantastic. The music, cinematography, and especially editing give the film a sort of dream like quality which is not only appropriate for the particular mode of story telling that Ford is using, but greatly compliments the unique, though easy to understand, style of presenting the story. 

Without spoiling the film, I would like to heap as much praise as possible on the fashion in which Tom Ford decides to tell the bulk of the story. The sort of story within a story that he creates, using the source material from Austin Wright, provides insight into the perspectives and mindsets of the characters that I don't think would have come across as well if the film had a more traditional narrative. In many ways the film follows conventional narrative devices, and that's sort of the point. The devil's in the details, and there are certain aspects of the story within the story which reveals not only what happens to the characters, but the specific meaning that certain events had to them and how they came to perceive their own experience. 

Amy Adams, Jake Gyllenhaal and Michael Shannon are all spectacular. Jake Gyllenhaal in particular makes excellent use of his time on screen to distinguish the differences in the varying narratives through his performance.

The only gripe I have with the film is during one scene wherein the presentation of the story breaks the sort of consistent pattern it sets without really being justified. I don't really mean that there was a subversion of expectation which creates a new direction in the story which I didn't expect, that wouldn't really be a problem in and of itself. I mean to say that there was a brief moment in one scene which was jarring in its inconsistency with the rest of the story, and which made me think that the sort of effect that it achieved could have been accomplished in a way which was more organic to the nature of the story (without giving away anything specific, I'm referring to a specific jump scare). 

Nocturnal Animals says a lot about story telling, and how the fashion in which a story is told not only reveals things to the audience about the human experience, but their own experience and the experience of the author, and how those experiences shape our perception of the past. 
I really liked Aaron Taylor Johnson in this film. Its so hard to play villain and negative characters when you do not look like a negative person. Usually people are type- cast for these kind of roles but I was just surprised to see how Aaron owned his character. He was not trying too hard to play this character, he just got under the skin of this character. When you see him first time in the film he does not look like he is a bad person. He just seems to be fooling around with this family but as the story progresses, his inner nature is revealed. Good actors need good characters for them to shine. Would love to work with Aaron Taylor Johnson some day. Armie Hammer was not bad either. 
Given his background, director Tom Ford's second film is surprising in that it is not a case of style over substance - there isn't too anything flashy for the most part, but the entire film has a subtle stylish quality to it, which flows into the cinematography and the colours used. Added to this though is a gritty, violent thriller with a bit of dark humour thrown in for kicks.

It is clear from the start of the film that Susan, a successful art gallery owner, isn't in a good place mentally. Christ, just look at the opening scene that accompanies the credits! She isn't sleeping, she is losing faith in herself and her career, and possibly her marriage. It is also established quickly that she is financially well-off.

Without warning, a completed book is mailed to her by her ex-husband of 19 years, a man that she says she broke up with in a bad way. Cleverly, the film doesn't show us what that was specifically, instead it uses her ex's book as a sort of prop. The story Edward has written is a dark and violent vengeful tale. Julie takes this personally, and it is hard not to see why when we learn about the similarities in personality between the story's protagonist, Tony, and Edward himself.

It is interesting to watch her reactions as she reads the story, with close-up shots, especially her eyes, showing a lot more than she could ever say. The further into the story she reads, the more it affects her mental well-being. I love the idea of a story within a story (film), which is obviously not a new trend, but this certainly offers a few twists on that basic formula.

What lingers in my mind is how the film slowly reveals itself. The film will occasionally flashback to a moment when Susan was with Edward, and at first the scene won't make a ton of sense. Then later on an event or scene will cause that flashback to fit together, to tell another part of the story. The flashbacks are handled perfectly; Jake Gyllenhaal even looks younger during these scenes, and without the heavy Texan accent he has within the confines of a book, there is no confusion. We always know where we are within the movie.

At first, I thought the ending was extremely premature. But after thinking about it for a bit, it makes perfect sense given the events that preceded it. A unique film to be certain. As for Amy Adams, this is two roles in a row that she has nailed, and each of those roles couldn't be more different. She even looks different here. Gyllenhaal doesn't let us down, unsurprisingly, and Michael Shannon serves as a fine grumbly old detective whose idea of the law becomes slightly warped as the film rolls by.

Impressive, original and well-acted, there isn't a film I can think of to compare this to - which is an infinitely good thing. Stylish where needed and gritty when it counts, this is a multi-faceted film that needs to be seen more than once. And as most of us know, the films you need to watch more than once often end up becoming favourites. The only niggles I have are some aspects of the script and screenplay - a lot of the humour fell flat, and some very tense scenes were undone by some very predictable scenarios, as well as a script that is as sharp as a spoon. Still though, I sure as hell will be watching this one again soon.

www.epilepticmoondancer.net 

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