‘The World to Come’ Review: Not as close as the ‘portrait of a woman on fire’ and it can be its strength

Apologies if the title sounds misleading or emerges as an underestimated effort. Ambitious Mona Fastvold remains grounded and loyal to the source material, based on Jim Shepard’s novel with the same name.

Screenplay by Ron Hansen and Jim Shepard. The world to come without resemblance to French partners. Céline Sciamma’s portrait of a woman caught fire. Except that both of them are period periods centered on love affairs.

That is destined and bears by two characters of women rubbing from heat. That can change Become a fire when they quietly peek into each other’s eyes in their existence.

Ridiculous to even mention Fastvold films with portraits in the same breath.

However, the main character of the two films is indeed a deep cousin with a common heart. For, the world that will be a good part of the portrait if it’s parallel.

As drew it, the ideal title for the upcoming world is portraits of two women sharing hot. In the cold winters of 1856 in the Schoharie County. Where they became acquainted as neighbors.

Let’s cut it to the pursuit: there has never been a significant new example of the adaptation of the film. The weight of his literature throws the towering presence in everyday conversation.

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Showing off characters to communicate in solid literary verses, in Garb non-flowery without making His narrative sounds like pretense waste. There is a thin line that separates dialogue from natural conversations.

Still, there is something problematic about the idea of ​​Fastvold about everyday conversations. That can hardly be classified as “dialogue.” This is another thing that will come by this world. It is intended to be bathed in a rich piece of literature.

Maybe it answers Fastvold’s decision to continue the first person’s narrative. Which carries certain softness and timbre to the original text. Plus, it is a one-person account about dating (although they prefer the word ‘friendship’). That blooms and destined in the season range, spread over six months.

And there was something ‘soft’ and ‘soft’ about the “voice” of the narrator (Katherine Waterston, who played Abigail). Giving life and meaning to words and taking the pause needed to fill the gap.

Because the only way to see the upcoming world is to treat films. As an intimate view to a profoundly personal journal, filled with sadness. And dry tears when you decide to find the person behind the “voice” behind their fragments.

You admire the World Fastvold building and how he sets character dynamics in one strong line.

“This morning, Ice is present in our bedroom for the first time throughout the winter”. Abigail’s reading might indicate the cold relationship he shared with her husband, Dyer (Casey Affleck), who owns agriculture.

Sadness and sadness involve couples when they grieve over their daughter, who died of diphtheria. “Satisfaction is a friend he has never seen,” describes the Abigail of her husband. And you remarried about the verses of Fastvold.

Of course, the film is soaked in familiarity: a lonely wife in a marriage that is not happy. With a husband who doesn’t even see his suffering, and there is increased sadness. “I’ve been my sadness.

What I enjoy calmly doesn’t come from the idea of ​​a better world to come”. Abigail said, and you almost sympathized with him when his eyes. It went looking for a woman on the train. How exactly, you are wondering, because it is this woman’s business into Abigail’s life, in the world to come.

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Abigail naturally looks for friendship with Tallie (Vanessa Kirby):

Who moved with her husband Finney (Christopher Abbott) to the nearest farm. He learned that Tallie also tried to give birth to a child with her husband. And they appeared as two women.

Who blew steam about their partners who were not available. But you feel it is a marking of something more profound by the way they exchange appearance. And then this beautiful and beautiful poem appears to appear.