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Not rated. () |
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All Flixster |
(10562) |
5696 |
15955 |
Female |
(4770) |
2572 |
7205 |
Male |
(5792) |
3124 |
8750 |
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Plot:
Massoud Amir Behrani is living a lie to fulfill a dream. Once a member of the Shah of Iran's elite inner circle, he has brought his family to America to build a new life. Despite a pretense of continu...( read more 
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House of Sand and Fog Recent Reviews
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Recent Reviews
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MCT:November 21, 2008slow start, long film but well worth watching, had more twists and turns than gave it credit for, really good
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MCT:November 18, 2008
My Thoughts: Haven't really seen a movie like it before, a surprisingly decent watch.
Summed Up: Unusual.
Last Viewed: 17/11/2008 -
MCT:November 4, 2008Like a Greek tragedy, this film is about our hopes, dreams, desires but also fears and struggles in life.
Extremely good acting by the whole cast, specially Kingsley is doing a brilliant performance.
It is not a film to watch if you want to be cheered up, though... -
MCT:October 14, 2008'House of Sand and Fog' is a devastating tragedy, a story of two parties enraged in a battle of possession and justice, a story of two parties who are both so inescapably human their flaws will ultimately lead to their downfall. It is their mistakes that will shape the futures of others, when it could be their spirits that overcome what we soon witness to be an insignificant, unnecessary quarrel.
Vadim Perelman's directorial debut moves beyond the simplistic ideas of conflict to make 'House of Sand and Fog' a fable dripping in atmosphere and humanity, an emotionally rich story of how people struggle to put together their own lives, misread their own judgement and find the ordinary so absolutely, yet tantalisingly out of reach. Perelman's marvellous screenplay opens with an anonymous woman staring deep into a void of thought, her black hair ruffled as though windswept, and her breath icy but true. She is asked a question, seemingly from no-one; "Is this your house?"
And so the film doubles back on itself, seeking to explain that question with limited answers, but no response. Is it a question of ownership? Or perhaps one of hope and desire. But what is the line between need and want? Indeed what are the rules governing such ownership, and how are they dealt? How are those who seek to break the codes punished? By law, or philosophy? By fate?
At dawn the house is shrouded in an eerie mist, an indiscernible fog much like the moral waters that plague this haunting picture. Kathy is the house's rightful owner, but incorrect taxes mean she is removed by force. When Massoud, a proud Iranian and his family take refuge there, she can only perceive them with blame, as the villains of her misery. But Massoud is an honourable man, a good husband, with plans of a better life for his family. This woman is a menace to such plans, everything he has worked for. She is a spoilt American who knows little of the value of home.
Kathy and Massoud are the key players in the tale, but she soon becomes acquainted with the deputy sheriff, Lester, and his wife and son also have dealings with Kathy after the purchase. All these characters are so broadly constructed and given so much respect from the thoughtful script, it is difficult not to empathise with them all. 'House of Sand and Fog's key strength is never taking sides; we understand both arguments, but each party is an unfortunate victim to a simple mistake. It is bad luck that triggers eventual trauma.
The film is beautifully photographed and handsomely presented, with a strong cinematic air freshly inhaled by some superlative actors. Ben Kingsley and Jennifer Connelly capture our sympathy, attention and respect, but also make us care deeply for two characters torn by fate and circumstance beyond their control. Connelly seems cheated of an Oscar nomination considering she won for her nevertheless strong performance in 'A Beautiful Mind'. Kingsley and co-star Shohreh Aghdashloo's nominations were more than well deserved.
Perelman's direction too is worth enormous praise. He constructs a flawed narrative flawlessly, engages our morals and emotions when logic insists the two should never converge, and entrances through pace and moment. He offers no unnecessary filler or clichés, no character's secrets or an obligatory final confrontation between Massoud and Lester, he just unfolds. Reality is never in question.
Only after they endure so much pain do the characters finally realise how much misplaced importance they have bestowed upon the house, and the final scenes are so raw and intense the sorrow engulfs us, washing us away into complete remorse. Possession is such a fragile idea, but hope and despair even more so. -
MCT:August 20, 2008i loved performances by sir kingsley and aghdashloo, but connelly while i
generally adore her, i found to be rather tiring. the landscape shots were beautiful, though overall i believe the film was drawn out for entirely too long. also, the climax of the film gave me horrid flashbacks of crash, blerg.
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