CALIFICACIÓN DE IMDb
6.1/10
6.6 k
TU CALIFICACIÓN
Una mujer divorciada e insatisfecha tiene la oportunidad de revivir su pasado cuando conoce a un joven que parece ser su novio del instituto y que murió muchos años antes.Una mujer divorciada e insatisfecha tiene la oportunidad de revivir su pasado cuando conoce a un joven que parece ser su novio del instituto y que murió muchos años antes.Una mujer divorciada e insatisfecha tiene la oportunidad de revivir su pasado cuando conoce a un joven que parece ser su novio del instituto y que murió muchos años antes.
- Premios
- 3 premios ganados y 4 nominaciones
Ross A. McIntyre
- F. Scott's Neighbor
- (sin confirmar)
Susan Porro
- Waitress
- (sin confirmar)
Stacy Lynn Spierer
- Student
- (sin créditos)
Argumento
¿Sabías que…?
- TriviaThe artwork by the character F. Scott is by the artist Bryan LeBoeuf.
- Citas
Louise Harrington: [after her ex-husband has confessed his sexual addiction to her] You're on "Step 9," aren't you? You're making amends? I fucking *hate* "Step 9" with a passion!
- Versiones alternativasThere are two versions available. Runtimes are: "1h 37m (97 min)" and "1h 40m (100 min) (Ontario) (Canada)".
- ConexionesReferenced in Delocated: Pilot (2009)
- Bandas sonorasStay Tuned
Written by Marcus Congleton (as M. Congleton)
Performed by Ambulance LTD
Courtesy of TVT Records
Published by Copyright Control
Opinión destacada
"P.S." continues the trend this year of movies and TV shows with aggressive older women attracted to geeky, barely post-adolescent boys.
While most of them come across as male fantasies, this one, based on a novel by Helen Schulman I haven't read yet for comparison, takes the viewpoint of the woman, to make her seem empowered. At least here we see how she herself is still mired in her own Glory Days (just as the male lead in writer/director Dylan Kidd's previous film "Roger Dodger" was), through her memories, her relationships with her brother and mother, and with her ex, whose student she was (though their relationship is talkily given additional problems of lack of urge control that seem unnecessarily complicated -- does Gabriel Byrne ever play a non-adulterous husband?).
Laura Linney is so good, however, that she portrays the character as stronger and making more sense than the situations or her continuing competition with her best friend, as played by Marcia Gay Hayden (and I couldn't figure out when the friend was in New York or California). Hayden's character even defensively says at one point "We're being just like the boys."
Linney is particularly effective with chilling monologues, as she dissects life's disappointments in comparison to adolescent hopes and dreams, that her character has faced not only in her life but daily as a college admissions director. I do challenge as a cultural bias and the character's hang-up the assumption that one is perfect at age 20, such that only the good die young.
While the plot is set in motion by a magic realism kind of coincidence that seems reminiscent of sci-fi-ish films like "Happy Accidents," "Sliding Doors," or "Me, Myself, I," let alone "Vertigo," even the characters agree by the end that they've had enough of this mystical stuff and that angle just gets dropped as they try to be real.
The film uses the Columbia University setting effectively and the soundtrack and scoring are full of New York City musicians, including Yo Le Tengo, Martha Wainwright, Citizen Cope and cellist Jane Scarpontoni.
While most of them come across as male fantasies, this one, based on a novel by Helen Schulman I haven't read yet for comparison, takes the viewpoint of the woman, to make her seem empowered. At least here we see how she herself is still mired in her own Glory Days (just as the male lead in writer/director Dylan Kidd's previous film "Roger Dodger" was), through her memories, her relationships with her brother and mother, and with her ex, whose student she was (though their relationship is talkily given additional problems of lack of urge control that seem unnecessarily complicated -- does Gabriel Byrne ever play a non-adulterous husband?).
Laura Linney is so good, however, that she portrays the character as stronger and making more sense than the situations or her continuing competition with her best friend, as played by Marcia Gay Hayden (and I couldn't figure out when the friend was in New York or California). Hayden's character even defensively says at one point "We're being just like the boys."
Linney is particularly effective with chilling monologues, as she dissects life's disappointments in comparison to adolescent hopes and dreams, that her character has faced not only in her life but daily as a college admissions director. I do challenge as a cultural bias and the character's hang-up the assumption that one is perfect at age 20, such that only the good die young.
While the plot is set in motion by a magic realism kind of coincidence that seems reminiscent of sci-fi-ish films like "Happy Accidents," "Sliding Doors," or "Me, Myself, I," let alone "Vertigo," even the characters agree by the end that they've had enough of this mystical stuff and that angle just gets dropped as they try to be real.
The film uses the Columbia University setting effectively and the soundtrack and scoring are full of New York City musicians, including Yo Le Tengo, Martha Wainwright, Citizen Cope and cellist Jane Scarpontoni.
- noralee
- 27 oct 2004
- Enlace permanente
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- How long is P.S.?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- País de origen
- Idioma
- También se conoce como
- P.S. - Liebe auf Anfang
- Locaciones de filmación
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Total en EE. UU. y Canadá
- USD 180,503
- Fin de semana de estreno en EE. UU. y Canadá
- USD 18,710
- 17 oct 2004
- Total a nivel mundial
- USD 273,023
- Tiempo de ejecución1 hora 37 minutos
- Mezcla de sonido
- Relación de aspecto
- 1.85 : 1
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