Alzheimer’s drama has been circuitous. Back in May 2014, a Cannes best actress award pegged her as an Oscar frontrunner for her fearsomely poisonous turn in David Cronenberg’s scabrous Maps to the Stars. When that film’s US release date was pushed back to 2015, Moore appeared to have been cruelly robbed of what would surely have been her fifth Academy Award nomination. But then Still Alice premiered at Toronto in September, returning her to the front of the pack with a film more attuned to traditional Oscar-voter sensibilities. Moore’s overdue win was both deserved and popular, recognising a performance rich in sympathy, grace and insight – although personally I’d love to have seen her garlanded for Maps to the Stars, not least because it takes real guts to play a character as massively
Aided by cinematographer Denis Lenoir’s use of shallow depth of field to express Alice’s interior isolation, Moore does a brilliant job of drawing us into her increasingly unfamiliar world, the set of her smile and the anxiety of her stance saying as much as the elusive words for which she reaches with palpable pain. The same is true of Alice’s close family, who react to her diagnosis by declaring “that makes no sense”, and then variously come to terms with her attempts to master the “art of losing” (a reference to an Elizabeth Bishop poem) as horror turns to habit. The scene in which John and Alice first break the news to their children is particularly impressive, each member of the ensemble cast exhibiting one of several instantly .
Where: American
What: a movie
Who: Glatzer
When:2015
How: a movie which touched people all around the world.
cinematography :電影業的
sympathetic :同情心
diagonal :斜角
nomination:提名
stance:姿態
網址：https://www.google.com.tw/amp/s/amp.theguardian.com/film/2015/mar/08/still-alice-review-julianne-moore-superb-alzheimers
