Every Thing Will Be Fine

One day, driving aimlessly around the outskirts of town after a trivial domestic quarrel, a writer named Tomas accidentally hits and kills a child. Will he be able to move on?

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  • ★★★½ review by jude law's receding hairline on Letterboxd

    am I the only one who actually liked this movie?

  • ★★★½ review by Kaci Elizabeth on Letterboxd

    Alright, so, it can move slow but with most meaningful stories, that is the case. With that warning, we'll move on.

    It's worth it. Trust me. It is more worth it than you can imagine. The storyline is fantastic, yes it moves slow, but it is amazing. The directing will literally leave you speechless and the acting is pretty good as well.

    All in all. I would recommend this.

  • ★★★★½ review by Alexandros Anas on Letterboxd

    Audiences who love Wim Wenders' masterworks like "Paris, Texas" and "Wings of Desire" will be excited to know that "Everything Will be Fine" posses much of the same transcendent quality that have made those films so endearing. It is hard to explain exactly how "Every Thing Will Be Fine" works. But as I was watching it I cannot deny the overpowering emotion which I felt emanating from the screen. It is entirely engaging to the point where it's not unlike the cinematic equivalent of hypnosis.

    The film is about tragedy and while there is not much to analyze in the random chaos (and ensuing catharsis) which plays out throughout the film, the emotion and sheer atmosphere generated by the film in its exploration of these topics is artfully created. This is not purely a film but rather an experience. It is a whirlwind of feeling. It strikes fast and hard at the heart and exposes its aches and pains bare with frightening honesty.

    I'm excited to see the film again, it is an enigmatic work for sure. I imagine the admittedly disjointed way it tells its story may be a bit frustrating for some viewers. I was moved by the film. I'm not entirely sure how or why but it spoke something to me that was true and real. Additionally viewings might reveal some of the mystery. I understand the critics and audiences are wanting more out of this film but I was able to relish in the intense emotion and atmosphere of this truly powerful work and that was something I found deeply gratifying.

    The 3D is worth mentioning here. It was my first time experiencing Wenders handling of the medium and it must be said he is a true master of the format. The depth and range of the 3D is constantly changing per shot and scene. At times the 3D is so subtle one can barely notice it, then, surprisingly the shot begins to gradually take on more and more depth. Wenders confronts the biggest problem with 3D by ensuring no bit of the frame is wasted. Some directors use 3D to selectively emphasize objects or characters. Wenders rarely does this. He uses 3D to separate layers but gives everything their own importance. This full use of the 3D effect makes his use of it all the more absorbing. His moving camera and artful direction add a further level of immersion which helped complete the deep trance this film was able to cast over me and draw me in. I've been skeptical in the past in regard to the 3D medium but Wim Wenders has, with this latest film, brought me considerably closer to being a believer.

  • ★★★★ review by Lucas Abreu on Letterboxd

    Mesmo um roteiro ordinário pode se tornar um grande filme na mão de um bom diretor. Wim Wenders estabelece uma lógica visual muito inteligente e delicada para o filme, ao isolar seus personagens usando elementos do cenário que estão em segundo plano.

    Eu queria muito ter visto esse filme em 3d. Ali a lógica dele se explicita e ganha em robustez.

    Uma pena mesmo um elenco tão bom ser comprometido com a presença do limitadíssimo James Franco.

  • ★★★½ review by Peter Zingg on Letterboxd

    Watched it on my 2D TV but got a pretty good sense of how Wenders frames and lights things for 3D (I loved Pina).

    While watching I kept thinking it would be interesting for Wenders to "restore" Rohmer's Moral Tales into 3D--he used a lot of the same setups: storytelling through two shots, conversations, landscapes, objects.

    And I also kept feeling this Egoyan/Polley vibe (do all features shot in Canada have this vibe?).

    Main complaint is with Franco who wins prizes but doesn't seem to have much else to offer the four women and one (teenage) man in the play. The rest of the characters' flat portrayals are able to communicate feelings, but his (I know he's supposed to be damaged goods) is below flat.

    Anyway I will have see it again in real 3D.

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