Breaking and Entering is the latest film from Academy Award-winning director Anthony Minghella. The accomplished filmmaker reunites with Jude Law – after The Talented Mr. Ripley and Cold Mountain – and Juliette Binoche – who won an Academy Award for her work in Minghella’s The English Patient – to forge this intimate, questioning story about contemporary life.
Will (Law) is a landscape architect at a dynamic London firm. He has a great house, a stunningly lovely girlfriend, Liv (Robin Wright Penn), and a radiant daughter, Bea (Poppy Rogers). Bea is not a normal child: she never sleeps, is devastated by the sight of the colour yellow and practises gymnastics around the clock – and worrying over this is tearing Liv and Will apart.
Miro (Rafi Gavron) arrived in London as a child after he and his mother Amira (Binoche) fled the Bosnian War. Now fifteen, he skips school to do brilliantly athletic robberies for his uncle’s gang and breaks into Will’s trendy King’s Cross offices – not once, but twice. When Miro returns a third time, Will follows him home and soon finds his life desperately connected with Amira’s.
Proceeding from its premise of worlds in collision, this powerful film comments on everything from urban renewal to the plight of refugees; from cultural turmoil to the pains of parenthood. However, like The English Patient and Cold Mountain, Breaking and Entering is at root an achingly beautiful love story of the kind only Minghella can craft. Icily gorgeous cinematography mirrors the characters’ interior isolation and constant apprehension then slowly, brilliantly gives way to warmer sensibilities as doubts and bitterness thaw. Binoche, Law and Wright Penn are very strong here: they inhabit their characters completely, painting portraits of fundamentally good people whose worst misgivings are caging them in. But in the end, the film is full of optimism and light. Minghella, who also wrote the script, pointedly asks whether the only things connecting people in cities should be crime or indifference. His answer emerges in a moving story about love, trust and possibility.
BREAKING AND ENTERING may lack the quality and scope of Anthony Minghella’s previous work such as THE ENGLISH PATIENT and COLD MOUNTAIN, but it’s an interesting, character-driven drama. Jude Law (CLOSER) plays Will, a landscape architect who succeeds in business but finds his personal life is tougher to navigate. He has been with Liv (Robin Wright Penn, FORREST GUMP) for years, but it’s difficult to connect with her due to her worry over her teenage daughter. When Will catches a teenage boy named Miro (Ravi Gafron) breaking into his office, he chases the thief home. He later meets the boy's mother, a Bosnian refugee played by Juliette Binoche (CHOCOLAT). His anger at Miro is quickly transformed into attraction to his mother, further complicating his relationship with Liv.
This is Law’s third teaming with Minghella (after THE TALENTED MR. RIPLEY and COLD MOUNTAIN), and their partnership rewards the audience with a typically good performance from the actor. Wright Penn and Binoche also display the talent people have come to expect, but it’s the supporting cast that shines here. As Will’s business partner, Sandy, Martin Freeman plays second fiddle to Law, but he possesses a similar charm as his character on THE OFFICE. As a persistent prostitute, Vera Farmiga (THE DEPARTED) is one of the movie’s highlights, providing laughter in what is largely a very bleak film. Gavron is a capable young actor as Miro, but his performance is most astonishing for his skills at the sport of parkour, a kind of urban acrobatics on display throughout the film. If only these characters were half as adept at life and relationships as Gavron is at leaping from building to building....
Úspešnému a ženatému architektovi Willovi opakovane vykradnú ateliér. Polícia si s prípadom dáva načas a tak sa Will s partnerom rozhodne nájsť páchateľa na vlastnú päsť. Podarí sa mu vystopovať mladého prisťahovalca až k nemu domov. S matkou mladého zlodeja nadviaže vášnivý vzťah.
Keď však polícia nakoniec mladého delikventa vypátra, musí sa rozhodnúť. Pomôcť synovi svojej milenky a prezradiť tak svoj vzťah alebo sa otočiť chrbtom a zachrániť svoje manželstvo...
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