Aiden Melton The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Mandeep Tyson The acting in this movie is really good.

Juana what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

KobusAdAstra Alexandre (Bruno Ganz), a respected writer, received bad news: He is terminally ill and has to enter the hospice tomorrow. It may be his last day. And then the question: "How long does tomorrow last?" He tries to wrap up his life; he only has today to do it. To find a new home for his dog seems to be a priority.Alexandre has flash-backs to his youth, and becomes quite nostalgic. He visits his daughter, suggesting that she looks after his dog "as he will be going away tomorrow". Fruitless; her husband does not like dogs. He hands his daughter a bundle of letters, all from his wife Anna (Isabelle Renauld), dating back many years. She reads one of her mother's letters to Alexandre, and as she does so, a picture unfolds: An aloof Alexandre not returning his doting wife's affection, too self-centered and preoccupied with his writings. The aged Alexandre's regret is palpable.On his way home, on this last day, Alexandre spots a street urchin who cleans car windows at stop streets being chased by police. Impulsively he opens the door and tells the young boy to get in. Alexandre decides to help the boy (Achileas Skevis), an illegal immigrant from Albania. He tries to get the boy back to the Albanian border so that the boy can return home in safety. But does the boy really want to go back?The dialogue between Alexandre and the boy is illuminating. "I see you smiling, but you are sad", the boy tells Alexandre. Alexandre narrates a story that changes into something more: the art of writing and imagination, 'buying' words when you have run out of them. Alexandre realizes he is running out of time; he would like to get the lad safely on his way, and he still has to pay his elderly mother a last visit.'Eternity and a Day' is a complex film with many elements: It touches on the nature of life and art, regret and the inevitability of closure. The cinematography by Yorgos Arvanitis and Andreas Sinanos is glorious; the sunny coastal scenes, but with discontentment simmering below the surface; the misty landscapes in the mountains close to the Albanian border. The sound track and effects superbly fit the ambiance of the film. Good work by Eleni Karaindrou and Nikos Papadimitriou. Then the acting: Bruno Ganz gives a powerful performance. Acting by Isabelle Renauld, Achileas Skevis and Fabrizio Bentivoglio is excellent too. 'Eternity and a Day' deservedly was awarded the Palme D'Or. My score: 10/10.

l_rawjalaurence The basic plot of ETERNITY AND A DAY is straightforward enough - an aging writer Alexandre (Bruno Ganz) meets a young illegal Albainian immigrant (Achileas Skevis) and takes his home. As he does so, the writer reflects on his own life; his past; his relationship with his mother and his wife; and what he has achieved in his life. Yet Theodoros Angeloploulos' film is at heart a meditation on the act of writing: when we set down words on the page, do they actually record our experiences, or can they only provide an approximation of what we are feeling at any particular moment? Alexandre is perpetually tormented by this thought - although successful in his chosen career, he believes that he has been a failure, simply because of the notion that words can only allude to experience, not record it. The child, in his innocence, believes that words can be found, or bought; but however much one pays for that word (in terms of buying a book, for instance, or when a writer receives royalties for what they have done), those words are still inadequate. They are both allusive - in the sense that their relationships to actions and things are contingent upon circumstances - and elusive (in the sense that such relationships are only approximate). With such uncertainties in his mind, Alexandre comes to understand that there is no "final" distinction between "life" and "death" (after all, they are only words); he has to experience both as a continuum, without the support of anyone. Visually speaking, the film is full of stylistic ironies: Angelopoloulos' camera is perpetually tracking forwards; we see cars in the traffic-choked streets driving off to somewhere, or traveling on the freeway; while the characters are seen crossing the frame from left to right. All suggest some kind of forward movement, a desire to go from one place to another. However such movements are not "progressive" at all, but rather suggest a desire not reflect on life's futility (as Alexandre discovers through his words). In a sense such movements are an evasion rather than an engagement with existence. The same also goes for the "narrative" of the film: Angelopoloulos shows that it is not particularly significant: what matters more is for viewers to reflect on the mise-en-scene within individual frames; to listen to the words, focus on the actors' expressions and body movements, and understand Alexandre's state of mind. A long and complex film, ETERNITY AND A DAY befits repeated viewings.

larma7 If I saw this and "Landscape in the Mist" a year ago or so, I'm not sure if I would like them or even be able to finish them. Brought to my attention by the tragic passing of this great director, I feel like these films are hitting me at the right time. Because while I can perhaps understand that some may find something like "Eternity and a Day" to be boring, self- indulgent, or the most notorious pretentious -- on the other hand, it is for me something enchantingly beautiful and unlike few if any movies I have seen before. The angle I'm going to use to approach this one might be far-reaching and/or random, but bear with me and realize I usually tend to mentally tie-in what I have just watched into what I have watched previous. But in this case, it is what I have just read. I couldn't help but think of the character of this film as the Stephen Dedalus character from Joyce's "A Portrait of the Artist as a Young Man", but now 40 years or so into the future, on his death-bed and in despair. The protagonist here, likewise a poet, has lived a detached isolated existence from his wife and family. It is what Stephen would have wanted, so as to express himself freely as possible, but now in the waning years of his life the detachment has left him with an emptiness, a void he is trying to somehow fill (again, harking back to the oppressive emptiness felt in "Landscape in the Mist"). Angelopoulos incorporates letters from the characters' wife, narrated by her in poignant fashion, and often seamlessly transitions into flash-backs. This is again something intimate, yet suddenly sprawling. While initially one is enveloped in a natural setting, Angelopoulos then soon drifts into the fantastical and dream-like. Like with "Landscape in the Mist", it all shouldn't be taken so literal. I believe to derive the greatest pleasure from this one should just sit back and let Angelopoulos take you where he wishes, for even if some stretches may not fully register, the high-points so totally make up for it. And once again, the visual compositions are just astounding and at the very least continuously interesting, with here the often long takes aren't even as noticeable straight away and once I realized them, I was then amazed in some scenes. There is this purity in the visuals which few directors works have been able to match and none surpass. Purity is probably the best and only way I can describe it.

doiyu2 Alexandre tries to find the meaning through a whole of his life on his last day simultaneously in the meditative way, how to have had influenced one another, might be his lated beautiful wife, with her recurrent letter. Finally he could cut across the unbroken wholeness in the last scene that Theo Angelopoulos as director could not end to make this film. He or we should know "eternity" composed with all its parts and "a day" is just the instant but cyclically over recurring and longer. This film could be the teaching material of literature, what the synchronic linguistics is. We have to watch the sequential scenes in the notes depicting by Theo entirely after then, to consider as he maintained anytime.The tale of Solomos presented obviously Theo's literary stranger thoughts what he has been holding still today and three words that a boy picked out for Alexandre let take Greek climate being set off by it to heart.