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Hannah, comédienne, est une épouse modèle qui reçoit chaque année ses sœurs pour les fêtes de fin d'année. Elliot, son mari depuis quatre ans, ne peut s'empêcher de désirer Lee,  l'une de ses sœurs. Comédienne ratée avec un goût prononcé pour l'alcool et la cocaïne, elle est engagée dans une relation avec un artiste.  Holly, l'aînée,  accumule les échecs sentimentaux et professionnels. Hannah aimerait la rapprocher de Mickey, son ex-mari, producteur de musique et névrosé. Lee quitte son mari pour Elliot, mais celui-ci n'est pas vraiment prêt à quitter Hannah. (LaCinetek)

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Critiques (6)

D.Moore 

Toutes les critiques de l’utilisateur·trice

anglais I celebrated Michael Caine's birthday with his first Oscar-winning role. And the party with Hannah and Her Sisters was a success. I saw a pleasantly relaxing, comedy-drama-romance that started great, continued even better and ended somewhat awkwardly, but you can't prevent a happy ending if the filmmaker wants one. And it worked in this case. I also appreciate the fact that none of the characters were superfluous in the end (not even the hypochondriac Mickey, who I thought for a long time was in the film mainly so that Woody Allen could play). And the aforementioned Michael Caine? Perfect (of course), but I have to say that the excellent Max von Sydow was his equal in every respect.__P.S. The film features my favorite song, “I've heard that song before"... I really didn't expect that. ()

gudaulin 

Toutes les critiques de l’utilisateur·trice

anglais The way I like Woody Allen best, i.e., by giving us a conversational tragicomedy dissecting family and romantic relationships. He writes and directs about love, jealousy, rivalry, infidelity, ambitions, regrets, and many other feelings and phenomena that surround us. He relies on excellent actors, to whom he gives believable and high-quality dialogues. His characters are not mere templates and are flesh and blood people who can hold the viewer's interest until the end. The screenplay is lightened with a long series of jokes, Allen traditionally undermines all possible authorities and values ("Child molestation is a touchy subject..., We nev-- We don't name names! We say the Pope."). He doesn't spare himself either, as his hypochondriac television director Mickey is a perfect parody of himself. The positive tone of the film is important - its characters find their way to each other despite all the mishaps and can maintain and expand their family without an overload of pathos, cheap sentiment, and moral speeches so common in American family films. It is a seemingly inconspicuous but all the more impressive film about people and their values. As he has done several times before, Allen divided his film into a series of chapters, separated by headings. And just like before, he couldn't resist framing his two great loves - jazz and New York - in the film. Overall impression: 95%. ()

Annonces

Stanislaus 

Toutes les critiques de l’utilisateur·trice

anglais A romantic drama about the lives of three very different sisters, offering a glimpse into their everyday problems, spiced up with a good deal of wit and irony, which was Woody Allen's forte. It was he, and then Dianne Wiest, who pulled the whole film together as far as the cast was concerned. The script was very well written, and even though it smacked of cliché at times, I still laughed many times (yes, thanks again to Allen). In short, a star-studded American film that is not flawless, but as an afternoon's diversion, it is just perfect. ()

lamps 

Toutes les critiques de l’utilisateur·trice

anglais A little weaker than I'm used to in Allen's company, to be honest. I would even say that if it wasn't for his character of a peculiar (how else) hypochondriac, I would’ve hardly found my way to the story. Fortunately, there is no shortage of funny lines and the cast shines in front of the camera, which is a joy to watch as well as Woody's wisdom and life experience, something he has richly capitalized on here, but this time, he doesn’t deserve more than 75%. ()

novoten 

Toutes les critiques de l’utilisateur·trice

anglais According to the reviews, earnings, Oscars, and its place among fans, this is one of the cornerstones of the Master's work. To my surprise, it is not one of those absolute masterpieces for me, and also brings some changes to the director's natural genre, but it is still unmistakably Woody Allen. His relationship labyrinth this time is elevated two levels up and it takes a little effort to understand the reshuffling of relationships with former partners, current relatives, and potential partners, who are also current relatives. The frequent motif of hypochondria also gains a new face, this time expanded from occasional gags into the key storyline of the character Mickey. His associated search for the ideal religion is one of Allen's most original jabs at the manners of modern society. So even though the script is a bit fragmented due to multiple main characters, I really enjoy watching Hannah and Her Sisters. Especially because of the biting monologues and the optimistic and hopeful tone. ()

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