If you are sensitive to motion sickness or strobe lights do not go see this movie. Even if you have multi focal glasses I would recommend you not go.It could have been the performance of a lifetime but I'll never know.It made me so violently ill that I may never go to a film again. I seriously have ptsd and I'm not at all exaggerating that I never want to go to a film again. If I had stayed in the theater for another 5 minutes I would have had a seizure and they would have needed to call an ambulance.This was a terrible experience. It was a full hour until I could breathe again.I hope this helps someone else.There were no warning at all.If there's a lawsuit count me in.
At Eternity's Gate (2018) 720p YIFY Movie
At Eternity's Gate (2018)
At Eternity's Gate is a movie starring Willem Dafoe, Rupert Friend, and Oscar Isaac. A look at the life of painter Vincent van Gogh during the time he lived in Arles and Auvers-sur-Oise, France.
IMDB: 7.01 Likes
The Synopsis for At Eternity's Gate (2018) 720p
During a self-imposed exile in Arles and Auvers-Sur-Oise, France, Dutch painter Vincent van Gogh develops his unique, colorful style of painting. While grappling with religion, mental illness and a tumultuous friendship with French artist Paul Gauguin, van Gogh begins to focus on his relationship with eternity rather than the pain his art causes him in the present..
The Director and Players for At Eternity's Gate (2018) 720p
The Reviews for At Eternity's Gate (2018) 720p
WarningReviewed bymarjfedericiVote: 1/10
Julian Schnabel's new film AT ETERNITY'S GATE is indelibly moving from the moment we hear murmuring voices in the first darkened frame - portending the interior struggle, and psychic agitation of the painter, Vincent Van Gogh, a haunted artist who tames the turbulence of his mind by the act of painting, assuaging "nature" into patterned marks of tactile, luminous beauty merging his whole being physically and piously with the subject. Since Schnabel is an artist himself, this "portrait" of Van Gogh is different from previous depictions, particularly in the singular way the film is shot, and the understanding of his character. We "see" Vincent as a man who is sanely insane; a man who has the clarity to organize and penetrate the world around him, and a man who is suffering from an undiagnosed mental illness - one which he achingly endures. The movie instills in the viewer a profound empathy and recognition of his persistence in creating exquisite paintings despite a life of bleakness and despair; making art was digesting and breathing in life.
Willem Dafoe's performance as Vincent Van Gogh is heart-wrenchingly melancholy as we literally step into his shoes - (the camera often attached to him) as he rushes wildly through the reeds, blinded by the mistral winds howling, the dry, dying sunflowers with bent heads streak and fly around in front of our eyes as we sense the brutality of the elements and the dank coldness of desolation. Often the camera lens is foggy as if the artist's tears obscure and humanize his vision.
We first meet Vincent in Paris as he dreams of a community of artists that live and work together, a yearning that is totally unrealistic given his idiosyncratic temperament. Except for the deeply felt relationship with his devoted patron/businessman brother Theo, only Paul Gauguin is responsive to his artwork which seems "ugly" and "unrealistic" to other onlookers. Gauguin played by Oscar Isaac, (regrettably did not seem well cast - lacking the charisma and heft of a Gauguin) recommends that he leave Paris and go south to Arles. He listens to his advice and is flung into the most passionate period of his short artistic life.
Schnabel conveys Vincent's love of southern France as the camera pauses, lingers and then meanders through the countryside - the blinding light is contrasted with the "yellow" room that Van Gogh rents, monastically furnished with finished wet paintings, hung on the wall. Like an animal that has found his natural habitat, Vincent spends most days outdoors and we observe him sensuously outstretched flat on his back, intoxicatedly dribbling moist soil over his face and body - an animate internment. Being productive and frenetically heady as the sun beat down on him, Van Gogh's periods of lapses of memory, and whatever incidents occurred during those spells become more prevalent. After several episodes which are never depicted or explained - a mystery to Vincent and to us - he is sent to Saint-Rémy de Provence an asylum for the mentally ill where he spends one year feverishly painting.
Throughout AT ETERNITY'S GATE, I delightedly watched Dafoe's slender long fingers, his skull-like face encasing dark, vivid eyes working - the brush touching the canvas with a "lightness of being." Julian Schnabel has unearthed some new information as to how Vincent Van Gogh died so the end is perhaps a revelation, perhaps fiction, but I sensed the truth of it - in light of Van Gogh's steamy affair with art. Whatever demons he desperately fought, Van Gogh was able to paint the surrounding world with a directness and lucidity of a man in control of his destiny. I left the theater thinking this was no romanticized/mythologized bio-pic but a person that I, as a fellow artist could relate to - could understand and could (dare I say) love.
"Today I learned that there are times when even people who enjoy 'art' films (what sometimes used to be called 'indie') can find them too much and At Eternity's Gate is unfortunately a perfect example. While it's a very worthwhile story and a pretty straightforward biopic on paper, it seems to have been made by someone who drank a bottle of absinthe and wants to fight people while vomiting.
It's not often I would absolutely say that a film was poorly directed, but this one is - at times maddeningly so. The film feels like it was made by a pretentious first year art school film student and the direction seemingly makes every attempt to get in the way of the brilliant costumes, locations, direction and acting. In attempting to make a very arty film about a master painter Vincent Van Gogh, director Julian Schnabel has really treated his audience in the same way Van Gogh's contemporary common people treated him - few understood his work. Unlike Van Gogh, I see little prospect of a posthumous celebration of art that was misunderstood in its time.
The techniques used to illustrate Vincent's growing mania and unique worldview constantly get in the way of the story, the acting and really, any real enjoyment of the film. The cinematography is especially frustrating, VERY handheld, picking angles that don't help the storytelling or characters and constantly distracting the audience's immersion in the story. Editing is brutal and the music and sound FX editing feel like the film is not actually finished.
Which is a pity, as there's a very worthwhile, quite well written story here, and there are moments of brilliance. The main draw is absolutely the performances - they're all top notch. Willem Dafoe is really brilliant here, inhabiting the role completely as Vincent van Gogh, while Rupert Friend is strong as Vincent's brother Theo Van Gogh, Oscar Isaac brings his brooding intensity as Vincent's good friend (and fellow artist) Paul Gauguin & Mads Mikkelsen is seen in an all to brief role as a man of the cloth. They are easily the best part of the film, it's a real pity that so much of the filmmaking gets in the way of their performances.
In some ways, it feels like a filmed stage play, or a film made by a theatre director who's only ever seen moving images at a modern art museum - in no way does this portrait of Vincent's late life in any way get close to really celebrating the great artist in a way that provokes emotion, wonder and opens him up to new audiences and fans. There's a great story here, but it's not in this film."