Close My Eyes (1991) 720p YIFY Movie

Close My Eyes (1991)

After some years of tension, Richard begins a sexual relationship with his sister Natalie, who is now married. The relationship between Richard and Natalie proves dangerously obsessional. Their private intensity (& working class origins) contrast with the middle-class, inhibited, stuffy public scenes we see in the Richmond world into which Natalie has moved with her marriage. As the guilt and intensity of the siblings increases we seem to be heading for disaster, especially when Natalie's husband Sinclair finds out.

IMDB: 6.30 Likes

  • Genre: Drama | Romance
  • Quality: 720p
  • Size: 957.90M
  • Resolution: 1280*720 / 25 fpsfps
  • Language: English 2.0  
  • Run Time: 108
  • IMDB Rating: 6.3/10 
  • MPR: R
  • Peers/Seeds: 0 / 0

The Synopsis for Close My Eyes (1991) 720p

After some years of tension, Richard begins a sexual relationship with his sister Natalie, who is now married. The relationship between Richard and Natalie proves dangerously obsessional. Their private intensity (& working class origins) contrast with the middle-class, inhibited, stuffy public scenes we see in the Richmond world into which Natalie has moved with her marriage. As the guilt and intensity of the siblings increases we seem to be heading for disaster, especially when Natalie's husband Sinclair finds out.


The Director and Players for Close My Eyes (1991) 720p

[Director]Stephen Poliakoff
[Role:]Alan Rickman
[Role:]Clive Owen
[Role:]Karl Johnson
[Role:]Saskia Reeves


The Reviews for Close My Eyes (1991) 720p


Taboo subject handled with grace and sensitivity.Reviewed bystevenaisbittVote: 7/10

Beautiful writing by Stephen Poliakoff for this film. Close My Eyes handles the taboo of sibling incest extremely well, whilst not really going far enough in the end, to be completely satisfying.Set during a hot English summer in some beautifully shot home counties locales, the film is well scripted, framed and incredibly well acted by the three principles Owen, Reeves and Rickman.Richard and Natalie are sibling, raised apart, who ultimately succumb to a deep sexual attraction and need within one another, that eventually threatens to destroy them. Rickman plays Reeves' rich somewhat eccentric but likeable husband Sinclair, who eventually comes to suspect a connection between his wife and her younger brother that is dangerous and consuming.The ending, while melodramatic, is handled well. The incest is also handled extremely tastefully and never for shock or titillation value. We never actually see Richard and Natalie make love, only the lead in and afterglow. The leads are beautiful actors all. Lovely to look at. Saskia Reeves was beautiful and alluring also, but her character was very disturbed, as became of her brother.A solid seven, for not exploring the subject as throughly as it could have, but nonetheless we'll worth your time.

SpellbindingReviewed byclematoVote: 7/10

The film is really haunting and keeps you spellbound. While the film appears to portray sex scenes for nudity's sake, that's not really what is going on.

Okay, okay, this is no Pulitzer Prize winner and Alan Rickman, Clive Owen, and Saskia Reeves can act better than they do in this movie. Butt, I think they each brought so much into the picture that other, less talented, actors would have failed to make this film work as well as it did.

The dynamic between Natalie, her brother Richard, and her husband Sinclair is very strange. If you let yourself go and immerse yourself into the story, then you can enjoy it.

The story is about very taboo subject matter, at the time when AIDS/HIV finally came into the public consciousness. But, I do think the screenplay by Stephen Poliakoff is very well written and the film strongly succeeds because he also directed it.

I can compare the story to that of Jane Campion's "The Piano". It is risqué, bizarre, and seemingly shallow. It is also thoroughly compelling. The characters are otherworldly and mysterious, yet very commonplace. You can almost identify with them and by the end of the movie you will find yourself wanting to know more. It is as if you have been looking into a snow globe at a fantasy world come to life, just on the other side of the looking glass. Everything is madness for this trio....

"Close My Eyes" is a journey into the "What if ? ". The most difficult question is, "Why ? ". Only Natalie and Richard can answer that question, or can they? If you are a fan of Clive Owen, Alan Rickman, and/or Saskia Reeves, check it out.

Fascinatingly flawedReviewed bypaul2001sw-1Vote: 8/10

The opening scenes of Stephen Poliakoff's film, 'Close My Eyes', are truly mesmerising. We see a floodlit bowling green, incongruously (but, given that one of the subplots of the movie turns out to concern urban planning law, not irrelevantly) positioned amongst tower blocks; meanwhile a young woman (Natalie, played by Saskia Reeves) is smoking a cigarette on a balcony, possibly in one of those same blocks. As the credits fade, the camera homes in on a young man in a hurry (Richard, played by Clive Owen), passing by the bowlers; it turns out that the woman is his estranged sister, and he's late. She, on the other hand, is upset, and looks to him for comfort; and in the middle of the night, they share a moment of affection that goes a little bit beyond what siblings ought to do. The unfolding of their lives over the next few years is then summarised through a depiction of their subsequent (non-) interactions: he is every bit the strident, ambitious, fornicating yuppie; while she feels lost and uncertain, with a brother-shaped hole in her life. But after years abroad, Richard comes home, rather surprisingly to take a lowly paid public sector job. And then Natalie, whom he has almost forgotten, gets in touch and invites him to meet her new husband, Sinclair (played wonderfully by Alan Rickman, in probably his finest role). Sinclair is a millionaire futurologist, a man both kindly, but also child-like in his fundamental inability to empathise. And Natalie, who has gained a new confidence, starts to come on to Richard with a very definite intent. The skill with which the film effectively tells half its story in just a handful of minutes, with brilliantly selected visuals replacing the need for expository dialogue, is breathtaking; one can hardly take one's eyes off the screen.

But for all Poliakoff's brilliantly striking imagery, the film manifests some serious defects. To start with, the subsequent plotting doesn't quite work. The central idea appears to be that ambitious Richard falls in love with his sister, but she is only game-playing; he then falls apart. But the film keeps its distance from its characters, sometimes their motivation (beyond raw sexual passion) is unclear, and some of their behaviour seems forced to fit the dictates of plot. One could also argue that, in dealing with incest, the film is slightly dishonest. It wants to be seen to explore a taboo, but creates a scenario in which two consenting, independent adults find themselves in a very unusual situation: to put it another way, the reason incest is taboo is because it is almost invariably exploitative, whereas this relationship is not (at least, not in the way that generally characterises the phenomenon).

Another aspect of this movie is Poliakoff's decision to set his movie in a landscape more symbolic than real. We witness the progression of an almost supernaturally idyllic affair, made even more perfect by being set in contrast to the spectre of A.I.D.S. Sexual intercourse takes place between beautiful bodies disrobing from beautiful clothing in beautiful places. Alan Rickman plays the sort of eccentric genius whom we instinctively feel is exactly what a millionaire should be like, though in reality, one suspects, most are none of the sort. Even the supposedly wretched council offices where Richard takes up his new job have more the feel of a trendy design consultancy than of grim municipal poverty. More generally, Poliakoff's films invariably set up contrasts between worlds defined by qualities such as power, sex, or tradition; but never seem to recognise that all these qualities, far from being opposites, are just different attributes that identify some as the "haves" of our society, as opposed to the "have-nots". There are a few images of the homeless, of the truly dispossessed, in this film, but they only exist as images; while the real drama plays out within a gilded circle. In some respects, it's this romantic other-worldliness that makes the film so physically striking. But social realism it ain't.

Does this make it a bad film? On the contrary, one could say it's a great film. But the roots of Poliakoff's later disaster, 'The Tribe', are clearly on show here, alongside evidence of his rare gift for combining intelligence and beauty, in this fascinatingly flawed film.

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