In the horror of 1944 Auschwitz, a prisoner forced to burn the corpses of his own people finds moral survival upon trying to salvage from the flames the body of a boy he takes for his son.
A theatre director struggles with his work, and the women in his life, as he creates a life-size replica of New York City inside a warehouse as part of his new play.
Director:
Charlie Kaufman
Stars:
Philip Seymour Hoffman,
Samantha Morton,
Michelle Williams
Twin boys move to a new home with their mother after she has face changing cosmetic surgery, but under her bandages is someone the children don't recognize.
Directors:
Severin Fiala,
Veronika Franz
Stars:
Lukas Schwarz,
Elias Schwarz,
Susanne Wuest
Michael Stone, an author that specializes in customer service, is a man who is unable to interact deeply with other people. His low sensitivity to excitement, and his lack of interest made him a man with a repetitive life on his own perspective. But, when he went on a business trip, he met a stranger - an extraordinary stranger, which slowly became a cure for his negative view on life that possibly will change his mundane life. Written by
Gusde
In an interview on "Fresh Air with Terry Gross," Charlie Kaufman and Duke Johnson explained that in the scene in which Michael is in a hotel room and he turns on the TV and starts to watch an old movie, the old movie on the TV is actually also an animated version of a real movie--what they call an "exact replica" of a scene from the 1936 screwball comedy My Man Godfrey with Carole Lombard and William Powell. See more »
Goofs
When Michael is checking into the hotel, the receptionist hands him his hotel key card and Michael places it into his back pocket. But when the bellboy shows Michael to his room, the bellboy has the key card in his back pocket now. See more »
Quotes
[From Trailer]
Michael Stone:
Look for what is special about each individual, focus on that.
See more »
The latest of Charlie Kaufmann's demonstrations of the effect of point-of-view on story-telling, Anomalisa takes its place in that magnificent line of works beginning with Being John Malkovich, through Adaptation, Eternal Sunshine of the Spotless Mind, and Synecdoche New York, all works of genius.
Taking its cue from a delusional condition, Kaufmann applies the point of view of a sufferer to an otherwise banal midlife crisis and comes up with a remarkable and completely unexpected way of presenting it to us.
Kaufmann is awesome.
As well as the terrific visuals, courtesy of co-director Duke Johnson and his team, there is yet another bullseye from composer Carter Burwell.
The pace of the movie is leisurely. The material feels unusually stretched for a Kaufmann script, which may be because it apparently started out as a 40 minute work. Really, though, it doesn't matter. I'd rather spend a little too long with Anomalisa than five minutes with several other films I could mention. This, after all, is an amazing piece of art.
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The latest of Charlie Kaufmann's demonstrations of the effect of point-of-view on story-telling, Anomalisa takes its place in that magnificent line of works beginning with Being John Malkovich, through Adaptation, Eternal Sunshine of the Spotless Mind, and Synecdoche New York, all works of genius.
Taking its cue from a delusional condition, Kaufmann applies the point of view of a sufferer to an otherwise banal midlife crisis and comes up with a remarkable and completely unexpected way of presenting it to us.
Kaufmann is awesome.
As well as the terrific visuals, courtesy of co-director Duke Johnson and his team, there is yet another bullseye from composer Carter Burwell.
The pace of the movie is leisurely. The material feels unusually stretched for a Kaufmann script, which may be because it apparently started out as a 40 minute work. Really, though, it doesn't matter. I'd rather spend a little too long with Anomalisa than five minutes with several other films I could mention. This, after all, is an amazing piece of art.