Dvd
What Dreams May Come
Based on Richard Matheson's novel of the same name, What Dreams May Come contains several allusions to Dante's The Divine Comedy and takes its title from a Hamlet soliloquy. The film's unique aesthetic is due to it being one of only a handful of films to be shot entirely on Fuji Velvia film, known for its vivid colour saturation. This turned out to be the perfect medium to convey the special effects and art direction, which won and were nominated for Oscars respectively. The original prints were lost in a studio back lot fire and a global search is being conducted to find an alternate copy.
This was Vincent Ward's first US based production.
Starring Robin Williams, Cuba Gooding Jr., Annabella Sciorra, Max von Sydow, Werner Herzog
Directed by Vincent Ward ('Vigil', 'The Navigator', 'Map of the Human Heart')
Written by Ronald Bass (based on the novel by Richard Matheson)
Festivals & Awards Best Visual Effects, Academy Awards 1999
Drama | 1hr 53mins | Origin: USA, New Zealand
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Press Reviews
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Chicago Sun-Times [Roger Ebert]
So breathtaking, so beautiful, so bold in its imagination, that it's a surprise at the end to find it doesn't finally deliver.
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Empire Magazine [UK]
3
This is one of those failures that has so many near-great things that it almost gets by on guts.
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New York Times
What Dreams May Come, based on a novel by Richard Matheson and directed by Vincent Ward, the New Zealand filmmaker noted for his skill at creating lavish cinematic dreamscapes, represents the uncomfortable collision of two ideas about filmmaking, one commercial, the other eccentrically, ambitiously dreamy.
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Rolling Stone [USA]
How can a film look so radiant and be so hollow?
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San Fransisco Chronicle
Astonishing visualizations of the afterlife are coupled with a drawn-out allegory about communication between the living and the dead that becomes something of a trial to sit through.
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Variety [USA]
A heaping serving of metaphysical gobbledygook wrapped in a physically striking package.
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Washington Post
There are a number of surprises in the idiosyncratic film, and one of its pleasures is the oblique and unchronological way in which Ward peels away the layers of the story, flashing backward and forward in time and jumping between Earth and the Beyond, separating his scenes with blindingly blank, white-out screens.
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