Endings, Beginnings
Shailene Woodley (Divergent), Sebastian Stan (Avengers: Endgame) and Jamie Dornan (Fifty Shades of Grey) wind up in a love triangle in this romance from Like Crazy director Drake Doremus.
Reeling from a bad recent break-up, Daphne (Woodley) finds herself adrift in life ... Then, at one of her sister's parties, Daphne meets Frank (Stan) and Jack (Dornan) ... Unable to choose between these almost polar opposites, Daphne finds herself bouncing between them instead, enjoying the distinct ways each man sees her — it's as though she's auditioning different versions of herself and the life that might be waiting for her. But fate has a way of making decisions for us, and the time soon comes when Daphne is forced to accept that having it all might just be a disguise for having nothing." (Toronto International Film Festival)
- Director:
- Drake Doremus ('Equals', 'Like Crazy', 'Breathe In')
- Writer:
- Drake DoremusJardine Libaire
- Cast:
- Shailene WoodleySebastian StanJamie DornanMatthew Gray GublerKyra SedgwickLindsay Sloane
Reviews & comments
Roger Ebert
pressAlcohol is really the main character in "Endings, Beginnings," its presence felt in almost every scene, and yet nothing is developed, beyond a couple of jokes.
Hollywood Reporter
pressThe movie aims to make Daphne's journey raw and real, but mostly it's just insipid.
Variety
pressDoremus tells his story in snippets, jump-cutting between grubby handheld footage of Daphne's life shot from with her face all or partially obscured. The film traps us outside her head, never really allowing us inside it.
Roger Ebert
pressAlcohol is really the main character in "Endings, Beginnings," its presence felt in almost every scene, and yet nothing is developed, beyond a couple of jokes.
Hollywood Reporter
pressThe movie aims to make Daphne's journey raw and real, but mostly it's just insipid.
Variety
pressDoremus tells his story in snippets, jump-cutting between grubby handheld footage of Daphne's life shot from with her face all or partially obscured. The film traps us outside her head, never really allowing us inside it.
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