Beyond the Clouds

( 1 )


The many ways in which men are fascinated, compelled, and confused by their attraction to women are explored in this four part drama. As a filmmaker (John Malkovich) tries to sort out his plans for his next film, he considers several stories about women and the men who love them. Silvano (Kim Rossi Stuart) meets Carmen (Ines Sastre) and immediately asks her for a date, but despite his attraction, he can't follow through on his feelings for her. The director spies a woman on the streets (Sophie Marceau) and ...
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The many ways in which men are fascinated, compelled, and confused by their attraction to women are explored in this four part drama. As a filmmaker (John Malkovich) tries to sort out his plans for his next film, he considers several stories about women and the men who love them. Silvano (Kim Rossi Stuart) meets Carmen (Ines Sastre) and immediately asks her for a date, but despite his attraction, he can't follow through on his feelings for her. The director spies a woman on the streets (Sophie Marceau) and follows her obsessively, but when he finally meets her, he's disappointed, despite their mutual physical attraction. Roberto (Peter Weller) and his wife Patricia (Fanny Ardant) have to deal with their anger about each other's infidelities, as well as their problems with their lovers, Olga (Chiara Caselli) and Carlo (Jean Reno). And Niccolo (Vincent Perez) falls in love at first sight with a young woman (Irene Jacob), unaware that she is studying to become a nun. Par-Dela Les Nuages was Michelangelo Antonioni's first film after a massive stroke derailed his directorial career in 1985; Wim Wenders served as his collaborator on the project.
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Special Features

Includes a documentary on director Michelangelo Antonioni: Tk Make a Film Is to Be a ALive
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Editorial Reviews

All Movie Guide - Tom Wiener
Beyond the Clouds hardly seems the work of an 83-year-old man who has suffered a debilitating stroke, though it does come off as the film of an older man: contemplative, rueful, even playful. With the help of his wife (who communicated to the crew and actors verbally for her speech-impaired husband) and colleague Wim Wenders (who is credited with the prologue, epilogue, and entr'actes), Michelangelo Antonioni offers four stories about chance encounters that may lead to love. As in his best films, Antonioni masterfully portrays the yearning for meaning beyond simple physical coupling, and by dealing four variations on the theme, he's able to sustain interest without seeming repetitive. The most effective of the four stories are the opening and closing episodes, both involving slow dances of seduction with similar outcomes, but for very different reasons. (In the closing story, Irène Jacob's reply to Vincent Perez's "Can I see you tomorrow?" has to be one of the great blow-off lines in screen history.) John Malkovich, who plays a stand-in for Antonioni in the film's framing scenes, and Sophie Marceau are an intriguing couple in the second episode, but their encounter is too sketchy to register. Peter Weller and Fanny Ardant can't seem to bring any real conviction to their tired roles of the disaffected bourgeois couple, though Ardant and Jean Reno do get in a wonderful exchange at the end of the story. Approaching her, he says, "There's a cure for everything." Entering his embrace, she replies, "That's what disturbs me." The film is packed with Antonioni's visual signatures, particularly in his use of doors and windows as frames within the frame of the screen. And it does feature a lovely scene between Marcello Mastroianni and Jeanne Moreau, who come off much more animated than they were over 30 years before in Antonioni's La Notte. Finally, in a scene presumably directed by Wenders but clearly under the influence of Antonioni, the film closes with a crane shot up the side of a hotel with peeks into four rooms, a shot that, as one critic noted, actually recalls Ernst Lubitsch. Not two directors you'd find mentioned in the same sentence, but there are definitely moments in this film where Antonioni is almost as playful as his predecessor, without losing his own famous touch.
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Product Details

  • Release Date: 8/22/2000
  • UPC: 014381908022
  • Original Release: 1995
  • Rating:

  • Source: Image Entertainment
  • Region Code: 0
  • Aspect Ratio: Vistavision (1.66:1)
  • Presentation: Wide Screen
  • Sound: Dolby Digital Surround
  • Language: English, Français, Italiano
  • Time: 1:49:00
  • Format: DVD

Cast & Crew

Performance Credits
John Malkovich The Director
Kim Rossi Stuart Silvano
Ines Sastre Carmen
Sophie Marceau Young Woman
Fanny Ardant Patricia
Peter Weller Roberto
Jean Reno Carlo
Vincent Perez Niccolo
Irène Jacob Young Woman
Marcello Mastroianni Maestro
Chiara Caselli Olga
Jeanne Moreau Woman
Enrica Antonioni Boutique Manager
Veronica Lazar
Carine Angeli
Alessandra Bonarota
Laurence Calabrese
Tracey Caligiuri
Herve Decalion
John-Emmanuel Gartmann
Sherman Green
Suzy Lorraine
Cesare Luciani
Muriel Mottais
Bertrand Peillard
Sara Ricci
Sophie Semin
Sabry Tchal Gadjieff
Giula Urso
Jean-Philippe Revel
Frere Daniel Bourgeois
Technical Credits
Michelangelo Antonioni Director, Editor, Screenwriter
Wim Wenders Director, Screenwriter
Vincent Arnardi Musical Direction/Supervision
Beatrice Banfi Asst. Director
Denis Barbier Set Decoration/Design
Philippe Carcassonne Producer
Alfio Contini Cinematographer
Brigitte Faure Executive Producer
Ulrich Felsberg Co-producer
Thierry Flamand Production Designer
Judith Gayo Makeup
Vittorio Cecchi Gori Co-producer
Tonino Guerra Screenwriter
Christian Guillon Special Effects
Thierry Lebon Musical Direction/Supervision
Claudio di Mauro Editor
Van Morrison Songwriter
Robby Müller Cinematographer
Peter Przygodda Editor
Pierre Roitfeld Executive Producer
Stephane Tchalgadjieff Producer
U2 Songwriter
Esther Walz Costumes/Costume Designer
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Scene Index

Side #1 --
1. Main Title; The Filmmaker [6:13]
2. Chance Encounter [12:30]
3. A Strange Twist of Fate [17:29]
4. Soul-Searching [16:03]
5. Played the Fool [14:16]
6. Moving Out [14:39]
7. A Matter of Faith [23:12]
8. End Credits [4:58]
1. To Make a Film Is To Be Alive [8:02]
2. A Story of Love Lost [9:27]
3. Trying to Capture Michelangelo [11:09]
4. The Passion Behind the Picture [8:42]
5. Painting Atmosphere [3:08]
6. A Certain Feel [9:27]
7. End Credits [1:50]
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Side #1 --
   Feature Start
   Chapter Index
   Subtitles Selection
      Subtitles Selection: On
      Subtitles Selection: Off
   Documentary On Director Michelangelo Antonioni-"To Make A Film Is To Be Alive"
      Menu Group #1 with 7 chapter(s) covering 00:51:48
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Customer Reviews

Average Rating 5
( 1 )
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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    beyond the clouds, beyond our dreams

    This is not a movie to watch, but to live along as it plays (and even after). Michel Angelo Antonioni wrote another master piece and Wim Wenders did a great deal in directing and adding his own comments. Brilliantly directed is not a set of stories, but a way of realizing how directors and scriptwriters think and create. We can see our own dreams on the screen, and we can feel how our heart beats at the same rithm as the director's (Malcovich, who, by the way, is excellent). The film is not telling stories to entertain, rather, the stories in this film are closer to the dilemmas and emotions of both film makers when trying to express what they think about human nature, love and passion for creating and sharing with others.

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Sort by: Showing 1 Customer Reviews