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Watch Adore (2013)
  • MOVIE page: Adore (2013)
  • Rate: 6.2/10 total 696 votes 
  • Genre: Drama
  • Runtime: 100 min
  • Filming Location: Seal Rocks, New South Wales, Australia
  • Budget: $16,000,000 (estimated)
  • Director: Anne Fontaine
  • Stars: Robin Wright, Naomi Watts, Xavier Samuel | See full cast and crew
  • Original Music By: Christopher Gordon   
  • Soundtrack: Beautiful Trash
  • Sound Mix: Dolby Digital
  • Plot Keyword: Friend | Best Friend | Swimming | Family Relationships | Ocean
Writing Credits By:
  • Doris Lessing (novel)
  • Christopher Hampton (screenplay)

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Plot: A pair of childhood friends and neighbors fall for each other's sons. |  »

Story: A pair of childhood friends and neighbors fall for each other's sons.

Produced By:

  • Dominique Besnehard known as co-producer
  • Francis Boespflug known as co-producer
  • Philippe Carcassonne known as producer
  • Sidonie Dumas known as executive producer
  • Michel Feller known as producer
  • Barbara Gibbs known as producer
  • Troy Lum known as executive producer
  • Andrew Mason known as producer
  • Naomi Watts known as executive producer

FullCast & Crew:
  • Robin Wright known as Roz
  • Naomi Watts known as Lil
  • Xavier Samuel known as Ian
  • Ben Mendelsohn known as Harold
  • James Frecheville known as Tom
  • Sophie Lowe known as Hannah
  • Gary Sweet known as Saul
  • Jessica Tovey known as Mary
  • Alyson Standen known as Molly
  • Dane Eade known as Surfer lifeguard
  • Charlee Thomas known as Alice
  • Isaac Cocking known as Young Tom
  • Scott Pirlo known as Assistant

Production Companies:

  • Gaumont (presents) (co-production)
  • Screen Australia (presents)
  • Ciné@ (co-production)
  • Hopscotch Features (co-production)
  • Mon Voisin Productions (co-production)
  • France 2 Cinéma (co-production)
  • Screen NSW (in association with)
  • France Télévisions (participation)
  • Canal+ (participation)
  • Ciné+ (participation)

MPAA: Rated R for sexual content and language

Adore (2013) Review by flydocfly from Saint Paul, MN
This lovely movie was based on Doris Lessing's short story "TheGrandmothers". I just saw the premiere at Sundance and absolutely lovedit. Supposedly inspired by a true story, it's about two mothers whoreally like their son's best friend (their best friend's son) And thattag line is what you'll hear all about. Oh, the horror. I imaginemiddle age male reviewers will not particularly like this movie, thoughgay men will most likely love it. But it's a film about women--theirfriendships, husbands, relationships, sons and lovers. It's directed byAnne Fontaine, a French woman (which explains the exorbitant number ofscenes with smoking cigarettes, and an insanely un-American storyconcept that young men might be attracted to older women.)

It's beautifully crafted (gorgeous cinematography) and has intelligentediting (watch for the skillful matched cuts that "age" thecharacters). The performances are all around great. Robin Wright isamazing--it's an Oscar caliber performance, however, the film probablywon't get a large enough release to be on the radar for awards (sort oflike poor John Hawkes not getting nominated for "The Sessions", whatwas the Academy thinking?) Of course, setting the movie in Australiameans the other main character is the location. Tanned surfing teenageboys with model-beautiful mothers in bikinis, cowabunga mate (andsignificantly less handsome husbands and admirers, thankfully not shownin Speedos.)

There was laughter in the screening in places unexpected by thedirector, but this was probably just anxious laughter by viewersunaccustomed to thinking about middle aged women having sexual andemotional interest in younger men. Actually, I felt the laughterlightened up the viewing experience, and made the characters more human(okay, so I laughed and cried in this movie, but I never laughed atit.) At almost every story point where an expected turn would happen(if following Hollywood development script notes) the writer took whatI call the "elegant decision" and pleasantly surprised me.

This is all around superb filmic story telling. Brilliant performances,intelligent and gentle direction, spectacular scenery, highlyprofessional technical craftsmanship, and (for most of us, I expect)new emotional territory. It's a great film. I truly hope you get to seeit.

Adore (2013) Review by Sophia Chedid from France
I saw the film yesterday here in Paris and was truly in for a pleasantsurprise. The film surprised me at every turn, and defied all theexpectations i had due to mainstream storytelling pollution which iutterly dread sitting through for two hours. I waited for the story tobecome ridiculous, but it mocked my underestimation and grew in depthto reveal the true theme that is deeply washing over every shot of thescreen, the "deep blue sea", "le moi oceanique", the deadly ecstasy ofan overwhelming sexual desire that comes into a possessing ghoststrangling all reason that these human beings hypothetically have. Thebeach and water theme, the opening and and end shot, and the low-angleshots of the water pulling at the characters' feet, this desirehovering within the screen waiting to pull them in are the mostsuccessful aspects of the film. The beautiful filming that is so wellthemed and constructed, this relaxed and ecstatic feel that transcendsfrom the screen making the audience feel the exact erotic atmosphere inwhich the characters dwell and that pull of desire that comes across inthe silence and in the sound of the ocean; and Robin Wright's extremelydeep character building and original portrayal of female strength, pullthe film together to a true work of art. It is real story telling. Atits best. Ieft knowing these characters, i know where they live, howthey feel, i know that they are still alive and haven't stoppedbreathing after i left the screening room. When characters are thisreal that you somehow know they exist across the world from yousomewhere and are still feeling and seeing and laughing and crying,it's called excellent story telling.

Adore (2013) Review by FrostyChud from France

The director of this movie is a Frenchwoman. Of course, in French,"mother" and "ocean" are homonyms.

Maybe it's just because I am celibate these days, but unlike some ofthe other reviewers, I saw a lot more morbidity here than I did desire.

One of the other reviewers praises Robin Wright's performance as a"strong woman". What? These women aren't strong...they are as cravenand callow. They cede to the ultimate taboo: mother-son incest. Sure,they didn't quite officially cross that line...but they might as wellhave. The reason incest (by hook or by crook) is taboo has nothing todo with inbreeding...it is because it leads to subjective ruin. Nothinghas quite the same devastating effect on one's subjectivity as ablurring of this one particular line. I thought that the film was asuccess here: what happens to these four characters is catastrophic.Two stunted, brainless male children...two decadent aging women whocontinue to giggle like preteen girls when they are together. Try toimagine these monsters in twenty years. Notice that no one isinterested in anything...yes, we see cursory hints that they areinterested in something besides fusion with each others' bodies (theart gallery, the yacht business, the theater stuff) but all of it isstrictly external to the characters. They never use language with eachother for any reason other than to seduce each other. This loss of theliberating force that is Logos is the consequence of incest. If youcross this line, you are ruined for the outside world...all that's leftis your little floating island in the ocean. These two women with theirendless glasses of wine, their silly giggling, their vanity, theirnarcissism...are nothing less than evil. Their sons are not likableeither, and even though they are both portrayed as instigators in thenarrow sense of the word, they are by definition victims. The failureof their respective attempts to break away from the womb can be laid atthe feet of these two women who refuse to sacrifice anything for theirprecious pleasure. I am thinking of the scene where Ian spills thebeans and sends the wives and babies running for the hills. When Ianclaims, rightfully, that he was just telling the truth, Roz reproacheshim with some chilling sophistry about "hurting people" or whatever.The director does a good job here of illustrating, without needing tobelabor the point, how incest and Logos/subjectivity are incompatible,and how even if you do your best to tell the truth, the situation is initself so dishonest as to be irredeemable through acknowledgment of anysort.

I took a couple of stars off because the pacing is a little slow. Theactors are all good. The audience laughed when the two wives found outwhat was going on...I doubt that was the director's intention.

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