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H Is for Hawk
H Is for Hawk

H Is for Hawk

20252h 0m★ 7.0ドラマ

あらすじ

No synopsis available.

作品考察・見どころ

喪失という形のない痛みを、猛禽類の荒々しい命を通して視覚化した本作は、内省的ドラマの極致です。主演クレア・フォイが体現する、壊れそうな心と鷹の生命力のコントラストは圧巻。彼女の瞳に宿る孤独が、野生との対峙を経て強靭な意志へと変容していく過程は、言葉を超えた感動を呼び起こします。 原作が持つ重厚な内面描写を、映像ならではの視覚的な詩学へと昇華させた点が見事です。文字では捉えきれない鷹の羽ばたきや鋭い眼光、厳しい自然の静寂が、主人公の閉ざされた心象風景を雄弁に代弁しています。原作が魂の記録であるならば、この映画は五感を震わせる再生の儀式そのものと言えるでしょう。

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予告・トレイラー

キャスト

クレア・フォイ
クレア・フォイ
Helen Macdonald
ブレンダン・グリーソン
ブレンダン・グリーソン
Alisdair Macdonald
Angus Cooper
Angus Cooper
Male activist
Sam Spruell
Sam Spruell
Stuart
ジョシュ・ディラン
ジョシュ・ディラン
James
Eden Hamilton
Eden Hamilton
Young Helen
Denise Gough
Denise Gough
Christina
リンゼイ・ダンカン
リンゼイ・ダンカン
Mum
Arty Froushan
Arty Froushan
Amar
Emma Cunniffe
Emma Cunniffe
Mandy

スタッフ・制作会社

監督: Philippa Lowthorpe

脚本: Emma Donoghue / Helen Macdonald

音楽: Emilie Levienaise-Farrouch

制作: レナ・ヘディ / デデ・ガードナー / ジェレミー・クライナー

撮影監督: Charlotte Bruus Christensen

制作会社: Plan B Entertainment / Film4 Productions / Protagonist Pictures / DESMAR / Saturnia Pictures / Good Gate Media

TMDB ユーザーのレビュー

CinemaSerf
CinemaSerf
★ 7

Academic “Helen” (Claire Foy) is close to her photo journalist dad (Brendan Gleeson) and so is deeply affected when he quite suddenly dies. She tries to be around for her mum (Lindsay Duncan) and brother “James” (Josh Dylan) but with her tenure at her university (and therefore the lease on her home) coming to an end she seems devoid of much purpose. One thing she had shared with her father shortly before he died was watching some hawks darting about in the sky, and this inspires her to try her hand at falconry. After chatting with her experienced friend “Stuart” (Sam Spruell) she alights on a goshawk - the most aggressive of all. Despite the reservations of her best pal “Christina” (Denise Gough) they drive to Stranraer to pick up a fully licensed young bird. It’s a lively animal whom she names “Mabel” and what now ensues sees he become more and more attached to a bird that gradually starts to reciprocate - well, within reason. “Helen” becomes obsessed with her bird, and though she pays lip service to her work she really only cares about “Mabel” as she learns to feed and then to hunt. Grief is a topic that plenty of films have had a go at exposing over the years, but rarely in quite such an effective fashion. The fact that “Helen” is so closely identifying with her bird, at the expense of just about everything else including her job, her family, friendships and even her hygiene is delicately played out here. There is a clear dependency developing here that slowly, but surely, shifts in emphasis. As “Mabel” grows in confidence, it also gives the cinematographer an opportunity to present us with some beautifully photographed action as this nimble and lithe creature chases it’s prey through trees, tall grass and hedgerows without ever losing sight of lunch. There’s not a great deal of dialogue to concern us which allows us to focus more on Foy’s personable performance crafting a character that has no idea how to grieve. The goshawk is the star though, no doubt about it.

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