Breaking and Entering
| Year: | 2006 |
| Production Co: | Miramax Films |
| Director: | Anthony Minghella |
| Producer: | Bob Weinstein/Harvey Weinstein/Anthony Minghella |
| Writer: | Anthony Minghella |
| Cast: | Jude Law, Juliette Binoche, Robin Wright Penn, Martin Freeman |
I think if I watched an Anthony Mingella film but didn't know it was one of his I'd be able to pick it.
He has a very unique mood that's classical, slightly poetry and so distinctly female - even though he spends as much time as any director talking about and depicting sex and love.
This is one of lesser works as far as the epic scope he's known for, but he once again casts his muse Jude Law, this time as a inner-city London architect.
With partner Martin Freeman, he's opened an office in a rough area prone to street crime, and after being broken into and losing all their equipment for the second night in a row Will (Law) decides to stake the place out.
When the bandit strikes again, a young Bosnian Serb, Will chases him home and learns where he lives.
Confronted with his mother (Binoche), it's not clear whether Will immediately falls in love, but it's also not clear why he doesn't just come out and tell her he knows her son has robbed his factory twice.
Instead he ingratiates himself into her life and the two end up in bed. It would be harmless except for his being happily married with a troublesome stepdaughter who's causing a not inconsiderable amount of stress on his marriage.
It's handled with depth, sensitivity and at the same time a stark sense of being in the real world, one few directors can wrangle like Minghella, and the result is a very effective and sensual drama.
He has a very unique mood that's classical, slightly poetry and so distinctly female - even though he spends as much time as any director talking about and depicting sex and love.
This is one of lesser works as far as the epic scope he's known for, but he once again casts his muse Jude Law, this time as a inner-city London architect.
With partner Martin Freeman, he's opened an office in a rough area prone to street crime, and after being broken into and losing all their equipment for the second night in a row Will (Law) decides to stake the place out.
When the bandit strikes again, a young Bosnian Serb, Will chases him home and learns where he lives.
Confronted with his mother (Binoche), it's not clear whether Will immediately falls in love, but it's also not clear why he doesn't just come out and tell her he knows her son has robbed his factory twice.
Instead he ingratiates himself into her life and the two end up in bed. It would be harmless except for his being happily married with a troublesome stepdaughter who's causing a not inconsiderable amount of stress on his marriage.
It's handled with depth, sensitivity and at the same time a stark sense of being in the real world, one few directors can wrangle like Minghella, and the result is a very effective and sensual drama.