Touch (1997)
Année de sortie: 1997
Nation: United States
Alternative Title: El toque, Caindo em Tentação, Les mains de Dieu, 接触, Touch - kosketus
Réalisateur: Paul Schrader
Writer: Elmore Leonard, Paul Schrader
Production & Genre
Producteur: Producer: Alex Steyermark, Lila Cazès, Fida Attieh
Co_Producer: Llewellyn Wells, Trek Thunder Kelly
Sociétés: Initial Productions, Lumière Pictures, Metro-Goldwyn-Mayer, United Artists
Budget: 5.500.000
Récompenses & Similaires
Récompenses:
Similaire: N/A
Mots-clés
Mots-clés: bare chested male, barefoot male, cynicism, evangelist, flashback, irony, kitchen, literature on screen, male nudity, male rear nudity, miracle, miracle worker, nudity, one word title, psychological thriller, rear nudity, reference to audrey hepburn, religious fanatic, religious zealot, satire comedy
Histoire
Juvenal, a mysterious man believed to possess miraculous powers, becomes an overnight sensation after his abilities are revealed. Bill Hill, an opportunistic evangelist, sees dollar signs and attempts to exploit Juvenal's newfound fame for personal gain. However, his plans hit a snag when August Murray, a skeptical journalist, starts investigating the miracles and their connection to Juvenal's past. Meanwhile, Juvenal finds solace in his relationship with Lynn Faulkner, who believes in him despite her initial skepticism. As the media frenzy intensifies, Juvenal must navigate the exploitation and scrutiny, all while trying to maintain his humanity amidst the chaos.
Résumé
Touch is a satirical drama that explores themes of faith, exploitation, and celebrity culture through the story of Juvenal, a man accused of performing miracles. Directed by Paul Schrader in 1997, the film stars Christpher Walken as Juvenal, with an ensemble cast including Skeet Ulrich as August Murray, Brenda Fricker as Lynn Faulkner, and Brian Dennehy as Bill Hill. The movie blends comedy, drama, and psychological thriller elements to question the authenticity of Juvenal's powers and the motivations of those around him. Touch serves as a critique of religious fervor and the media circus that often surrounds claims of miracles and the extraordinary.
