Across the River and into the Trees

2023 1h 46m EN

👍

6.9

SOLID

★6.9TMDB · 36

Drama

Synopsis

Spoiler shield

In post WW2 Venice Italy, American Army Col. Richard Cantwell, haunted by the war, faces news of his illness with stoic disregard. Determined to spend a weekend in quiet solitude, he commandeers a military driver to visit his old haunts in Venice. As Cantwell's plans begin to unravel, a chance encounter with a remarkable young woman begins to rekindle hope. Based on the harrowing novel by Ernest Hemingway.

“Some stories are better left unspoiled.”

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Cast

Liev Schreiber
Colonel Richard Cantwell
Matilda De Angelis
Renata Contarini
Josh Hutcherson
Jackson
Laura Morante
Contessa Contarini
Danny Huston
Captain Wes O'Neil
Giulio Berruti
Antonio
Enzo Cilenti
Gran Maestro
Sabrina Impacciatore
Agostina

Credits

Behind the camera

Director: Paula Ortiz
Writers: Peter Flannery, Brian Murray, Cristiano Donzelli
Languages: English
Countries: United Kingdom

Want more? Switch to Cinephile mode in the header for DP, composer, budget, box office, production companies, keywords, and release history.

Did you know?

Fun facts 🍿

1 / 7

ERA

Did you know

Released 3 years ago.

MoodPlayr · trivia#01

2 / 7

DIRECTOR

Did you know

Directed by Paula Ortiz, shot by Javier Aguirresarobe. Note their partnership — DPs and directors often return to each other across a career.

MoodPlayr · trivia#02

3 / 7

DIRECTOR

Did you know

Original score by Edward Shearmur. Worth a dedicated listen after — most great films lose half their impact without the score.

MoodPlayr · trivia#03

4 / 7

DIRECTOR

Did you know

Editor Stuart Baird shaped the rhythm. On an edit-heavy film, the editor does more to control your pulse than the director.

MoodPlayr · trivia#04

5 / 7

CAST

Did you know

Liev Schreiber and Matilda De Angelis and Josh Hutcherson carry the top of the cast.

MoodPlayr · trivia#05

6 / 7

WILD

Did you know

IMDB entry: tt5652768 — still the authoritative cross-reference for credits and trivia.

MoodPlayr · trivia#06

7 / 7

WILD

Did you know

Only 36 TMDB ratings — you're getting ahead of the curve on this one.

MoodPlayr · trivia#07

Cinephile deep dive

The take

Paula Ortiz directs. Javier Aguirresarobe behind the camera. Edward Shearmur scores. Stuart Baird cuts. Produced in United Kingdom. Dialogue in English.

Trivia

Things worth knowing

1Released 3 years ago.
2Directed by Paula Ortiz, shot by Javier Aguirresarobe. Note their partnership — DPs and directors often return to each other across a career.
3Original score by Edward Shearmur. Worth a dedicated listen after — most great films lose half their impact without the score.
4Editor Stuart Baird shaped the rhythm. On an edit-heavy film, the editor does more to control your pulse than the director.
5Liev Schreiber and Matilda De Angelis and Josh Hutcherson carry the top of the cast.
6IMDB entry: tt5652768 — still the authoritative cross-reference for credits and trivia.
7Only 36 TMDB ratings — you're getting ahead of the curve on this one.
8Classified under 18 themes, including "venice, italy", "beautiful woman", "war hero", "death".

The technical file

Cinematography: Javier Aguirresarobe
Original score: Edward Shearmur
Editing: Stuart Baird
Production design: Benjamín Fernández
Costume design: Marta Fenollar Mendez
Makeup / hair: Maralyn Sherman
Runtime: 106 min · 1h 46m
Aspect ratio (typical): 1.37:1 (Academy)
Status: Released
Original language: EN
Certification (US): NR
IMDB: Across the River and into the Trees (2023)

Also by

Paula Ortiz

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Community reviews

What people are saying

Brent Marchant2024-09-05
★ 6/10
As death approaches, how should we handle it? Is it something to be feared? Something to which we’re stoically and unemotionally resigned? Willingly embraced as the logical outcome of our corporeal existence? Or is something to be met with grace and measured acceptance, as expressed in the dying words of Confederate General Thomas “Stonewall” Jackson: “Let us cross over the river and rest under the shade of the trees,” a sentiment reflected in the title of this film, an adaptation of the 1950 Ernest Hemingway novel of the same name. Director Paula Ortiz’s screen version of this work tells the story of Col. Richard Cantwell (Liev Schreiber), a US Army officer serving in Italy during the waning days of World War II. The Colonel is dying from heart disease but faces his circumstances like the committed, consummate soldier that he is. He resists all efforts at treatment and instead chooses to visit Venice before embarking on a day of duck hunting. But, before carrying out this plan, his attention is diverted by an array of developments, including introspective reflections of his troubled wartime past (having served in both of the Great Wars), the beauty of the city of canals and the company of a young contessa (Matilda De Angelis) who’s trapped in a loveless arranged engagement governed more by family financial considerations than genuine romance. These events give the Colonel pause to think about his life, his regrets, his loves, his missed opportunities and his future (or what there may be left of it). The result is a quiet, poetic and often profoundly sad tale characterized by a series of deep conversations that give him (and all of us) much to ponder. Unfortunately, though, the presentation of this material is at times in need of greater finesse and clarity, remedies to counter its tendencies toward becoming overly talky and somewhat unfocused. That’s regrettable given the nature of the circumstances at hand in this narrative, with their treatment frequently resulting in more diluted muddle than insightful, forthright articulation. Sadly, this shortcoming also detracts from the positively superb performances of the two leads, who portray their characters with a heartfelt earnestness, depth and sincerity, along with a carefully calculated vulnerability. To its credit, the film’s gorgeous production design and absolutely stunning cinematography (especially of lesser-known Venice locales) provide a genuine feast for the eyes, truly remarkable in virtually every passing frame. It’s a shame, however, that the remainder of the film doesn’t measure up to these other fine qualities. Perhaps that’s attributable in part to the source material, which, despite commercial success at the time of its publication, was not as critically acclaimed as the author’s other works. It seems that there’s a meaningful message lurking somewhere in this material (and in this film) that just never quite surfaces to the degree that it needs to, given the thoughtful subject matter that it was trying to express.

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