片名中有婚禮這詞，就大概能猜到肯定是家庭drama。我對外語片比較少關注，所以原版《婚禮之后》當年作為外語片時入圍了奧斯卡最佳外語片，但我也沒看過，非常不好意思。這也是為何我覺得好的故事還是有必要翻拍成英文的，因為真的很多人都像我一樣，很排斥看有字幕的電影，特別是drama類型，因為看得很累，并可能會因為字幕沒跟上而無法理解得很透徹。這個故事是沒有文化和語言局限性的，所以翻拍成英文版完全沒有水土不服。

本片將原版兩個男主變成了女性其實不僅符合故事本身的設置，也在當今也更符合現(xiàn)實。早前故事中的富翁是男的，藝術家是女的，是很傳統(tǒng)的設置，但如今女性企業(yè)家那么多，朱莉安摩爾在片中出演的創(chuàng)業(yè)者很有說服力，不僅干練，也有溫柔母性的一面，讓故事最終的感情升華更為真實動人。米歇爾威廉斯出演的老師更是適合女性，這個角色充分展示了一個曾經不夠成熟的女孩在長大后的轉變。兩個角色都塑造得很出色，特別是摩爾張弛有度的表演更為亮眼。導演也是朱莉安摩爾的老公，可謂給自己的老婆量身定做。

不劇透具體劇情，這個故事我最喜歡的地方是，它從頭到尾都在說一件事：不要在太年輕、不成熟的時候倉促地結婚生孩子，這樣可能會導致你做出更加不負責的決定。而女性在這事兒上做出錯誤選擇的可能性更大、付出的代價也更大。悲慘的例子咱們見得太多了，電影里、新聞上、身邊。。。不勝枚舉。所以在看了這么多之后，干嘛還要在乎什么專家說的25歲-28歲適合生育？如果你是自己人生的編劇，應該知道如何避免悲劇收場。

我一直覺得，人，在不同階段要做不同的事，不能只考慮生理上的發(fā)展和需求，那樣豈不是與低等動物沒區(qū)別了？畢竟我們與一般動物的區(qū)別就在于除了生育，我們還有更多的精神上、物質上的需求，對自身的要求也更高。也因此，有些年輕女孩如果很早就生孩子，因為無法實現(xiàn)自身的追求和理想，內心就會不平衡，久而久之，真的會抑郁，也會容易做出更不負責的決定。說白了就是因為不甘心，不甘心人生就這樣早早被束縛了。希望那些依然堅持30歲前一定要生孩子的人，要看看這部，是一部非常適合讓人冷靜下來，考慮自己人生追求的電影。特別是女人。

人生很多事兒都可以犯錯吸取教訓再重來，但是生孩子不行，生了就塞不回去了，所以慎重、慎重、再慎重。一定要等你可以成為一位負責的母親時再生，也是對孩子負責。

看到爛番茄上給負評的都是男性，因為這部電影其實更針對的是女性觀眾，自然女性觀眾也會更有共鳴，特別是那些喜歡This is Us這類家庭drama的觀眾。

一個普通的劇情片，我居然看哭了，有孩子的人太容易代入了。我覺得我是很不怕死的人，因為我太怕痛苦了，但孩子成了那個我唯一不敢死的人，說真的我甚至想如果是Theresa這樣的大富豪死了也就死了吧，孩子也不能受苦，我這樣的窮人才更不敢死。Grace和Isabel都責怪Oscar這個點，我也有點不能同理，但是和配偶討論了一下他認為是會生氣的，因為“不能代替另一個人做決定”，我嘲笑他你倒是西化得快。但這真可能是東西方文化差異，按照東方人的理解養(yǎng)育之恩如此了得，哪還敢責怪一個默默承擔了這么重的責任的人？況且如果被親生父母拋棄孩子不知道得多苦呢。但是對西方文化來說，可能很多事情的重要性排序不是這樣的，比如承諾、誠實之類的更重要，而被收養(yǎng)的孩子也不意味著就失去被愛的可能，父母的養(yǎng)育之恩也是本份不是什么恩重如山，要是這么理解，Oscar接回Grace確實只能說他非常自私并且欺騙了兩個人，而Grace與他和解也是因為互相之間深厚的感情而不必感激父親沒有拋棄她。

一個母親，養(yǎng)育了8歲的雙胞胎和她老公在婚前就有的一個女兒。

然而，面對病情和即將來臨的死亡，她需要為他們作出一些安排，而她認為最妥善的安排是找到繼女的親生母親，讓新媽媽重新維系起這個家。

幸運的是，繼女的親身母親至今沒有婚姻，在印度從事孤兒養(yǎng)育的慈善事業(yè)，急需善款。所以，這位母親能想到是將公司賣了，將她的財產成立了一家基金會，委托繼女的親生母親管理，提出的條件就是她需要留在美國。

在撒她的骨灰時的畫面中，繼女的親生母親在為雙胞胎中的其中一個孩子拉直衣領，我想的是，這個母親已經為她逝去之后，給予她的家人們最好的安排。

有多少人可以做到這樣理智的安排？應該很難吧……

Hollywood’s remaking business is always a mug’s game (whether of its own repertoire or foreign tongue goodies), even for an actor with the caliber of Julianne Moore (with a track record including PSYCHO 1998, CHLOE 2009, CARRIE 2013), who has to scrape the recycled barrel to get new projects financed, which may pointedly signal the hemorrhage or deficiency of women-savvy scribes in the Tinseltown, and leave the current situation much to be desired.

After her terrific turn in Sebastián Lelio’s self-reflexive remake GLORIA BELL (2018), Moore’s following acting gig is another one, AFTER THE WEDDING is an American adaptation of Susanne Bier’s 2006 Danish Oscar Best Foreign Language Film nominee of the same name, and this time, her hubby Bart Freundlich is the writer and directer, his 7th feature (four of which starring Moore).

Thanks to an over-a-decade time-span, this reviewer only retains a rather vague memory of Bier’s original (save that Mads Mikkelsen and Sidse Babett Knundsen are brilliant in it!), which turns out to be a blessing to retain the suspense of the plot. Apart from the location and nationality change and the with-it gender swap, Freundlich’s remake follows closely to Bier’s storyline. Isabel (Williams), an American who has expended most of her life in running an orphanage in Calcutta, India, is requested to meet a potential benefactor, the multi-millionaire entrepreneur Theresa Young (Moore) in New York, who is considering donating millions to Isabel’s strapped institution. Isabel is casually invited to attend the wedding of Grace (Quinn), Theresa’s 20-year-old daughter, only to be wrong-footed when she realizes that she is Grace’s biological mother, and Grace’s artist father, Oscar (Crudup) is her ex-lover, who reneges from their consensual decision to send their newborn baby for adoption, and without informing Isabel, he raises Grace on his own, and later marries Theresa.

So after the wedding, what comes next, a funeral perhaps? It doesn’t require much deliberation to smell the manipulation behind this sheer coincidence, in spite of Theresa plays “I didn’t know” card as naturally as possible, and the movie’s Taiwan title can be literally translated as “Can you marry my husband?”, that comes as a dead giveaway of the twist, also prompted by Theresa’s obsession with an empty bird nest with broken eggshells. In time, her arrière-pensée can no longer be concealed and once her cards are laid in the open, the conundrum falls onto Isabel, leaving her lifelong endeavor in India, not to mention her strong connection with a local orphan boy Jai (Pachisia) and returning to New York, living on the easy street with her own daughter with millions of funds under both’s names, Theresa’s offer is too munificent to decline, and Isabel’s final capitulation seems like a missed opportunity to upgrade the treacle-like story to something more urgently resonant, since the white savior scenario is no longer popular anymore, the disenchantment and struggle of an idealist should have been the cynosure.

As a melodrama, AFTER THE WEDDING disproportionately hinges on the two female performers here, Moore juggles dexterously between a loving mother (including a trademark bawling confession) and a sharp-edged business woman (teeing off on her secretary is a go-to option to show Theresa’s diva side), and the movie is at its best when Moore plays off with an equally excellent Williams, who emphatically refuses to dial down Isabel’s skepticism in the face of a bolt out of blue and suspicious windfalls, also sends off her indignation by doffing her shoes (a knee-jerking reaction reflecting the world she lives in), their blunt-versus-peremptory interplay attests why we love to watch actresses trying to upstage each other if they are granted a stage together.

Crudup is ever so apt in supporting his two leading ladies and puts on a mask on Oscar’s own agenda, only betrays it in small gestures with both frustration and compassion, whereas newcomer Abby Quinn’s Grace is laden with the most dramatic happenstances (getting married, then regretting it, her birth mother, whom she reckons is dead, cropping up out of nowhere, plus bad tidings of an impending bereavement), but not enough content to underset them, save a daunting love-gushing moment that can be easily read as cringe-worthy, Grace should have been the most conflicted character, but the film doesn’t give her enough credit, as I said, it is a mug’s game and AFTER THE WEDDING has no distinction to break that curse.

referential entries: Susanne Bier’s AFTER THE WEDDING (2006, 7.3/10); Freundlich’s TRUST THE MAN (2005, 6.1/10).

雙強女主的文藝片，等了好多天的EN字幕。女主作為闖入者，帶著觀眾視角，一步步揭開扎心真相的歸國之旅，前半程極具張力。

Diane Kruger本來要演，但檔期不匹配，Michelle Williams接棒。美國戲前半程牛逼，單拎出來可以給8分，后面就水掉了。

扎心了老鐵。

不得不現(xiàn)身的要錢的活兒，結果碰上親生女兒的婚禮，句句錐心

逃離現(xiàn)場，不想和這里的歡喜沾上一點關系

原來是18歲母親跟男友一起決定放棄孩子撫養(yǎng)但男友變卦了，親媽慘淡的內心啊

和閨女單獨見面后，心中烏云散去；一起喝茶追憶女兒成長相冊后，澎湃的配樂

互相捅刀子的女人啊，Michelle Williams可以奧斯卡女主角提名了

女兒的眼神像shailene woodley

大家的評論都已經指出，的確人設混亂，有點是硬傷（原著是“”一女兩男“”），放棄女孩，婚禮上又發(fā)現(xiàn)親身女兒，產生故事矛盾，但是演員配置上、顏值、演技上非常出彩，尤其是三位主人公（兩女一男）在廚房爭吵的那一段，非常精彩，很真實，代入感很強，連續(xù)看了5遍，尤其是男主，保護現(xiàn)任妻子，對過去女友吼的那一句“dont' talk to her like that” 還有“idon't owe you anything”，以及“you said in my face...”那一段，句句深入，真實、激烈、一點不浮夸，尤其是對于一個之前沒有看過原著的人來說，這里的“答案”至少是“合理”了，基本上邏輯順了，演員的表現(xiàn)和張力給力，是功勞，給90分，代入感非常強；另外好幾處的細節(jié)非常棒，非常好，女主最開始，吃藥、助理敲門說預約體檢、強烈要求必須要求女二本人回紐約面談，其實是想讓她參加親身女二的婚禮，等已經埋下了伏筆，細節(jié)做得很到位，一點不刻意；關于演員配置：女兒的善，面相的純，和女二真有血緣香；另外，男一的顏值很帥，眉毛濃厚，最出彩的是他的眼睛，充滿了自信、積極、迷人、樂觀（唯一小缺點：肩膀有點窄，耷拉肩膀），不過總的來說，演員顏值上、配置上非常棒了。至于演技上，真的很棒，不信的大家可以親自去看一下了，注意細節(jié)、演技?。。╬s，我同意前方說的一句話，美國電影，前半部80分，沖的很厲害，后半部有點松散，因為故事矛盾已經產生、代入感已經完成，后半部就平平淡淡走穩(wěn)路線就可以了）