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Ahora podrás Ver Eyes Wide Shut Online
Del director Stanley Kubrick.

William Harford es un respetable médico neoyorquino cuya vida parece ir muy bien: está casado con una preciosa mujer, tiene una hija y hace un trabajo que le gusta. Pero, al día siguiente de asistir a una fiesta, su esposa Alice le habla de unas fantasías eróticas y de cómo estuvo a punto de dejarlo por un desconocido. Abrumado por esta confesión, acaba entrando en un local, donde un antiguo compañero le habla de una congregación secreta dedicada al hedonismo y al placer sin límites. A partir de entonces un mundo dominado por el sexo y el erotismo se abre ante él.

Storyline »


A doctor becomes obsessed with having a sexual encounter after his wife admits to having sexual fantasies about a man she met and chastising him for dishonesty in not admitting to his own fantasies. This sets him off into unfulfilled encounters with a dead patient’s daughter and a hooker. But when he visits a nightclub, where a pianist friend Nick Nightingale is playing, he learns about a secret sexual group and decides to attend one of their congregations. However, he quickly learns he is in well over his head and finds he and his family are threatened.

Rotten Tomatoes

“Eyes Wide Shut,” Stanley Kubrick’s first film in 12 years, turned out to be his final work; he died just days after finishing post-production.

Overly long, and occasionally flat, “Eyes Wide Shut” is one of Kubrick’s most conventional films, lacking his usually eccentric visual imagery and narrative strategy.

Known for his slowness, a result of meticulous attention to detail and numerous takes, Kubrick had directed only a few films after “2001: A Space Odyssey,” in 1968. Nonetheless, most of Kubrick’s films have been “events,” in both filmic and extra-filmic ways, a combined function of his stature as an auteur, the paucity of his work, and reclusive lifestyle. His mythical image was cultivated by journalists who couldn’t get interviews with him; Kubrick never cared to talk about, let alone explain, his work.

Considering that his movies were financed by a mainstream studio (Warner for the most part), Kubrick exerted unequalled control over his work, from conception and casting all the way to promotion, publicity, and theatrical release. It was a mutually beneficial collaboration. Warner enabled him to make personal films and he helped them get extra-publicity, and sometimes profit, too.

In “Eyes Wide Shut,” an adaptation of German writer Arthur Schnitzler’s “Traumanovelle,” (“Rhapsody: A Dream Novel”) by Kubrick and Frederic Raphael, Kubrick cast Hollywood’s most famous and bankable stars of the 1990s, Tom Cruise and Nicole Kidman, as the couple whose marriage is put to test, going through crisis by a single exchange of honesty. Cruise and Kidman’s real-life marriage added an extra element of intrigue and fascination to Kubrick’s tale of marital monogamy and sexual jealousy; the collapse of their union a year later made it all the more ironic.

The text deals with the precarious nature of intimate male-female relationship, and the tensions between truth, honesty, monogamous sex and love. Inspired by the source material, Kubrick blurs the lines between reality and dream. Indeed, surviving the dangerous blurring of fantasy and reality is one of film’s overt themes, explored through a meditation on sexual desire, fidelity, abuse, truth and imagination. Moreover, “Eyes Wide Shut” invites viewers to project their own emotions into its hyper real dream/nightmare.

Cruise plays Bill Harford, a Manhattan doctor for the rich and famous, who is shaken into a state of discomfort and paranoia, when his wife Alice (Nicole Kidman) confesses of a sexual fantasy she has had with a naval officer she had met years ago, while vacationing with Bill in Provincetown. (Her fantasy is depicted in brief flashbacks, seen from Bill’s subjective POV).

There was only an exchange of glances, but the way Alice relates the story makes Bill jealous and insecure. Deeply haunted and troubled by his wife’s frank confession, Bill begins to doubt his own sexuality and fear of intimacy, embarking on a nocturnal journey of adventures, in which he entertains adultery but is too fearful to express or consummate his erotic desires.

The middle (and weakest) section of the film depicts the ceremonial preparations for the secret masked orgy that Bill attends in Long Island, putting to risk his life.

Like his previous film, “Full Metal Jacket,” “Eyes Wide Shut” was not shot on location. There’s flat mockup of New York streets, intercut with second-unit photography of actual streets in New York City.

The movie was well received by most critics, though some bemoaned the its failure to live up to expectations, and, considering the anticipation and hype, not to mention Kubrick’s sudden death, the movie was just a moderate performer at the box-office

The tale ends with a sequence in a toys store at Christmas time, offering an ironically comforting sense of closure, in a film full of uncertainties and ambiguities. Indeed, unlike most of Kubrick’s films, “Eyes Wide Shut” concludes on a rather hopeful and optimistic, but not entirely convincing, note, when the couple decides to go home and “F—k,” which is the last word of the scenario.

“Life goes on,” Sydney Pollack’s character (who’s Bill’s friend) says cynically at one point. “It always does, until it doesn’t.” Kubrick would have agreed with that statement, manifest in his life, which was cut short abruptly at age 70, as well as his brilliant body of work… by Emanuel Levy.

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Supongo que Kubrick, de vuelta de todo, decidió hacer una película puramente sensitiva en la que desatar todo su carácter de esteta y hacer hincapié en la técnica cinematográfica (planificación con cámara, música, iluminación y actores) que, bien usada, es capaz de emocionar por sí misma (obvio aunque olvidado), de trasladarnos y de dar un reflejo de lo más oscuro y abstracto de nosotros mismos. Esa visión, por mucho reflejo que sea, me parece más clara que metros y metros de diálogos rohmerianos, composiciones desnudas bressonianas y demás historias.

Comprender es imposible, entender absurdo. Kubrick nos pide que seamos parte de su cine para así conectar con la pausa y la belleza de un plano, de una secuencia de tensión, con una música crispada. A partir de ahí entenderemos. La película es aburrida y confusa. No hay otra forma de hacerla.

Historia, metáforas, explicaciones, interpretaciones... ¿Por qué empeñarnos en que la relación ojo-cerebro sea el único camino siempre? Las perversiones e inquietudes es mejor no entenderlas.

No me obsesiona que trate del poder (mucho de esto hay), la fidelidad y la complejidad de las relaciones de pareja (el origen literario es éste y por ahí muchos se agarraron a este clavo y, ojo, el clavo existe y del tema se habla expresamente) o del 11M. Todo esto es una fracción de lo que nos llega pero no es definitivo ni definitorio en esta película.

Kubrick cerró su vida y su cine dándonos una lección maestra. El camino para acabar con aquello de que la literatura se presta a una profundidad psicológica mayor en sus personajes que el cine. Se presta a una mayor “explicación” de esa profundidad. El cine está mejor dotado para crear un vínculo íntimo con el desorientado espectador, que de tanto pensar y buscar literatura en los fotogramas acabará congratulándose de "comprender" el mensaje oculto, ¡oh, divino tesoro!, y olvidándose de que esto es cine. Kubrick no esconde un mensaje, lo modela para nuestro ojo y nuestro estómago. El cerebro aquí es secundario.

Final de Kubrick y final de Eyes Wide Shut. Y es que el cine de Kubrick siempre fue mucho más follar que hacer el amor... Crítica de Bloomsday en Filmaffinity.

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