ニュー・ワールド
監督:Terrence Malick
1607年、北アメリカに流れ着いたイギリス船。彼らは〝新大陸〟を開拓しようと砦を造り始めるが、この地にはすでに、ネイティヴ・アメリカンたちが暮らしていた。ネイティヴとの交渉役を命じられたジョン・スミスは、王・ポウハタンに捕らえられ、王の美しい末娘、ポカホンタスに命を救われる。恋におち、急速に愛を深めてゆくスミスとポカホンタスだったが・・・。
ニュー・ワールドの評価とレビュー
- LivewireAdmin2025年9月6日Terrence Malick doesn’t just tell a story in The New World—he lets it breathe. This is cinema communicated through wind in the reeds, water on skin, the thrum of insects at dusk. Emmanuel Lubezki’s camera glides like a curious spirit, forever at the height of a gaze or a touch, catching the world in natural light that feels discovered rather than staged. The result is visual storytelling of rare purity: images that don’t illustrate dialogue; they are the dialogue. What astonishes, even on revisits, is how Malick composes meaning through movement and texture. The camera never announces itself; it simply finds the shot—faces half-in shadow, hands parting tall grass, the coming thunderstorm. Cuts arrive like changes in thought. Montages of water, trees, birds, and bodies build an interior language for characters who say little. When John Smith (Colin Farrell) first wanders the forest, we understand his wonder and fear because the frame is wide enough to swallow him and alive enough to whisper back. When Pocahontas (Q’orianka Kilcher) turns her face to the sun, her awakening is carried by the angle, the breeze, the color of the air. Producer Sarah Green has said Malick shot about one million feet of film over 17 weeks, Kilcher has stated it was double that. Malick’s voiceovers—often imitated, rarely matched—work here as breath between images. They don’t explain; they trace the contours of longing and doubt. James Horner’s aching score (braided with classical cues) deepens the film’s feeling of time unfolding, while the soundscape—bird calls, creaking hulls, the distant rush of water—places you inside a living world before history ossifies it. Performance-wise, the film is as delicate as its imagery. Kilcher is extraordinary, playing transformation without ever surrendering mystery; she makes curiosity, grief, and grace visible in posture and glance. Farrell’s Smith is a man undone by wonder, while Christian Bale’s measured gentleness as John Rolfe reframes love as steadiness rather than spark. Malick watches these people the way he watches rivers and trees: with attention, not judgment. Crucially, the movie’s visual language also articulates its ideas. The openness of the early New World—light, space, reciprocity—slowly tightens into grids and walls. London’s stone and smoke press inward; frames crowd; colors cool. Without a thesis statement, you feel the shift from encounter to enclosure, from possibility to possession. It’s a history lesson delivered as atmosphere. The New World is one of those rare films that can make your senses feel newly calibrated. It argues that seeing—truly seeing—is a moral act, and then it practices what it preaches. Every shot is purposeful yet weightless, every cut a thought, every sound a memory being made. If cinema is the art of sculpting time with light, this is a masterwork in the gallery. Letterboxd: FilmPhanPA
- Mike2024年10月11日A beautiful and trance-inducing film, focussed on the love between people and the love for nature, created by Terrence Malick "Mother, where do you live? In the sky? The clouds? The sea? Show me your face. Give me a sign. We rise... we rise. Afraid of myself. A god, he seems to me. What else is life but being near you? Do they suspect? Oh, to be given to you. You to me. I will be faithful to you. True. Two no more. One. One. I am... I am." The New World is another thought-provoking Terrence Malick film that I love for it’s philosophical and abstract aspects. His cinematography is yet again very dreamlike. These dreamlike visuals make you forget everything around you. They immerse you into the love between characters and the love between characters and nature. It’s not just the story, characters and underlying meaning that are interesting, but also the way these aspects connect with the slow moving and intimate nature shots. Combine this, with the beautiful score by James Horner and other classical composers, and you will have a piece of art that stimulates your visual and audible senses. This results in an deep connection with the characters, their choices and their love, during the film. All in a dreamlike experience. The arrival of the ships, seen from the point of view of the Native Americans, is one of the best cinematography I’ve ever seen. This camera position places the viewer into the perspective if the Native Americans, which lets you feel the mystery and fear these people felt looking at the massive ships invading their home. The camera pans through the woods, with Richard Wagner’s Das Rheingold Vorspiel starting in the background slowly getting louder and taking over, creating a beautiful and immersive scene. Letterboxd: Mike_v_E
ニュー・ワールドに関するトリビア
ニュー・ワールドは2005年12月25日に公開されました。
ニュー・ワールドはTerrence Malickが監督を務めました。
ニュー・ワールドの上映時間は2h 31mです。
ニュー・ワールドはSarah Greenがプロデューサーを務めました。
1607年、北アメリカに流れ着いたイギリス船。彼らは〝新大陸〟を開拓しようと砦を造り始めるが、この地にはすでに、ネイティヴ・アメリカンたちが暮らしていた。ネイティヴとの交渉役を命じられたジョン・スミスは、王・ポウハタンに捕らえられ、王の美しい末娘、ポカホンタスに命を救われる。恋におち、急速に愛を深めてゆくスミスとポカホンタスだったが・・・。
ニュー・ワールドの主要人物はCaptain Smith (Colin Farrell), Pocahontas (Q'orianka Kilcher), Captain Newport (Christopher Plummer)です。
ニュー・ワールドはPG-13と評価されています。
ニュー・ワールドはドラマ, 履歴, ロマンス映画です。
ニュー・ワールドは、視聴者によって10点満点中5.8点をつけられています。
ニュー・ワールドの予算は$3000万です。
ニュー・ワールドの興行収入は$3050万です。