6.2 /10 1 Votes
Directed by Marion Hänsel Cinematography Josep M. Civit Music director Takashi Kako | 6.2/10 IMDb Music by Takashi Kako Director Marion Hänsel Screenplay Marion Hänsel, Paul Le | |||||||||||||||||||||||||||||||||
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Produced by Eric van Beuren
Victoria Borras
Rosa Romero Written by Jaco Van Dormael
Laurette Vankeerberghen Starring Carmen Maura
Jean-Pierre Cassel
Didier Bezace
Samuel Mussen Initial release 11 February 1993 (Germany) Story by Jaco Van Dormael, Laurette Vankeerberghen Cast Carmen Maura, Jean‑Pierre Cassel, Didier Bezace, André Delvaux, Samuel Mussen Similar The Cruel Embrace, Between the Devil and the D, Greg & Gentillon, The Quarry, Dust | ||||||||||||||||||||||||||||||||||
Audiomachine between heaven and earth
Between Heaven and Earth (French: Sur la terre comme au ciel), also exhibited under the title On Earth As It Is In Heaven, is a 1992 film directed by Belgian director Marion Hänsel and starring Carmen Maura.
Contents
- Audiomachine between heaven and earth
- Audiomachine between heaven and earth 2015 epic beautiful orchestral
- Plot
- Reception
- References
Audiomachine between heaven and earth 2015 epic beautiful orchestral
Plot
Maura plays a pregnant television reporter who discovers that an increasing number of unborn babies (including her own) are telling their mothers they don't want to be born, or are born stillborn when induced.
Reception
The film was not well-received by Belgian critics. Luc Honore of Le Soir thought that the film's concept was thin and might have been more successful as a short film. New York Times critic Stephen Holden described the film as "deadly earnest" and "an uneasy hybrid of science fiction and medical information" populated by "programmatic stick figures". Jay Carr of The Boston Globe thought it was "a high-minded save-the-planet cri du coeur" that did not fully sustain its premise and energy but "there's never any doubt that its heart is in the right place." In a brief review for the film's exhibition at the 1992 American Film Institute International Film Festival, Los Angeles Times critic Michael Wilmington said that it "fails as social comment and horror story".