gostream Movie Watch Saint Frances
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- Creator: Caroline Christl
- Info: Artist, Austrian living the good life in NYC, Wife of Brian, World Traveler, Side-Hustler, Cryptocurrency fan, BG Actress, Mama of MozArt, and here to inspire
scores - 148 votes. Kelly O'Sullivan. Alex Thompson. release year - 2019. Comedy. 7,8 of 10. THANK U, SAYS GAY PRIDE & HALLOWEEN.
Wow, my Catholic school days from the 70's have appeared within my soul once again. 
It's good to see they're letting novice VFX artists cut their teeth on an actual movie. And here I was thinking companies don't invest in their employees.
Finally, an excellent trailer for an incredible book that doesnt spoil the plotline. Thank you for posting this. It was the first time I had ever heard of Francis Dec. fascinating stuff. Prolific. 
Ooooooh hes soooo pretty. When is the release date or month. 8:05 how you gonna try to bump into him but fail. Synopsis At the start of the summer, Bridget has an abortion just as she lands a much-needed job in affluent Evanston, Illinois — nannying a six-year old. Cast Crew Details Genres Director Producers Writer Editor Cinematography Production Design Composer News Our picks of the top 10 narrative features with world premieres at SXSW 2019. Read post Popular reviews More High key one of the best directorial debuts of recent memory. So open and honest and lo-fi in it's approach that I was totally blindsided when it made me tear up in the home stretch. Full disclosure, I had to opportunity to sit down with the director, Alex Thompson and the writer/star, Kelly O'Sullivan for a really fantastic interview. This is just one of the most delightfully big-hearted films that tackles a lot of topics in a very personal, head-on and matter of fact manner that makes you believe that maybe, just maybe, everything will turn out okay for us in the end. You'll laugh, you'll cry and you'll feel a big boost of empathy and understanding for everyone around you. Such a thoroughly delightful surprise of a movie. Amazing, complicated characters from our protagonist to the more peripheral figures she encounters on her journey. Saint Frances is largely a comedy, but the dramatic beats are so well handled and nearly brought me to tears twice because of how quickly invested I became in this story. Without ever becoming heavy handed, there’s something quietly radical about how the film talks about women’s bodies. There is so much menstrual blood shown and talked about in this movie, and it’s directly relevant to the plot. It’s not to shock the audience, but rather to remind us all that there shouldn’t be any shame tied to a completely natural part of many people’s lives. … Highly doubt there will be a better, more honest screenplay this year. A brilliant, brave, and incredibly moving (but never melodramatic) story of finding faith in other people and yourself. reminds me of why i love movies in the first place made me want kids. i wasn't ready for that shit. Such an important film - want to share it with every woman I know. Recent reviews If I'd been able to rent this film and OBVIOUS CHILD around the time of my abortion, I think the experience would have felt less like a Choose Your Own Adventure: The Real Life American Horror Story Edition and more like a 'yes, this is happening, but you're a relatively privileged Western feminist atheist that can navigate this with your progressive peers' experience - Kelly's honest confrontation with her *feminist atheism* reserved a permanent seat for this film in my Top 10 films of 2020 list, and it's not even February 's going to be another great year, I can feel it... Bridget reminded me of myself in 10 years. This film gave me all the feels. I loved that the film shows the simple process of the abortion pill and shows how it is a difficult decision but sometimes necessary. Frances is adorable and a strong character. I loved her moms. I loved how relatable the story was. 找回生命的勇氣。雖然現在已經覺得美國獨立製片多數顯得大同小異，但還是有被這片觸動，覺得沒片商買很可惜。女主角很棒，小女孩也很棒，那對妻妻也很棒。角色更動人和迷人是這片成功的地方，看的時候也覺得這個角色互相牽動最後彼此治癒的關係很棒。 Not a stretch to call this miraculous. It reminded me of everything from UNHOOK THE STARS to... well, there just isn't much out there to compare it with. In the best possible way. what a pallet cleanser after seeing The Irishman lol (saw this as part of my local theatre’s independent film festival series).. of the best movies of the year! i laughed... i cried omg it was so good. kelly o’sullivan kinda the new brie brie is probably never gonna be in another indie movie (watch short term 12! ) Yeah - - - but no. It's not rare that I'm uncomfortable in the way some movies ask me to follow their way of thinking. That we're far from being on the same page. As in, "please believe me and take me seriously when I tell you... " But it is rare that I get this feeling in a movie that I would like to like. Surely, Saint Frances embraces post-abortion effects in a way that no other movie has ever done before. It also shows that parenthood is an extremely hard, outoging process while highlighting the mental struggles of both embracing your place in the world while showing the world to a little fellow-human. And undeniably, it does it all… A warm comedy full of charm, humor, and fun. But more centrally, Saint Frances is an ode to the female experience in 2019. While the film wholly succeeds as a female-empowering hug, it is too artificially compiled as a checklist of statements that need to be said that it never really comes together as a believable film. Almost every event or conflict in the film feels deliberate or staged rather than organic, culminating in a rigidly pc idealist crowd-pleaser full of “wouldn’t that be nice” moments. Regardless, Saint Frances approaches some heavy issues with taste and humor, and it’s an overall good time. So it still comes confidently recommended. 2019 Ranked DFF42 Popular Lists More.
Copyright © All rights reserved. Disclaimer: This site doesn't store any videos on it's server. All videos are provided by third-parties. "My Hero Academia: Heroes Rising" and "Impractical Jokers: The Movie" are box-office hits, and reflect an impressive new strategy by big studios. “ Emma ” (Focus) had a strong initial second weekend expansion, but the top news comes from two unexpected niche releases. The top 10 successes of “ My Hero Academia: Heroes Rising ” (Funimation) and the second weekend of “Impractical Jokers: The Movie” (truTV) suggest new paths to theatrical success. An exclusive date for “Saint Frances” (Oscilloscope) stood out in a weekend that saw poor initial play for “ Wendy ” (Searchlight) and “Greed” (Sony Pictures Classics) — films with top directors and mediocre or worse reviews. Opening My Hero Academia: Heroes Rising (Funimation) – Metacritic: 71 $5, 109, 000 in 1, 260 theaters; PTA (per theater average): $4, 054; Cumulative: $8, 482, 000 Where did this come from? This second film from the popular Manga action comic opened on Wednesday from Funimation, a Sony Pictures-related company, with the top gross opening day. But rather than just play like an event as similar films, it continued its run to end up as the surprise #4 film overall this weekend. It’s good to see studio-associated companies, separate from their specialized units, experiment. It’s the result of distributors and theaters thinking outside the rules, while still foregrounding theatrical potential. What comes next: With this gross and consistent showing, expand much demand for more theaters ahead. “Saint Frances” Oscilloscope Laboratories Saint Frances (Oscilloscope) – Metacritic: 74; Festivals include: SXSW 2019 $16, 150 in 1 theater; PTA: $16, 150 Although it scored a higher-end PTA among this weekend’s openings, it opened at only one theater. Still, the result was impressive. At New York’s Angelika, it came in second only to the high-flying “Emma” and ahead of other new openers from top companies with better-known creators. The plot here revolves around a woman in her mid-30s who finds herself totally out of her element as a nanny for the child of a lesbian couple, and must confront multiple crosscurrents in her life. The originality, insight into how life can be shaped by unexpected events, and nuanced handling by Oscilloscope paid off and it now has a chance to find an audience. What comes next: The Los Angeles exclusive date is at the Arclight Hollywood this weekend, with a specialized national rollout following. Wendy (Searchlight) – Metacritic: 53; Festivals include: Sundance 2020 $30, 000 in 4 theaters; PTA: $7, 500 Benh Zeitlin’s long-gestating second feature comes after the major acclaim of his 2011 debut “Beasts of the Southern Wild, ” which scored a Best Director Oscar nomination. However, it fell flat with a weak initial start at major New York/Los Angeles theaters. Reviews were mostly mixed and disappointing for this Peter Pan adaptation that had a tone not unlike “Beasts. ” It’s a discouraging result after such a long wait. What comes next: Ten new cities come on board this weekend. Greed (Sony Pictures Classics) – Metacritic: 50; Festivals include: Toronto 2019 $28, 496 in 4 theaters; PTA: $7, 124 Veteran British director Michael Winterbottom (recently popular for his franchise “The Trip, ” which will see its fourth installment this year) often makes films that combine serious themes with a more commercial veneer. This one reunites him with frequent star Steve Coogan as a billionaire fashion mogul whose empire is built on the back of poorly paid Asian workers. The satire got flat reviews, and a flatter result in its initial top-drawer New York/Los Angeles theaters. What comes next: This will get a wide big-city release from SPC, but expect results that are not much better. “The Whistlers” The Whistlers (Magnolia) – Metacritic: 76; Festivals include: Cannes, Toronto, New York 2019 $(est. ) 19, 000 in 3 theaters; PTA: $(est. ) 6, 333 Coreliu Porumbolu has been the best known of the Romanian New Wave directors. This is his first film with some scenes outside his native country, and has more of a genre feel than his earlier serious dramas. With strong reviews, it had a decent initial result on the scale of most subtitled films in its first New York/Los Angeles dates. What comes next: This should see dates ahead in most prime arthouse locations across the country. Burden (101) – Metacritic: 58; Festivals include: Sundance 2018 $20, 142 in 5 theaters; PTA: $4, 028 The triumph here was finding a release, two years after its Sundance Audience Award. It lacks the kind of review support that might have boosted this. A true story of a white supremacist and his journey to change, this was always likely to be a tougher sell even with some names in the cast. Newer distributor 101 gets credit for scoring top initial New York/Los Angeles theaters, but this initial result won’t propel wide interest. What comes next: Expect this to see further play though of the limited variety ahead. “Emma” Focus Features Week Two Emma (Focus) $1, 170, 000 in 97 theaters (+92); PTA: $12, 000; Cumulative: $1, 471, 000 This latest Jane Austen adaptation reaffirms a lesson of Greta Gerwig’s “Little Women”: Classic novels with strong female characters remain a viable source of IP for film adaptations. The fairly rapid second weekend expansion is performing at a level that looks particularly strong outside the awards window, while benefiting from being a fresh film at a time when newness is needed. A much wider national expansion is set for this Friday. Impractical Jokers: The Movie (truTV) $3, 545, 000 in 1, 900 theaters (+1, 543); PTA: $1, 866; Cumulative: $6, 622, 000 The Funny or Die troupe goes on a road trip, with its big second-weekend expansion after a surprisingly strong start. It landed at #7 with a marketing campaign driven by social media. This is an offshoot of Warner Bros., and along with “Academia, ” a case of big-studio forces capturing a niche response. Well played. Seberg (Amazon) $207, 534 in 373 theaters (+370); PTA: $556; Cumulative: $260, 499 Disastrous second weekend expansion for Kristen Stewart’s turn as the iconic actress. She got fine reviews, but the film didn’t. The remaining question is how much this release will add to its Prime interest when it streams. Once Were Brothers: Robbie Robertson and the Band (Magnolia) $(est. ) 150, 000 in 136 theaters (+132); PTA: (est. ) $1, 389) in; Cumulative: $(est. ) 199, 000 Second weekend saw a big expansion for this documentary about one of the most important groups in rock history. This is a modest result, but enough to see more play. CatVideoFest 2019 (Oscilloscope) $157, 000 in 30 theaters (-4); PTA: $5, 223; Cumulative: $397, 787 Terrific second weekend hold for this now perennial event that looks to have more potential ahead. Ongoing/expanding (Grosses over $50, 000) 1917 (Universal) Week 10 $2, 670, 000 in 2, 292 theaters (-493); Cumulative: $155, 870, 000 $23 million post-Oscars and still in the top 10 is a major triumph for Sam Mendes’ film. It has reached $362 million worldwide. Parasite (Neon) Week 21; also on Video on Demand $1, 506, 000 in 1, 324 theaters (-479); Cumulative: $51, 553, 000 Out of the top 10 (though still ranking there on rental charts, multiple weeks into its home debut), the Best Picture winner continues on its way to around $54 million-$55 million domestic. So far, it has added $17 million post-win. “Portrait of a Lady on Fire” NEON Portrait of a Lady on Fire (Neon) Week 4 $730, 000 in 268 theaters (+133); Cumulative: $2, 453, 000 Celine Sciamma’s French period romance, one of the best-reviewed releases of 2019, barely increased its gross despite doubling its screens. It should get close or ahead of the recent ceiling for specialized subtitled films not named “Parasite” ($4 million-$5 million, perhaps a little higher), but it is not breaking out quite as much as initially seemed possible. It remains impressive that it has gotten out to so many theaters so soon. The Lodge (Neon) Week 4 $256, 000 in 393 theaters (+71); Cumulative: $1, 440, 000 While this saw early interest from younger audiences at hipper theaters, this genre entry petered out with expansion. At its widest point, this fell short of $1, 000/theater this weekend. Jojo Rabbit (Searchlight) Week 20; also on VOD $225000 in 307 theaters (-78); Cumulative: $33, 119, 000 Now doing decently in home rentals, Taika Waititi’s long-running film still is getting theater interest in its final weeks. Just Mercy (Warner Bros. ) Week 10 $171, 000 in 300 theaters (-123); Cumulative: $35, 733, 000 What keeps propelling this now long-running death penalty legal drama? Weekday group sale shows, which are keeping it on screen. Downhill (Searchlight) Week 3 $175, 000 in 677 theaters (-1, 634); Cumulative: $8, 129, 000 Token shows at remaining theaters will average only around $300 each. This initially wide Julia Louis-Dreyfuss/Will Ferrell effort will fall short of $9 million, despite hopes for much better. The Assistant (Bleecker Street) Week 5 $105, 090 in 155 theaters (-130); Cumulative: $986, 655 After its widest play, this very well-reviewed drama about the toxic culture affecting those close to sexual predators is not getting the viewing it deserves. Ordinary Love (Bleecker Street) Week 3 $83, 174 in 70 theaters (+48); Cumulative: $179, 387 Liam Neeson and Leslie Manville as a Northern Irish couple dealing with a medical crisis is falling short of traction as it goes into more cities. Bombshell (Lionsgate) Week 12 $55, 000 in 113 theaters (+33); Cumulative: $31, 724, 000 A final addition of theaters pushes this initially platformed, then Oscar-winning #MeToo themed film close to its mixed-result total of $32 million. Also noted: And Then We Danced (Music Box) – $26, 755 in 20 theaters; Cumulative: $128, 278 The Last Full Measure (Roadside Attractions) – $24, 950 in 60 theaters; Cumulative: $2, 898, 000 The Traitor (Sony Pictures Classics) – $18, 435 in 31 theaters; Cumulative: $261, 586 Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
Thank you so much. Hugs from Ireland (I'm italian. Renzo. This is either going to flop or make a shitload of money. Either way Im pissed. 
I would watch this, while I was high😎. Ang ganda ng kanta... very untoching. kakaiyak...
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