Márgarét, áre you gríeving
Over Goldengrove unleaving?
Leáves like the things of man, you
With your fresh thoughts care for, can you?
Ah! ás the heart grows older
It will come to such sights colder
By and by, nor spare a sigh
Though worlds of wanwood leafmeal lie;
And yet you wíll weep and know why.
Now no matter, child, the name:
Sórrow’s spríngs áre the same.
Nor mouth had, no nor mind, expressed
What heart heard of, ghost guessed:
It ís the blight man was born for,
It is Margaret you mourn for.
— Gerard Manley Hopkins: Spring and Fall
What if Éric Rohmer made a film in post-9/11 NYC? Anyway, I watched the 2h29m cut and now somewhat regret the mistake. I'll watch the longer one next time, and recommend others watch the longest cut they can find.
Paquin’s ostensible heroine is self-absorbed, inconsiderate, changeable, obnoxious, prone to bouts of self-dramatization—a solipsistic teenager in other words—and Lonergan sets up what might seem like a clear dramatic trajectory for her. But he then proceeds to destabilize it with all manner of jagged movements and discursive developments, an approach that’s naturally more pronounced in the extended cut, where for lengthy stretches the inciting incident ceases to feel like an inciting incident at all.
— Lawrence Garcia (Reverse Shot)
Synopsis: A young woman witnesses a bus accident, and is caught up in the aftermath, where the question of whether or not it was intentional affects many people's lives.