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A Warner Independent Pictures release of a Renaissance Films presentation of a Front Street Pictures presentation. Produced by Harvey Kahn, Naomi Watts, Jonas Goodman. Executive producers, Ruth Epstein, Mark Ruffalo, Larry Gross. Co-producers, Ken Lawson, Robert Lee, Sanford Rosenberg. Directed by John Curran. Screenplay, Larry Gross, based on the short stories “We Don’t Live Here Anymore” and “Adultery” by Andre Du
This film was purchased at the Sundance Film Festival in January 2004 by Mark Gill at Warner Independent Pictures and released theatrically to critical acclaim in the Summer of 2004 in New York, Los Angeles and over 100 other cities.
Ordinary Lives. Extraordinary Emotions. WINNER of the WALDO SALT SCREENWRITING Award (Sundance Film Festival 2004)
Starring: Mark Ruffalo, Peter Krause, Naomi Watts and Laura Dern
Based on two works by Andre Dubus, WE DON’T LIVE HERE ANYMORE is a sexy and provocative drama about married life and its discontents. Keenly observed, the film charts the amorous affair of a married man with his best friend’s wife and how their liaison upsets the delicate balance of their relationships, culminating in a fling between their spouses. Unfolding from four alternating viewpoints, the story captures the paradoxical actions of loving parents determined to save marriages they secretly long to escape, as the couples struggle through their emotional and sexual entanglement. With a wry, knowing humor, WE DON’T LIVE HERE ANYMORE reveals the perverse logic of infidelity — and the complicity, denial and occasional cruelty that can accompany it.
In the vivid domestic drama We Don’t Live Here Anymore, which is easily the best American movie so far this year, Dern gives an enormous, fully emotional performance, but she never ceases to play her character, a housewife in a troubled marriage– she never becomes a diva
-New Yorker, David Denby, 8/30/2004
We Don’t Live Here Anymore is spellbinding stuff-in part because of its vivid characterizations. But while Dern’s gaunt, smoldering intensity is oddly complemented by Krause’s opaque diffidence, Ruffalo and Watts are the stellar couple. Ruffalo’s Jack-at once furtive, funny, hapless yet smarmy-is his most achieved and abject character to date, while Watts’s Edith projects a fragility that might be made of tempered steel.
-Village Voice, J. Hoberman, 8/11/2004
Based on two short stories by Andre Dubus (In the Bedroom), We Don’t Live Here Anymore — astutely directed by John Curran, from an artful screenplay by Larry Gross — sets off sexual fireworks that leave scorched earth. This is Who’s Afraid of Virginia Woolf? for disaffected young marrieds.
-Rolling Stone, Peter Travers, 8/5/2004
It insists that there is no end to human weakness, and not much cure for it either. That’s pretty strong stuff.
-New York Times, A.O. Scott, 8/13/2004
We Don’t Live Here Anymore is a revelation. One rarely sees American-made movies that are so unafraid to explore emotional cruelty and portray the consequences without positing easy answers or attaching happy endings.
-USA Today, Claudia Puig, 8/12/2004
The great accomplishment of the new film We Don’t Live Here Anymore is that it so freshly and forcefully takes the temperature of such treacheries and heroics.
-LA Weekly, F.X. Feeney, 8/13/2004
Virtually no one would deny that adultery is a form of betrayal, but only rarely is it presented on screen as more than that. It’s occasionally allowed to be sexy, usually muffled by guilt. What films almost never have the daring or sophistication to show is that adultery can be less a violation of life than a desperate, deeply urgent expression of it. We Don’t Live Here Anymore, a wrenchingly intimate drama of marital infidelity, is the kind of movie for, and about, grown-ups that people used to talk about wanting to see but that just about no one makes anymore.
-Entertainment Weekly, Owen Gleiberman, 8/11/2004
A sense of unease, of incompleteness, is, I think, the appropriate response to this movie. Instead of trying to fill in the blanks, Curran and Gross leave things open and ambiguous. Just like life.
-New York Metro, Peter Rainer, 8/13/2004
A tale of emotional treachery and attempted recoupment among civilized folk in a university environment, the film trades in such fundamental conflicts as the desire to keep one’s family together versus the lure of freedom, and respecting a close friend’s marriage versus giving in to mutual lust for his or her partner.
In this smart insight into modern-day relationships, screenwriter Larry Gross has distilled from two works by author Andre Dubus, a vexing portrait of the power struggles within generally good marriages. Through his deft dissection of the fissures in each marriage, Gross illuminates both the hidden needs of these four “good” people as well as their selfish desires. In short, there is no one to blame rather, we see how each character struggles to maintain their relationship but how each character subverts the marriage.
-Hollywood Reporter, 1/26/2004
Starring: Christian Slater, Selma Blair, Robert Loggia, Colm Feore, and Angie Harmon
Ruth Epstein’s prescient script, penned several years ago, imagines the United States at war in the Middle East, a conflict that has so sharply curtailed oil supply that gasoline goes for $6 a gallon. Coming to the apparent rescue is a multibillion-dollar acquisition of a Russian oil company by an American conglomerate headed by Robert Loggia’s tough CEO Jared Tolson.
When a Wall Street banker putting the deal together is murdered — just after expressing strong reservations about the deal — Tolson turns to Slater’s Tom Hanson, who not only was a close friend of the dead man but works for a firm with a squeaky-clean image on the Street. Tom brings his firm’s most recent hire, Abbey Gallagher (Blair), into the deal to get her feet wet in high finance. Soon Tom and Abby, an environmental activist despite her Harvard Business School graduate degree, find themselves attracted to each other even as conspiracies and another murder expose them to increasing danger. Powerful interests want this deal to go through no matter what.
Starring: Kerr Smith, Lochlyn Munro and Angela Featherstone
The Pressure is on as two friends find themselves running from the law and running for their lives. When Steve (Kerr Smith) and Patrick (Lochlyn Munro) make a pit stop at a small town bar, they find the place filled with cheerleaders. While Patrick dances the night away, Steve is lured outside by a beautiful local who ensnares him into a deadly game. On the run, with corrupt cops and the FBI hot on their trail, they need to find a way to stay alive long enough to prove their innocence.
Starring: Jennifer Beals, Holt McCallany, and Michael Moriarty
Young and beautiful, Jenny is a parole officer who falls in love with an ex-con, putting both their lives in jeopardy. Trapped in a dangerous game of seduction, she is forces to walk the fine line between desire and her duty to the badge she wears. Despite what her instincts tell her, Jenny gets too close to the ex-con who has an old score to settle on the outside. With the police in hot pursuit, the two must stay together to stay alive… and stay in love.
Starring: Jennifer Esposito, Nick Moran and Stephen Lang
An undercover cop (Nick Moran – Lock Stock & Two Smoking Barrels) needs a wife for the night on a dangerous assignment involving a crime boss (Stephen Lang – Shadow Conspiracy, Tombstone). A tough, beautiful police woman (Jennifer Esposito – Summer of Sam, He Got Game) volunteers for the job. But as the assignment goes on, she becomes a little too friendly with the crime boss and his seductive world. Drawn in to the undercover world, she becomes the object of her partner’s affection and the target of the crime boss’ lust. The FBI (William B. Davis – The X-Files) is closing in. Who can be trusted? Between the deception and the danger, two cops let the job get personal. When your life is on the line, never turn your back, never show your fear, and never fall in love.
Starring: Nathan Fillon, Chandra West, Emmanuelle Vaugier, and Daniel Baldwin
Robert wanted an escape from the big city. He thought a small twon by the water’s edge would give him a new start… he couldn’t have been more wrong. This little town has dirty secrets, and Robert just found the worst of them. Now he can never leave… alive.