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Joel and Ethan Coen's award-winning drama follows a week in the life of a struggling young singer-songwriter as he tries to make it big in New York's folk scene of the early 1960s. In the midst of a relentless New York winter, with no job, no money and nowhere to stay, down-on-his-luck musician Llewyn Davis (Oscar Isaac) spends his days flicking through his address book trying to find a bed, or a floor, for the night. If things weren't bad enough, his musical partner has ended it all by jumping off of a bridge, and his lover Jean (Carey Mulligan), who just happens to be the wife of his best friend Jim (Justin Timberlake), has told him that she's pregnant and wants an abortion. In a last ditch bid to shed his hand-to-mouth existence, Davis, with his ever-present pet cat in tow, sets out on a road trip to Chicago in the hope of resurrecting his music career by impressing local promoter Bud Grossman (F. Murray Abraham). (StudioCanal UK)

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Isherwood 

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English Llewyn and I missed each other - not completely, but we just walked along the same sidewalk, and he talked and sang and I understood him, in every ironic gloss of his miserable self-centered life. Finally, he stopped, disappeared into a side alley, and then cried out that he didn't give a damn, that it suited him and he'd stay stuck there while I went on. ()

kaylin 

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English Even though the Coens still have their own poetic style, even though this film has absolutely fantastic music, it is not something I would consider exceptional. The Coens delve into their absurd drama about a singer, we follow his fate, his "success" during one week, but to make the impression stronger, just like him, we also do not find a resolution. Unfortunately, this is not a film that would enchant me, no matter how well-made it may be. ()

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gudaulin 

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English Inside Llewyn Davis is a film that has provoked remarkably contradictory reactions. Film critics nodded approvingly and spoke of the most fundamental music film of the decade, and perhaps the most fundamental film ever devoted to folk music. The music scene shook its head disapprovingly and claimed that it was not like that, or rather that it perceived that time, events, and places that were described completely differently. The reality is this: the Greenwich Village neighborhood has an exceptional place in American cultural tradition. It was the neighborhood of famous writers, freethinkers, and bohemians, where non-conforming individuals of all possible categories and social classes gathered. In the 1930s, they broke social taboos and opened the front door of the music club to African Americans. The local society consumed drugs and practiced free love long before the hippie movement emerged. In the early 1960s, the folk revolution started there. Numerous amateur enthusiasts emerged, clubs sprouted up like mushrooms after rain, and musical performances became common in bars and cafés. Folk blossomed and merged with rock and other genres. Today's musicians largely associate the birth of modern music, as we know it today, with Greenwich Village and the time period in which the film is set. In their eyes, it is an amazingly positive, innovative, energetic, and romantic matter. However, the Coens approached it from the other side. Every revolution has its victims and losers. Overnight, new stars overwhelmed familiar faces of the past, enthusiasts had no problem performing for free, and professionals found themselves without engagements. The directing duo loosely drew from the memoirs of folk singer Dave Van Ronk, who did not stand a chance in the fierce competition. In their interpretation, the story of the main character has a gloomy atmosphere; it is the story of a man who sinks to the bottom and doesn't know how to defend himself. It is a depressing matter where bleak prospects intertwine with the self-destructive character of the protagonist. Personally, I argue that it is one of the best Coen pieces, an intimate experience that I fell in love with. However, you will have to be okay with the fact that the film has a melancholic tone and a slow pace. Overall impression: 90%. ()

D.Moore 

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English And they didn't disappoint again! Those Coens are some crazy bros. Inside Llewyn Davis is a wonderfully melancholic affair that manages to evoke smiles, laughter and moments of tense silence full of subtle emotions. All this accompanied by an excellent soundtrack, perfect actors and an incredibly great passage of the journey to Chicago, in which John Goodman shines in particular and which is one of the best things the Coens have ever written and directed. I was waiting for Bob Dylan to appear in the film the entire time, and still nothing... Then at the end... Or was it at the beginning? Go see for yourself. ()

Marigold 

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English The saddest film by the Coen brothers with their unrivaled, least sympathetic protagonist. It sounds like a bittersweet folk hit about a guy who was out of it his entire life. You know exactly where the verse, the chorus and the specific rhyme belong. And that's the power of a simple song that crept under my skin like frost and the purring of a cat. Nothing profound, just a beautiful experience that needs no explanation / defense. [85%] ()

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