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      • Paul holds Harry underwater to subdue him, but Harry drowns. Realising his mistake, Paul pulls Harry to the surface and attempts to resuscitate him, but is unsuccessful and leaves Harry to drift to the bottom of the pool.
      everything.explained.today › A_Bigger_Splash_(2015_film)
  1. May 5, 2016 · The noisy, unexpected arrival of Fiennes’ Harry, Marianne’s longtime friend and record producer, interrupts their reverie. Turns out Harry not only was Marianne’s lover for six years, he’s also the man who introduced her to Paul (and gave them his blessing to launch into their own romance—a decision he now regrets).

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  3. Jun 21, 2019 · Hockney gets his feelings out, justifies them to himself, though painting. And it’s revealing that the film is framed by scenes staged very late in the process of making the film, in which Hockney is seen to have pretty much all but forgotten Schlesinger. Drama. Documentary.

  4. A Bigger Splash is a 2015 psychological drama film directed by Luca Guadagnino and with a screenplay by David Kajganich from a story by Alain Page. Starring Tilda Swinton , Matthias Schoenaerts , Ralph Fiennes , and Dakota Johnson , the film is loosely based on the 1969 Jacques Deray film La Piscine [3] and named after the 1967 David Hockney ...

  5. May 3, 2016 · Marianne and Paul’s private bliss-out is disrupted by the unexpected arrival of an old friend, a music producer, Harry (a sensational Ralph Fiennes), a motormouth who roars in with his daughter ...

    • Luca Guadagnino
    • Manohla Dargis
    • 125 min
  6. In the ending of A Bigger Splash, tensions between the characters come to a head during a violent confrontation. Secrets are revealed, leading to a dramatic climax that changes the dynamics of their relationships.

  7. May 6, 2016 · A Bigger Splash seems to announce its intentions from minute one, cutting from the rockstar Marianne Lane (Tilda Swinton) electrifying a stadium of thousands to a shot of her sunbathing nude by...

  8. May 4, 2016 · Does “A Bigger Splashend with a cathartic affirmation of its characters’ happiness, or a cynical indictment of their privilege? Guadagnino isn’t telling.

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