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You Were Never Really Here (2017)

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A traumatized veteran, unafraid of violence, tracks down missing girls for a living. When a job spins out of control, Joe's nightmares overtake him as a conspiracy is uncovered leading to what may be his death trip or his awakening.

Director:

Lynne Ramsay

Writers:

Lynne Ramsay (screenplay by), Jonathan Ames (based on the book by)
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Popularity
234 ( 111)
Nominated for 1 BAFTA Film Award. Another 24 wins & 62 nominations. See more awards »

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Cast

Cast overview, first billed only:
Joaquin Phoenix ... Joe
Dante Pereira-Olson ... Young Joe
Larry Canady Larry Canady ... Cincinatti Cab Driver
Vinicius Damasceno ... Moises
Neo Randall Neo Randall ... Moises's Friend
Judith Roberts ... Joe's Mother
Frank Pando ... Angel
John Doman ... John McCleary
Edward Latham Edward Latham ... Drug Dealer
Alex Manette ... Senator Albert Votto
Claire Hsu ... Staring Girl
Denis Ozer Denis Ozer ... Afghan Boy
Tia Sofia Begh Tia Sofia Begh ... Afghan Girl
Lucy Lan Luo Lucy Lan Luo ... Dead Girl
Annie Mac-Yang Annie Mac-Yang ... Dead Girl
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Storyline

Balancing between feverish dreamlike hallucinations of a tormented past and a grim disoriented reality, the grizzled Joe--a traumatised Gulf War veteran and now an unflinching hired gun who lives with his frail elderly mother--has just finished yet another successful job. With an infernal reputation of being a brutal man of results, the specialised in recovering missing teens enforcer will embark on a blood-drenched rescue mission, when Nina, the innocent 13-year-old daughter of an ambitious New York senator, never returns home. But amidst half-baked leads and a desperate desire to shake off his shoulders the heavy burden of a personal hell, Joe's frenzied plummet into the depths of Tartarus is inevitable, and every step Joe takes to flee the pain, brings him closer to the horrors of insanity. In the end, what is real, and what is a dream? Can there be a new chapter in Joe's life when he keeps running around in circles? Written by Nick Riganas

Plot Summary | Plot Synopsis

Taglines:

Bring the hammer.


Motion Picture Rating (MPAA)

R for strong violence, disturbing and grisly images, language, and brief nudity | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official site | Official site [Japan] | See more »

Country:

UK | France | USA

Language:

English

Release Date:

6 April 2018 (USA) See more »

Also Known As:

You Were Never Really Here See more »

Filming Locations:

New York City, New York, USA See more »

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Box Office

Opening Weekend USA:

$132,829, 8 April 2018

Gross USA:

$2,528,078

Cumulative Worldwide Gross:

$9,360,514
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color | Black and White (surveillance footage)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

American author Jonathan Ames novella from 2013, adapted by Lynn Ramsay. See more »

Goofs

The items on the counter to the left of the open refrigerator change as Joe is cleaning it out. See more »

Quotes

Joe: [To the father of a missing girl, referring to a lead as to where she might be ] If she's there, I'll get her back.
See more »

Connections

Features The Naked Kiss (1964) See more »

Soundtracks

A You're Adorable
Composed by Sidney Lippman, Fred Wise and Buddy Kaye
Published by Chester Music Ltd trading as Campbell Connelly & Co
See more »

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User Reviews

 
You were never really here and I've never been to me, either!
12 November 2017 | by lasttimeisawSee all my reviews

Fourth feature from the button-pushing Lynne Ramsay, YOU WERE NEVER REALLY HERE pits Joaquin Phoenix's emotionally blocked veteran Joe against a sordid child prostitution ring, meanwhile he is also seeking an outlet from the besetting trauma of his checkered past.

It is a gut-wrenching story on paper, but Ramsay configures sundry conceits to present a "reductive" diorama of the events, and the most prominent one is the viewpoint, which never deflects from Joe, hence signifies that there will be no lengthy flashback sequences to inform us what he has experienced (as a child, a soldier, etc.), only through the transient fragments of memory incessantly penetrating into Joe's heads, audience can piece it together proximately, but never the full picture, because for once, we don't need to know it, what is at stake here is its traumatic after effect.

Secondly, Lamsay flags up a bloated/beefed-up Phoenix's body metamorphosis, which brings about the corporeal testimony of what he has been suffering from, transferred through Ramsay's hyper-real observation (scars, bruise, etc.). Joe's knee-jerking coping mechanism towards the bane is self-suffocation, a leitmotif repeatedly wielded to induce our own gasping response, resounds hauntingly with the self-initiated count-down of Nina (Samsonov), the girl whom Joe is hellbent on rescuing from her pedophiliac abusers. Phoenix won BEST ACTOR is Cannes (along with Ramsay's script win), deservedly, his performance is arrestingly measured, profoundly unaffected but deeply affecting, because he invites us to care for Joe, a laconic, middle-aged, mom's boy, a damaged good whose weapon of choice is a hammer, he makes good as a brutal enforcer, using violence to repress his disturbed state, which is caused by violence/abuse itself, it is a vicious circle he cannot outrun, and we can pour out our sympathy to him when a bereft Joe decides to end his life in the lake (with the sublimely beauteous underwater stillness) before thinks better of it or near the denouement, a startled figment of his imagination prompts a perversely comical/shocking combo.

Last but not the least, it is about how Ramsay choose to present its action of brutality, and she ingeniously points up its "aftermath" instead of showing the actual execution (during his first rescuing attempt inside a high-end New York apartment building, Joe's action is entirely captured by the fuzzy security camera), violence itself is ephemeral, what lingers behind is its aftermath, tangible, grisly and immutable. When Joe finally loses it after seeing what Nina has done (a big letdown to fans of Alessandro Nivola though), it is a scathing brickbat towards the state of affairs without the help of conventional verbosity, and inaugurates Joe's mental ablutions of his own existence.

In the event, Ramsay's clean-cut, existential thriller owns to a lucid consciousness of its sensitive material, brilliant aptitude in its visual and sound literacy, also the film allows humor (a sprightly Judith Roberts as Joe's dotage-afflicted mother, sharing meta-PSYCHO joke in communion), and psychic vision (that moment when Joe realizes who is the culprit in his mind-scape) into the play, the main takeaway for me is the unexpected tendresse between Joe and a hit-man he has mortally injured (Price), lying together on the floor, humming along Charlene's '80s one-hit-wonder I'VE NEVER BEEN TO ME on the radio, and holding their hands, is the song really the answer to the film's English title? You were never really here and I've never been to me, either. Touché!


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