After a car accident, a young woman caught between life and death meets a funeral director who claims to have the gift of transitioning the dead into the afterlife.After a car accident, a young woman caught between life and death meets a funeral director who claims to have the gift of transitioning the dead into the afterlife.After a car accident, a young woman caught between life and death meets a funeral director who claims to have the gift of transitioning the dead into the afterlife.
- Awards
- 1 nomination
Luz Alexandra Ramos
- Diane
- (as Luz Ramos)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaChristina Ricci said in a 2022 interview that she had no problem being totally nude so much during filming, but what made her uncomfortable was other people being uncomfortable with her being naked. That made her feel really weird. So what she did, which she admitted actors probably wouldn't be allowed to do these days, is just stay naked and not wear a robe between scenes. She'd also go talk to crew members naked because she wanted everybody around her to stop reacting to it, because then she could forget that she was naked. Doing that made it one of the only times she's really felt comfortable being naked on camera.
- GoofsWhen Paul runs toward Anna's grave, he touches a tombstone which starts wobbling from side to side.
- Quotes
Anna Taylor: Can I ask you a question?
Eliot Deacon: Yes, of course.
Anna Taylor: Why do we die?
Eliot Deacon: To make life important.
- SoundtracksExit Music: For A Film
Written by Thom Yorke, Jonny Greenwood, Ed O'Brien, Colin Greenwood, Phil Selway
Performed by Radiohead
Produced by Radiohead with Nigel Godrich
Courtesy of Parlophone
Featured review
Driving carelessly in the rain one night, Anna Taylor has a car accident which kills her. She is DOA, or is she. Anna wakes up in the basement of the local funeral home, and the funeral director tells her that she is dead (with a certificate to prove it). He also tells her that he can talk to the dead. Anna wants out, but he will not let her leave, claiming that she must accept the truth. Is she really dead or is he nuts?
After Life has a great set-up, but from there, things get worse. What keeps the viewer hooked is the promise of an an upcoming climactic twist, like that in the Sixth Sense (the film which After Life has its roots in). Unfortunately, with each passing chapter, it becomes more evident that the outcome we would like is not going to come.
Yet what is more bothersome about After Life is that frankly it is dull. I see an idea here, but I don't see a movie. After Life recalls Awake in that it functions well as an experiment in psychologically related themes, but it doesn't provide exiting or suspenseful material. After Life has really nowhere to go, but down. Despite being partial fantasy, its inability to make sense is aggravating and not acceptable. After Life could have and should have been way more potent than this.
After Life has a great set-up, but from there, things get worse. What keeps the viewer hooked is the promise of an an upcoming climactic twist, like that in the Sixth Sense (the film which After Life has its roots in). Unfortunately, with each passing chapter, it becomes more evident that the outcome we would like is not going to come.
Yet what is more bothersome about After Life is that frankly it is dull. I see an idea here, but I don't see a movie. After Life recalls Awake in that it functions well as an experiment in psychologically related themes, but it doesn't provide exiting or suspenseful material. After Life has really nowhere to go, but down. Despite being partial fantasy, its inability to make sense is aggravating and not acceptable. After Life could have and should have been way more potent than this.
Details
Box office
- Budget
- $4,500,000 (estimated)
- Gross US & Canada
- $108,595
- Opening weekend US & Canada
- $59,946
- Apr 11, 2010
- Gross worldwide
- $2,425,535
- Runtime1 hour 44 minutes
- Color
- Sound mix
- Aspect ratio
- 2.35 : 1
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