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Cloud Atlas (2012)

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A set of six nested stories spanning time between the 19th century and a distant post-apocalyptic future. Cloud Atlas explores how the actions and consequences of individual lives impact one another throughout the past, the present and the future. Action, mystery and romance weave through the story as one soul is shaped from a killer into a hero and a single act of kindness ripples across centuries to inspire a revolution in the distant future. Based on the award winning novel by David Mitchell. Directed by Tom Tykwer and the Wachowskis.

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Souls Tangled Up in Time

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By A.O. Scott

• Oct. 25, 2012

In 1849 a businessman on a Melville-esque sea voyage in the South Pacific battles a mysterious illness and shelters a runaway slave. In 1936 Robert Frobisher, a penniless young composer, flees Cambridge for Edinburgh to join the household of a vain and temperamental maestro. Four decades later an alternative-press journalist risks her life investigating safety problems at a nuclear power plant.

In our own day a feckless book publisher finds himself trapped in a nursing home. Sometime in the corporate, totalitarian future a member of the genetically engineered serving class, a fast-food worker named Sonmi-451, is drawn into rebellion, while in a still more distant, postapocalyptic, neo-tribal future (where Sonmi is worshiped as a deity), a Hawaiian goatherd. ...

That last one is a little more complicated, involving a devil, marauders on horseback and the possibility of interplanetary travel. It is also where the spoilers dwell. In any case, these half-dozen stories are the components of “Cloud Atlas,” David Mitchell’s wondrous 2004 novel , now lavishly adapted for the screen by Lana and Andy Wachowski and Tom Tykwer.

“Cloud Atlas” is a movie about migratory souls and wayward civilizations, loaded with soaring themes and flights of feeling, as vaporous and comprehensive as its title. Big ideas, or at least earnest intellectual conceits, crowd the screen along with suave digital effects and gaudy costumes. Free will battles determinism. Solidarity faces off against domination. Belief in a benevolent cosmic order contends with fidelity to the cruel Darwinian maxim that “the weak are meat the strong do eat.”

Describing this movie, despite its lofty ambitions, can feel like an exercise in number crunching, and watching it is a bit like doing a series of math problems in your head. How do three directors parcel six plots into 172 minutes? (And how much might that cost?) Which actor — most of them inhabit several roles, in some cases changing gender or skin color as well as costume, accent and hairstyle — tackles the widest range of characters? What is the correlation between a musical phrase and a comet-shaped birthmark? How many times does Hugo Weaving sneer?

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Castles in the sky

We are republishing this review in honor of the 10th anniversary of the passing of Roger Ebert . Read why one of our contributors chose this review here .

Even as I was watching “Cloud Atlas” the first time, I knew I would need to see it again. Now that I’ve seen it the second time, I know I’d like to see it a third time — but I no longer believe repeated viewings will solve anything. To borrow Churchill’s description of Russia, “it is a riddle, wrapped in a mystery, inside an enigma.” It fascinates in the moment. It’s getting from one moment to the next that is tricky.

Surely this is one of the most ambitious films ever made. The little world of film criticism has been alive with interpretations of it, which propose to explain something that lies outside explanation. Any explanation of a work of art must be found in it, not taken to it. As a film teacher, I was always being told by students that a film by David Lynch , say, or Warner Herzog, was “a retelling of the life of Christ, say, or ‘Moby Dick.’ ” My standard reply was: Maybe it’s simply the telling of itself.

Yet “Cloud Atlas” cries out for an explanation, and surely you’ve noticed that I’ve been tap-dancing around one. I could tell you that it relates six stories taking place between the years 1849 and 2346. I could tell you that the same actors appear in different roles, playing characters of different races, genders and ages. Some are not even human, but fabricants. I could tell you that the acting and makeup are so effective that often I had no idea if I was looking at Tom Hanks , Halle Berry or Jim Broadbent . I could tell you that, and what help is it?

I could tell you that each segment is a refashioning of the story contained in the previous one. That the same birthmark turns up in every period of time. That a repeated motif is that all lives are connected by a thirst for freedom. That the movie was inspired by the much-loved novel of the same name by David Mitchell . That in the novel, the stories were told in chronological order, and then circled back again from end to beginning. That the movie finds its connections through the reappearances of the same actors in different roles and deliberately refers to one story from within another.

Now are you wiser? I’m treading water. And now could follow a very long paragraph introducing and describing the different characters played by the actors. But you would lose your way all the same, because many of the performances and disguises are so cunningly effective. I could tell you that Halle Berry’s work as a mid-1970s investigative reporter works well for me, and the gnarly wisdom of Tom Hanks as an old man telling tales is the most impenetrable.

I despair. I think you will want to see this daring and visionary film, directed by Lana Wachowski , Tom Tykwer and Andy Wachowski . Anywhere you go where movie people gather, it will be discussed. Deep theories will be proposed. Someone will say, “I don’t know what in the hell I saw.” The names of Freud and Jung will come up. And now you expect me to unwrap the mystery from the enigma and present you with a nice shiny riddle?

Sometimes the key to one movie can be suggested by another one. We know that the title refers to early drawings of the shapes and behavior of clouds. Not long ago I saw a Swedish film, “ Simon and the Oaks ,” about a day-dreaming boy who formed a bond with an oak tree. In its limbs, he would lie reading books of imagination and then allow his eyes to rest on the clouds overhead. As he read a book about desert wanderers, the clouds seemed to take shape as a ghostly caravan of camels in procession across the sky.

I was never, ever bored by “Cloud Atlas.” On my second viewing, I gave up any attempt to work out the logical connections between the segments, stories and characters. What was important was that I set my mind free to play. Clouds do not really look like camels or sailing ships or castles in the sky. They are simply a natural process at work. So too, perhaps, are our lives. Because we have minds and clouds do not, we desire freedom. That is the shape the characters in “Cloud Atlas” take, and how they attempt to direct our thoughts. Any concrete, factual attempt to nail the film down to cold fact, to tell you what it “means,” is as pointless as trying to build a clockwork orange.

But, oh, what a film this is! And what a demonstration of the magical, dreamlike qualities of the cinema. And what an opportunity for the actors. And what a leap by the directors, who free themselves from the chains of narrative continuity. And then the wisdom of the old man staring into the flames makes perfect sense.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

• Jim Broadbent as Timothy, etc.
• Halle Berry as Luisa Rey, etc.
• Susan Sarandon as Horrox, etc.
• Tom Hanks as Zachry, etc.
• Hugh Weaving as Noakes, etc.
• Hugh Grant as Kona Chief, etc.

Written and directed by

• Lana Wachowski

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'Cloud Atlas': You're Better Off Reading The Book

David Edelstein

Zachry and Meronym are only two of the combined 12 characters Tom Hanks and Halle Berry play in Cloud Atlas . It is a challenge that bests both actors, according to David Edelstein. Jay Maidment/Warner Bros. hide caption

Cloud Atlas

• Directors: Tom Tykwer, Andy Wachowski, Lana Wachowski
• Genre: Drama
• Running Time: 164 minutes

Rated R for violence, language, sexuality/nudity and some drug use

With: Tom Hanks, Halle Berry, Hugh Grant

First I need to talk about the book, because it's not as if Cloud Atlas the movie came from nowhere — and if you think it's only the movie you want to know about, I think you need a context for what's onscreen.

Author David Mitchell writes exquisite pastiches, and Cloud Atlas is in the form of six distinct and enthralling novellas set in six different eras with six different literary styles.

First comes the journal of a 19th century lawyer for a slave-trading company, then a series of early 20th century letters from a down-and-out composer who apprentices himself to an elderly musical giant. We jump to a 1970s paranoid conspiracy thriller; then a 2012 tale of a debt-ridden publisher tricked into signing himself into an old age home. In a totalitarian future, a South Korean restaurant is staffed by female robots called "fabricants," a couple of which are beginning to think for themselves with tumultuous social consequences. The last story is set in a post-apocalyptic future in which some denizens are hunter-gatherers, others cannibals.

From story to story there are echoes, counterpoints, variations, characters in one time aware of characters in the previous one through print or film or oral history, so it's as if a baton is being passed. The idea that everything in the universe is connected doesn't come from a character's speech — it seeps into you as you read.

Jim Broadbent and Ben Wishaw, seen here as Ayrs and Frobisher, also play five roles each. Both put forth stellar performances. Reiner Bajo/Warner Bros. hide caption

Jim Broadbent and Ben Wishaw, seen here as Ayrs and Frobisher, also play five roles each. Both put forth stellar performances.

The movie, directed by Andy and Lana Wachowski and Tom Twyker, doesn't have discrete episodes. Every one of its stories is interwoven with every other — it's an epic hash of crisscrossing fragments tied together by music in a vain attempt at fluidity. I found it disjointed, distractingly busy; unlike the book, it telegraphs the theme from its first scene on.

The main actors have parts in all six stories, often in egregious disguises. They're a very uneven stock company. Tom Hanks speaking in a subliterate patois opens the film as a post-apocalyptic tribesman, then shows up with a putty nose and snaggle teeth in the 19th century — and so on. I like Hanks but when it comes to transforming, he's no Peter Sellers. It's always, "Hi, Tom!"

The even less versatile Halle Berry is primarily a gossip-rag reporter who ferrets out chicanery in the nuclear industry. Hugo Weaving plays sundry one-dimensional villains while Hugh Grant manages to embody a cannibal in war paint without losing his English lockjaw. Korean Doona Bae is the "fabricant": She has a lollipop head and a lithe body, but it's hard to detect much under the surface. There is one fine performance — Jim Broadbent as the publisher, and one splendid one — Ben Whishaw as the young composer.

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Navigating the shift from complex to cineplex.

But the dialogue is full of flashcards and placards. Hanks gets to sum the film up in the episode in which he's a nervous nuclear scientist with blond hair in love with Berry's reporter.

Cloud Atlas is never dull; it's like a series of clunky but energetic B-movies inflated by lines like "Separation is an illusion" and "My life exists far beyond the limitations of me." It's certainly passionate. You can see why the Wachowskis were drawn to the book. They've expressed a belief in the transmigration of souls, the body but a weak and temporary vessel. And politically, they're radical: For them, every age has oppressors with unchecked power who preserve artificial boundaries — racial, sexual, economic, spiritual. As in The Matrix, the answer in Cloud Atlas is: Free your mind. Once you do there is but one possibility: Overthrow the Man.

My own mind was too dismayed by all the howlers in the dialogue and acting to be freed — the movie is too literal-minded to be a good head-trip. But I should add that audiences at the Toronto Film Festival premiere reportedly stood and cheered for 10 minutes. With its busy transitions and metaphysical heft Cloud Atlas could be this year's Inception . You'll travel farther, though, if you read the book.

Cloud Atlas (Germany/U.S./Hong Kong/Singapore, 2012)

Based on a perusal of reviews for Cloud Atlas , one might be convinced that the sprawling, ambitious, epic adaptation of David Mitchell's 2004 novel is either a masterpiece or an unmitigated disaster. The reality is somewhere in between. It's hard to argue that Cloud Atlas isn't too long - discounting the credits, it clocks in at around 160 minutes - and that its rambling structure can result in an emotional disconnect with the material. But there are some amazing sequences and the film's visual style is powerful. They key to successfully absorbing the movie may be in not trying to overthink what's on screen. Decoding the thin strands that connect stories to each other is a journey better embarked upon by those watching it for a second or third time.

As is the case with the book, the movie presents six separate stories that transpire across a slice of time beginning in the mid-19th century and ending in a distant post-apocalyptic future. The first tale, "The Pacific Journal of Adam Ewing," takes place on a ship making a Pacific Ocean crossing and relates the unlikely friendship that develops between a San Francisco notary (Jim Sturgess) and a Maori slave (David Gyasi). Story #2, "Letters from Zedelghem," transpires in 1931 Belgium and tells of the relationship between a young musician (Ben Whishaw) and the aging composer (Jim Broadbent) for whom he works as an amaneuensis. "Half-Lives: The First Luisa Rey Mystery" occurs in the 1970s and is designed to mimic thrillers of the era. Luisa Rey (Halle Berry) is a young journalist who stumbles upon a plot by an oil company executive (Hugh Grant) to allow a nuclear reactor to melt down. The fourth segment, "The Ghastly Ordeal of Timothy Cavendish" is a contemporary tale about a British publisher (Jim Broadbent) who is confined against his will in a bizarre nursing home where aging parents are consigned to live out their lives when their children want them "out of sight, out of mind." "An Orison of Sonmi~451" takes Cloud Atlas into the future (the 22nd century), where a genetically engineered fabricant (Doona Bae) is used by revolutionaries to be the figurehead for their rebellion. The sixth and final story, "Sloosha's Crossin' an' Ev'rythin' After" takes place in a time beyond the 22nd century when a primitive tribesman (Tom Hanks) befriends a woman (Halle Berry) who belongs to a technologically advanced culture and makes a bargain with her that changes both their futures.

The connective conceits from the novel are present in the movie but at times difficult to discern. In Cloud Atlas , someone in each story reads (or views) a dramatization of the chronologically previous one. For example, the fabricant Sonmi~451 watches a movie adaptation of "The Ghastly Ordeal of Timothy Cavendish." In other instances, characters read letters or books. A less successful attempt to link the segments is to have reincarnations of characters appear in different time periods. By employing actors for multiple roles, the filmmakers try to highlight this, but it's questionable whether the often horrendous makeup jobs required to accomplish this undermine the intentions.

The directors of Cloud Atlas are (or were) considered visionaries. The Wachowskis, of course, were behind The Matrix and its sequels. German filmmaker Tom Tykwer is best known for Run Lola Run . Their decision to interleave the stories rather than present them in series makes sense because some are more compelling than others. My favorites were "The First Luisa Rey Mystery" and "An Orison of Sonmi~451." The former is a nice potboiler and the latter is thematically interesting and contains an effective emotional component. On the other hand, I was less-than-enthralled by the inert "Letters from Zedelghem" and the futuristic " Sloosha's Crossin' an' Ev'rythin' After," which feels like a generic post-apocalyptic tale in which dialogue is often impossible to decipher.

Visually, there's no doubting Cloud Atlas ' power to arrest; this is one of those movies that deserves to be seen on a big screen (and, thankfully, there's no 3-D involved). The most eye-popping sequences occur during the 22nd century story, where comparisons to Blade Runner , The Fifth Element , and the Star Wars prequels will be made , but the effects work is no less effective (although not as ostentatious) during the other episodes. As good as the computer enhancement is, however, the makeup proves unable to add to the illusion. Tom Hanks is the most negatively impacted by this, although he's not the only one. In far too many scenes, Hanks looks like a middle-aged guy buried under layers of latex.

The filmmakers have assembled a nice combination of A-list stars (Hanks, Berre, Hugh Grant), "serious" actors (Broadbent, Sarandon), less familiar faces (Sturges, Whishaw), and performers largely unknown in North America (South Korean actress Doona Bae). Of all the actors, Hanks gets to have the most fun, playing a profanity-spewing thug out of a Guy Ritchie movie, a sleazy doctor, a self-serving hotel receptionist, a whistleblower, an exaggerated Jim Broadbent, and a futuristic tribesman. Hugo Weaving, who memorably played Agent Smith in The Matrix , appears in all six stories in full villain mode. The poor guy doesn't even get one opportunity to play a sympathetic character, instead essaying (among others) a ruthless hitman, a Nurse Ratched type, and a demonic entity.

Much has been written about the use of "yellow face" in Cloud Atlas - the application of makeup to cause Caucasian actors appear Asian. This has been described as racist (or worse). Those who take the time to consider, however, will recognize that both Doona Bae and Halle Berry play white characters. The "yellow face" makeup applied to several actors is done with a non-malicious purpose: it's to allow the same actors to inhabit different characters across the stories. Case-in-point: Jim Sturgess and Doona Bae. In two of the segments, they are in love. "The Pacific Journal of Adam Ewing" requires them to be white; in "An Orison of Sonmi~451," they are Korean. If anything, Cloud Atlas ' allowing actors to cross racial lines can be seen as an emphasis of the universality of the human experience rather than a repudiation of it.

Looking for deep meaning or a sense of cosmic convergence in Cloud Atlas may take the viewer down the path to dissatisfaction and frustration. Admittedly, because of its length, its occasional pretentious dialogue, and a tone that hints at intended greatness, there's a tendency to expect more from the movie than what it delivers. Some viewers will no doubt believe they have experienced something more transcendent than what's actually on screen, and who am I to dispute them? However, taken as little more than six disconnected shorts featuring the same group of players in different roles, Cloud Atlas works. It's entertaining and the manner in which it has been edited reduces one's tendency to lose patience with the less engaging stories. It's not an Oscar contender and probably won't break any box office records but, as one of the most expensive indie productions ever assembled, it has accomplished many things - not the least of which is translating an "unfilmable" novel into a motion picture that is both coherent and able to retain the soul of its source material.

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Cloud Atlas

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Its sprawling, ambitious blend of thought-provoking narrative and eye-catching visuals will prove too unwieldy for some, but the sheer size and scope of Cloud Atlas are all but impossible to ignore.

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Your Guide to the Characters and Connections of Cloud Atlas

If you’ve watched Cloud Atlas and you’re still a bit confused , it’s easy to see why. Each of the six intertwined stories takes place in a different era and assumes the tropes of completely different genres. Actors play multiple roles across the film, switching ages, races, and even genders from tale to tale. Tracking those actors is somewhat key to understanding the connective plot, in which various souls are reincarnated or migrate over time — crossing the ages like clouds cross the skies. (In the book, you could track the reincarnation by the bodies that shared a comet-shaped birthmark; in the film, the birthmark just signals our protagonists, and the actor triggers the reincarnation.) See Hugo Weaving? Then you’ve got the bad soul who will only get worse over time. See Tom Hanks ? Then you’ve got the recovering soul who starts off bad but will become (mostly) good over the course of his journey. Here is a guide to the karmic chameleons of Cloud Atlas . ( Note: to avoid confusion we will mostly refer to the characters by the names of the actors who play them .)

OUR SETTINGS A ship crossing the Pacific in 1849; the home of an elderly composer in 1936 Edinburgh; San Francisco and a nearby nuclear power plant in 1973; London and an Edinburgh nursing home in 2012; Neo-Soul, the capital of a half-ruined Korea in 2144; a valley and a mountain on a post-apocalyptic Hawaii in 2321.

TOM HANKS Who he plays: A doctor poisoning Jim Sturgess in 1849 in order to rob him; a hotel manager in 1936 who extorts Ben Whishaw’s composer; a physicist working at a shady nuclear power plant in 1973 who agrees to help investigative journalist Halle Berry; a roughneck author in 2012 who throws a critic off a balcony; an actor playing Timothy Cavendish (Jim Broadbent’s character) in a movie watched in 2144; a cowardly (and birthmarked! ) goatherd in 2321 who helps Halle Berry’s Meronym, a representative of the last vestiges of advanced civilization who reside on an off-world colony — the film’s bookmark scenes of an elderly Tom Hanks take place on a different planet.

His soul journey: He goes from a shady murderer who says, “The weak are meat; the strong do eat,” to someone who learns courage and selflessness.

Onscreen connections to other characters/story lines: His movie inspires a clone in 2144 to set off a revolution; that clone, Sonmi-451 becomes a goddess to his post-apocalyptic tribe; the turquoise buttons he steals from Adam Ewing’s vest in 1849 are around his neck in 2321, Hanks’s character having found them in the forest; Hanks’s goatherd has a nightmare in which he sees all the other timelines.

JIM STURGESS Who he plays: Young and gullible (and birthmarked ) lawyer Adam Ewing, on a journey from the South Pacific to notarize a contract between plantation owner Hugh Grant and Ewing’s father-in-law, Hugo Weaving. Ewing helps an escaped-slave stowaway (David Gyasi) and ultimately condemns slavery; a hotel guest in 1936; a father in 1973; a soccer fan in 2012 who gets in a pub fight to help some senior citizens; a Korean freedom fighter in 2144 who saves clone/slave Doona Bae and starts a revolution; a doomed tribe member in 2321, whose brother-in-law Tom Hanks is too scared to save him from cannibal Hugh Grant.

His soul journey: He starts off reluctantly helping one slave to becoming an abolitionist and ultimately becomes a revolutionary dedicated to ending all slavery.

Onscreen connections to other characters/story lines: He keeps a journal that Ben Whishaw’s 1936 composer becomes engrossed by.

BEN WHISHAW Who he plays: A cabin boy in 1849; bisexual ( and birthmarked! ) composer Robert Frobisher in 1936, who apprentices himself to Jim Broadbent while sleeping with Broadbent’s wife, Halle Berry, and writes the beautiful Cloud Atlas Sextet ; a record-store clerk in 1973 who can’t get the Cloud Atlas Sextet out of his head and helps Halle Berry find it; the wife of Hugh Grant in 2012 and sister-in-law to Jim Broadbent; a tribesman in 2321.

His soul journey: He doesn’t seem to learn much over time, remains morally ambiguous, and will sleep with anyone, no matter whom it hurts.

Onscreen connections to other characters/story lines: He writes letters to his true love, Rufus Sixsmith (James D’Arcy), in 1936, which Halle Berry reads in 1973; strains of his Cloud Atlas Sextet recur throughout several timelines.

HALLE BERRY Who she plays: A slave from an aboriginal tribe in 1849; the white Jewish trophy wife of Jim Broadbent in 1936; the gutsy ( and birthmarked! ) journalist Luisa Rey who follows in the footsteps of her famous reporter father (David Gyasi); a hip Indian chick at a party in 2012 who intrigues Tom Hanks; a male Korean doctor in 2144 who helps free a clone; an advanced being in a primitive post-apocalyptic world in 2321.

Her soul journey: She goes from being someone with no power to humanity’s last hope, and she evolves into a higher being as she follows her impulse to help other people.

Onscreen connections to other characters/story lines: Her 1973 story becomes a manuscript that Jim Broadbent reads in 2012; she wears the same necklace in 1936, 1973, and 2012; her 1973 line “For the last half hour, all I could think about was throwing you off your balcony” literally comes true with Tom Hanks’s 2012 character.

JIM BROADBENT Who he plays: An arrogant ship’s captain in 1849; a composer in 1936 who takes on apprentice Ben Whishaw and attempts to claim the younger man’s work as his own; the morally ambiguous ( and birthmarked! ) vanity press publisher Timothy Cavendish, who benefits from the death of a critic at the hands of his author, Tom Hanks; a Korean street musician in 2144 and an advanced being known as a Prescient in 2321.

His soul journey: He starts off by being pompous and self-serving but learns humility over time.

Onscreen connections to other characters/story lines: His grand mansion in 1936 is his nursing home in 2012; the film of his “ghastly ordeal” in 2012 is watched by a clone slave in 2144; his 1936 character has a dream of the Papa Song café in which Sonmi-451 works.

DOONA BAE Who she plays: The white wife of Jim Sturgess and daughter of Hugo Weaving in 1849; the wife of Jim Sturgess and mother of James D’Arcy’s niece in 1973; a Hispanic woman working at a factory in 1973; Sonmi-451, a ( birthmarked! ) clone or “fabricant,” who is genetically engineered to be a worker drone but starts to think for herself and sparks a revolution when she’s aided by freedom fighter Jim Sturgess.

Her soul journey: She goes from being a powerless figure to a goddess revered by a simple tribe, the only link they have to their pre-apocalyptic past.

Onscreen connections to other characters/story lines: Her recorded statements become the tribal wisdom of a tribe in 2321.

HUGH GRANT Who he plays: A reverend and a plantation owner in 1849; a hotel clerk trying to collect from Ben Whishaw; the owner of a nuclear power plant in 1973 who wants it to fail and kill millions; the cuckolded brother of Jim Broadbent who tricks him into committing himself to a nursing home; a Korean restaurant manager in 2144 who sleeps with his clone workers; the leader of a band of cannibal warriors in 2321. 

His soul journey: Despite a charming exterior at first, he never really cares about anyone, and this only gets worse over time; he devolves into a pure savage.

HUGO WEAVING Who he plays: The father of Doona Bae and father-in-law of Jim Sturgess in 1849, who is involved in the slave trade; a Nazi in 1936 who is a friend of composer Jim Broadbent; an assassin in 1973; a female nursing home orderly in 2012 who torments elderly Jim Broadbent; a Unanimity authority figure in 2144; a Devil-like figment of Tom Hanks’s imagination in 2321.

His soul journey: He’s a figure of evil, control, and enslavement who never displays any loyalty or learns anything over time, and eventually devolves until he’s just an idea.

Onscreen connections to other characters/story lines: His line as Nurse Noakes, “Because you’re new, I will not make you eat soap,” mirrors the food that fabricants eat in Neo Seoul; his line, “There’s a natural order to this world,” which he utters as a futuristic functionary, is repeated at film’s end by his slave-owning businessman.

KEITH DAVID Who he plays: Like Halle Berry, a slave in 1849 working for Hugh Grant; the security chief at Hugh Grant’s nuclear power plant in 1973, who goes rogue to protect Halle Berry; the leader of a resistance movement in 2144; a Prescient working alongside Halle Berry in 2321.

His soul journey: He goes from being a slave to a leader, someone who throws off the shackles of evil employers/bad governments.

Onscreen connections to other characters/story lines: He appears to be a kindred spirit with Halle Berry.

JAMES D’ARCY Who he plays: Ben Whishaw’s lover in 1936 and recipient of his letters; an older version of his previous character Rufus Sixsmith, who gives Halle Berry damning evidence that his nuclear power plant is unsafe; an orderly at Jim Broadbent’s nursing home in 2012; and finally, a patient Archivist in 2144 who interrogates clone Doona Bae.

His soul journey: A little muddled. He goes from being a passive listener to someone who takes a stand against a big wrong back to a passive listener of a tale of injustice.

Onscreen connections to other characters/story lines: The letters he receives from Ben Whishaw in 1936 are read by Halle Berry in 1973; Hugo Weaving’s assassin shoots him in the mouth, which mirrors the suicide-by-gun death of his lover, Frobisher.

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• DVD & Streaming

Cloud Atlas

• Action/Adventure , Comedy , Drama , Mystery/Suspense , Romance , Sci-Fi/Fantasy , War

Content Caution

In Theaters

• October 26, 2012
• Tom Hanks as Dr. Henry Goose, Hotel Manager, Isaac Sachs, Dermot Hoggins, Cavendish Look-a-Like Actor and Zachry; Halle Berry as Native Woman, Jocasta Ayrs, Luisa Rey, Indian Party Guest, Ovid and Meronym; Jim Broadbent as Captain Molyneux, Vyvyan Ayrs, Timothy Cavendish, Korean Musician and Prescient 2; Hugo Weaving as Haskell Moore, Tadeusz Kesselring, Bill Smoke, Nurse Noakes, Boardman Mephi and Old Georgie; Jim Sturgess as Adam Ewing, Poor Hotel Guest, Megan's Dad, Highlander, Hae-Joo Chang and Zachry's Brother-in-Law; Doona Bae as Tilda, Megan's Mom, Mexican Woman, Sonmi-451, Sonmi-351 and Sonmi Prostitute; Ben Whishaw as Cabin Boy, Robert Frobisher, Store Clerk, Georgette and Tribesman; Keith David as Kupaka, Joe Napier, An-kor Apis and Prescient; James D'Arcy as Young Rufus Sixsmith, Old Rufus Sixsmith, Nurse James and Archivist; David Gyasi as Autua, Lester Rey and Duophsyte; Susan Sarandon as Madame Horrox, Older Ursula, Yusouf Suleiman and Abbess; Hugh Grant as Rev. Giles Horrox, Hotel Heavy, Lloyd Hooks, Denholme Cavendish, Seer Rhee and Kona Chief

Home Release Date

• May 14, 2013
• Andy Wachowski, Lana Wachowski

Distributor

• Warner Bros.

Positive Elements   |   Spiritual Elements   |   Sexual & Romantic Content   |   Violent Content   |   Crude or Profane Language   |   Drug & Alcohol Content   |   Other Noteworthy Elements   | Conclusion

Movie Review

Humanity’s fate has always hung suspended between two opposing forces: freedom and oppression. At any moment—in ages past, in this very hour, and in the future—the courageous or craven decisions of individuals have the power to tip the balance. That’s the assertion in Cloud Atlas , an epic saga mapping the influence of individuals’ choices through six stories spanning five centuries.

It begins in 1849. A lawyer named Adam Ewing visits a preacher’s plantation in Hawaii and finds his conscience awakened when he witnesses how slaves are mistreated, including the whipping of one named Autua. On his return voyage to San Francisco, Ewing discovers Autua has stowed away and needs his help. Ewing eventually decides to lend a hand—a fateful decision, as he’ll need Autau’s help to save him from a doctor who’s been poisoning him to steal his gold. It’s a dramatic tale Ewing recounts in a journal …

… that ends up in the hands of an aspiring composer in Cambridge, England, in 1936. There, Robert Frobisher informs his gay lover, Rufus Sixsmith, that he’s seeking employment as an amanuensis (a musical transcriber) for a famous composer named Vyvyan Ayrs. Frobisher hopes the association with Ayrs will ignite his career. It doesn’t. And when the older man learns his assistant is gay, the information becomes blackmail fodder. Despite that predicament, Frobisher writes his magnum opus, “The Cloud Atlas Sextet,” a haunting work that vanishes …

… until it’s rediscovered by an investigative journalist named Luisa Rey in 1973. Rey believes a nuclear power plant in San Francisco is a ticking time bomb, and an aging Rufus Sixsmith seems key to unraveling the mystery. But he’s killed before he can help her. And Luisa fears she’s next. It’s a story Erin Brockovich would have loved, and one that Luisa records in a book …

… that publisher Timothy Cavendish is reading in London in 2012 when he suddenly finds himself in need of a large sum of money to deal with a crisis. He seeks the help of his rich-but-miserly brother, Denholme, who tricks Timothy into signing himself into a care facility for the aged—a facility from which he cannot escape. It’s an outlandish story that eventually gets filmed …

… and watched 132 years later by a “fabricant” in the Korean city of Neo Seoul. There, consumers are served by manufactured clones. One of them, Somni-451, labors as a slave-like fast-food server under the oppressive Unanimity regime. Until, that is, she’s rescued by an agent of the Union resistance named Hae-Joo Chang, who opens her eyes to the truth that her cloned kin are eventually “recycled” as food for other fabricants. Somni-451 and Chang try to overthrow the regime, recording a video message to all those fighting oppression …

… which helps explain how, 200 years after that, Somni-451 has become a goddess worshipped by a primitive group of survivors of humankind’s nuclear apocalypse living in Hawaii. There, Zachry and his tribe struggle to sustain life and to keep a tribe of cannibals known as the Kona at bay. Twice a year, though, they see the ships of another group of survivors, the mysterious, high-tech Prescients. And now the Prescients need Zachry’s help to reach an outpost atop a mountain in a haunted forest.

It’s a cooperative effort that could ultimately determine whether humanity lives … or perishes.

[ Note: Spoilers are contained in the following sections. ]

Positive Elements

Cloud Atlas grapples with the struggle between those who cherish freedom and those who would extinguish it. It focuses on oppression based on nearly every sociological classification possible, including race, sexual orientation (more on that below), economic status, age and how people are born (fabricants vs. the “pureblood” in 2144).

Arguing for slavery, Adam Ewing’s father-in-law warns, “There’s a natural order to the world, and those who upend it never fare well.” But Ewing rejects that logic and is determined to challenge a status quo that enslaves people. Other characters confront the oppressors in stories that range from the ridiculous (Timothy Cavendish breaking out of his assisted-care facility) to the risky (Luisa Rey battling a huge corporation) to the revolutionary (Somni-451 seeking to overthrow a totalitarian regime). At one point we hear, “Only those deprived of [freedom] have the barest inkling of what it is.”

Somni-451 suggests that a person’s method of creation shouldn’t determine his dignity: “No matter if you are born in a tank or in a womb, we are all pureblood.” She also hears a co-worker say, “I’ll not be subjected to criminal abuse,” which becomes another refrain of resistance throughout the story.

Several people say, “Our lives are not our own. From womb to tomb, we are bound to others. Past and present. And by each crime and every kindness, we birth our future.” That’s Cloud Atlas’ main message: Every person matters, every decision has consequences. Reinforcing it, someone opines, “The nature of our immortal lives is in the consequence of our words and deeds.”

Spiritual Elements

Facing execution, a man says, “I believe death is only a door. If it closes, another opens.” He’s hinting at reincarnation, not heaven, as the film moves souls from one body to the next through the centuries, changing gender and race along the way. Cloud Atlas uses this spiritual premise to suggest that our decisions in each successive life impact our lives—and others’—into the future.

Two characters have dreams in which they have memories of past lives. One starts out as a would-be murderer but ends up a hero centuries later. The film thus indicates that moving from evil to goodness throughout ones’ incarnations is possible. Before committing suicide, Frobisher tells Sixsmith in a letter, “I believe there is another world waiting for us. … And I’ll be waiting for you there. … I believe we do not stay dead long.”

Of course, Hebrews 9:27 counters all that with, “Man is destined to die once, and after that to face judgment.”

Several characters believe truth is worth living and dying for. One suggests that truth is singular, and that to believe there are multiple truths is incorrect. Ewing prays and reads his Bible. And it’s his faith that apparently motivates him to work for slaves’ emancipation—in contrast to the Rev. Giles Horrox, who believes slaves are fundamentally inferior. A conversation between them includes the question, “If God created the world, how do we know what things we can change and which remain inviolable?”

In the future, Zachry’s people practice a primitive-looking native religion that includes shamans who perform rituals. Zachry is haunted by a green, devil-like entity known as Old Georgie, who tempts him. Old Georgie employs biblical allusions when he whispers, “You’re Judasing your own kin for a piece of a‑‑” and describes a woman as a “Jezebel.”

The fabricants in Neo Seoul are indoctrinated by their masters to serve customers with religious zeal. At the end of their careers, they’re led off in a ceremony communicating (falsely, it turns out) that they’re going to receive some kind of spiritual reward.

Sexual & Romantic Content

Frobisher and Sixsmith kiss. Frobisher’s bare backside is visible when he gets out of bed. He later tries to seduce aging composer Vyvyan Ayrs, who mocks him, saying he has no interest in “a little buggering.” Ayrs implies he has the power to destroy Frobisher because he knows about the younger man’s homosexual habits, labeling the man a “pervert,” “sodomite” and “reprobate.”

Frobisher also has sex with Ayrs’ wife, Jocasta. We see her bare back as she gets in bed, and the sides of her breasts as they have sex. It’s implied he performs oral sex on her.

A female clone named Somni-351 has sex with a man (they’re mostly clothed, but sexual movements are obvious) as Somni-451 watches. Later, Somni-451 engages in graphic sex with Hae-Joo Chang. Her breasts and bare rear are visible in a lengthy scene that includes explicit sexual sounds and movements. Timothy Cavendish recalls nearly losing his virginity to a teenage girl. She’s shown naked in bed with a sheet mostly covering her bare back. He’s shown covering his genitals with a nearby cat (with comedically disastrous results) when they’re discovered by her parents.

Female fabricants’ breasts are visible as they dress for the day. And they’re routinely subjected to leering looks, suggestive gestures and carnal touches. We hear several sexual references and double entendres.

Violent Content

Frustrated with his inability to live openly as a gay man, Frobisher puts a gun in his mouth, and we hear him say in a voiceover, “Suicide takes tremendous courage.” He pulls the trigger and kills himself. (We hear the fatal shot.) Before killing himself, Frobisher shoots Ayrs.

Fabricants wear death collars that can be activated via remote control. When one fabricant rebels, her restaurant manager presses a button, and an artery in her neck is punctured, killing her. All fabricants eventually get euthanized by a bullet-like shot to the forehead. After that, they’re decapitated (offscreen) and their bodies hung on a conveyor in a factory (onscreen) to be “recycled.” Thus, in a scene very reminiscent of The Matrix , Somni-451 sees a warehouse full of bodies as Hae-Joo Chang tells her they’re used to feed new fabricants. Somni-451 concludes, “So, they feed us to ourselves.”

Chang and Somni-451 engage in multiple futuristic chases and shootouts through Neo Seoul that claim the lives of enemy fighters via bullets and explosions. A final shoot-out between Union and Unanimity forces leaves most of the freedom fighters dead.

We see several brutal killings (including throats being slit) in conflicts between Zachry’s tribe and the cannibalistic Kona clan. One man is shown eating a fresh victim. Combat includes physical beatings and people being shot with crossbows. A young boy is shot and killed. An energy weapon is used to kill several Kona warriors. One of the Kona combatants tries to cut Zachry’s head off, leaving a wound from his eye to his neck. Zachry does the same to another Kona warrior, nearly sawing his head off with a knife.

Autua is whipped mercilessly. An author tosses a book critic off a skyscraper roof. (The camera watches his bloody impact many stories below.) An assassin shoots a man through the mouth. A woman’s car gets forced off a bridge into water. A shootout and car chase wreak havoc in downtown San Francisco. A man shoots a woman’s dog; she later kills him with a blow to the head with a wrench, them pummels his body with it.

An airplane explodes. A bar brawl results in a dislodged tooth. A man is killed when he’s hit in the head with a trunk full of gold. There’s the threat—and then the residual reality—of nuclear holocaust.

Crude or Profane Language

When actor Tom Hanks appeared on Good Morning America to promote Cloud Atlas , host Elizabeth Vargas asked him to talk in the thick accent he used for one of his roles in the film. Tom’s response? “Oy, mostly it’s swear words!” He did end up dropping an f-bomb in that interview. And in the movie? More than 20 f-words and about five s-words pop up. Characters misuse Jesus’ and God’s names two or three times each, and God’s is paired with “d‑‑n.” We also hear “b‑‑ch,” “a‑‑,” “h‑‑‑,” “p‑‑‑y,” “bloody” and “ruddy.” Derogatory and/or obscene slurs include two uses of “n-gger,” one of “wetback” and one of the c-word.

Drug & Alcohol Content

Characters smoke cigarettes and consume alcoholic beverages throughout.

Other Noteworthy Elements

A man on a toilet is intimidated by men who shove a plunger in his face. Several folks justify an aggressive lifestyle by saying, “The weak are meat, and the strong do eat.”

Cloud Atlas is on a very short list of films I’ve seen that prompted me to say afterward, “I’ve never seen anything quite like that before.” Actress Susan Sarandon felt similarly when viewing clips. “I just thought … this looks like the trailer for every film a studio is doing for the entire season,” she said. And she’s right. In terms of scope, genre and sheer storytelling audacity,  The Matrix creators Andy and Lana Wachowski (the latter known as Larry before a sex-change operation), with help from director Tom Tykwer, have crafted a movie that David Mitchell, the author of the book on which it’s based, once said was unfilmable.

Thematically, Cloud Atlas reflects on the importance of freedom and cost of securing it. It sends inspirational messages when it insists that every individual’s choices can have an eternal impact and every person has intrinsic worth. But it ultimately knows nothing of the God of all inspiration, and offers no judgment for evil choices made in a man’s lifetime. There’s no salvation here. No Christ. No Savior. Just another chance to, perhaps , get it right in another life.

Some characters do make moral progress over the course of multiple lifetimes. But we’re never given any hints regarding why.

Not that this epic’s muddled spiritual worldview is its only problem. Not even close. A gay man’s despairing suicide is meant to lash out at the moral code of the day, and in the process dangerously and disturbingly romanticizes killing yourself—especially given the suggestion that suicide is a path to a better place. Add to that graphic depictions of sex, grisly bloodletting and harsh profanity, and this film makes even the Wachowskis’ violent Matrix trilogy look relatively restrained by comparison.

Adam R. Holz

After serving as an associate editor at NavPress’ Discipleship Journal and consulting editor for Current Thoughts and Trends, Adam now oversees the editing and publishing of Plugged In’s reviews as the site’s director. He and his wife, Jennifer, have three children. In their free time, the Holzes enjoy playing games, a variety of musical instruments, swimming and … watching movies.

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The stars of  Cloud Atlas played multiple characters across several centuries, and here are all of the characters each actor plays. Directed by the Wachowskis,  Cloud Atlas hit theaters in 2012 and was the duo's attempt to deliver another epic sci-fi movie. After hitting it big with  The Matrix , the subsequent sequels and  Speed Racer made the filmmakers quite divisive. The response to Cloud Atlas  was quite mixed too, as audiences either loved or hated the film.

Based on the award-winning novel by David Mitchell,  Cloud Atlas tells an interconnected story about humanity and reincarnation across six distinct time periods. This includes stories in different locations and years with new lead characters. The Pacific Islands story in 1849 follows Adam Ewing (Jim Sturgess). Robert Frobisher (Ben Whishaw) leads the story set in Cambridge and Edinburgh in 1936. Halle Berry's Luisa Rey is at the center of 1973's San Francisco narrative. Timothy Cavendish (Jim Broadbent) leads the story in 2012 London. Donna Bae plays Sonmi-451 in a dystopian Neo Seoul in 2144, and Tom Hanks ' Zachry is the main character during the section set in a post-apocalyptic Hawaii in 2321.

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Cloud Atlas gave each of these performers and many others an additional challenge, though. The idea of reincarnation and continuation of souls saw the Wachowskis have several actors play multiple characters, regardless of sex or ethnicity, across the different time periods. Here is every character each actor plays in  Cloud Atlas .

Tom Hanks' main role in  Cloud Atlas is as Zachry Bailey, a man who lives on Big Island of Hawaii and meets Meronym. Zachry works with Meronym to help save the Prescients and ultimately marries her and starts a family with her on another planet. Hanks is originally seen in the 1849 story as Dr. Henry Goose, who tries to kill Adam Ewing. He also plays a hotel manager during the 1936 story, the scientist Isaac Sachs in 1973, and gangster Dermot Hoggins in 2012. Hanks can also be seen as an actor playing Timothy Cavendish in a movie in 2144.

Halle Berry

Halle Berry 's primary role in  Cloud Atlas is as Luisa Rey, a journalist in 1973 San Francisco investigating a conspiracy about Lloyd Hooks. She is nearly killed by a hitman but manages to expose Hooks' corruption. Her role in the 1849 story is as a slave on a plantation. She then plays a white Jewish woman named Jocasta Ayrs in 1936, an Indian party guest in 2012, a male Korean doctor named Ovid in 2144, and the advanced being from the Prescients known as Meronym.

Jim Broadbent

Jim Broadbent's main role in  Cloud Atlas is as Timothy Cavendish, a publisher who achieves great success after a critic of a recent book is murdered, in the 2012 story. Cavendish is then tricked by his brother into committing himself to a nursing home, but he eventually breaks out and writes a script about his life that will later become a movie. His part in 1849 is as Captain Molyneux. He is later seen as the composer Vyvyan Arys in 1936, a Korean musician in 2144, and a member of the Prescients in 2321. He does not play any character in the 1973 storyline.

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Jim Sturgess

Jim Sturgess plays Adam Ewing, a young lawyer who travels to a plantation in the Chatham Islands, in  Cloud Atlas ' 1849 storyline. Ewing helps free a slave and eventually becomes an advocate to abolish slavery. He is later seen as a hotel guest in 1936 and the father of Megan in 1973. Sturgess then plays a soccer fan named Highlander in 2012 and a Korean man named Hae-Joo Chang in 2144 who helps start a clone revolution. He also plays Zachry's brother-in-law, Adam, in the 2321 story.

Doona Bae's main role in  Cloud Atlas is as Somni-451 in the 2144 storyline. Somni-451 is a clone created to be a worker drone and Bae plays a few different versions of this character before leading a revolution after seeing a movie about Timothy Cavendish's life. Somni-451 is killed by the Archivists after inciting a revolution. She also plays Tilda, the white wife of Adam Ewing, in 1849. Bae then plays Megan's mom and a Hispanic factory worker in 1973. She does not have a role in the 1936, 2012, and 2321 storylines.

Ben Whishaw

Ben Whishaw's main role in  Cloud Atlas is as the bisexual composer Robert Frobisher in 1936, who has an affair with Jocasta Arys. Frobisher is busy writing "The Cloud Atlas Sextet," but is threatened by Vyvyan Arys to receive credit on the song. His story ends after finishing the sextet and killing himself. He also plays a cabin boy in the 1849 story and a store clerk in 1973. Whishaw then plays Georgette, the wife of Denholme Cavendish, in 2012, and an unnamed tribesman in 2321. He does not have a role in the 2144 storyline.

Hugo Weaving

Hugo Weaving plays several supporting roles throughout  Cloud Atlas . He plays Haskell Moore, the father of Tilda and father-in-law of Adam Ewing. He then plays a Nazi named Tadeusz Kesselring in 1936 and an assassin named Bill Smoke in 1973. Weaving then plays a female nurse in 2012, a government figure in 2144, and an imaginary figment of Zachry's mind named Old Georgie in 2321.

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Hugh Grant also has multiple supporting roles during  Cloud Atlas ' various settings. He plays plantation owner Giles Horrox in 1849, a hotel worker in 1936, and the owner of a nuclear power plant named Lloyd Hooks in 1973. Grant later plays the brother of Timothy Cavendish, named Denholme Cavendish, in 2012. He also plays a Korean restaurant manager in 2144 and Kona Chief, the leader of a tribe of cannibals in 2321.

Keith David

Keith David has several supporting roles in  Cloud Atlas but doesn't appear in 1936 or 2012 storylines. He begins as a slave named Kupaka in 1849 and then a security guard for Lloyd Hooks in 1973. David is then An-kor Apis, a resistance leader , in 2144 and a member of the Prescients in 2321.

James D'Arcy

James D'Arcy begins his time in  Cloud Atlas as Rufus Sixsmith, the lover of Robert Frobisher in 1936. He then plays Sixsmith again in 1973 and works with Luisa Rey. He then plays a nurse named James who is at the nursing home Timothy Cavendish goes to in 2012. D'Arcy also plays an Archivist in 2144.

Susan Sarandon

Susan Sarandon also plays multiple roles in  Cloud Atlas . She's the wife of Giles Horrox in 1849 and a woman named Ursula, who is the love of Timothy Cavendish's life. Sarandon then played a man named Yusouf Suleiman in 2144 and a member of the Prescients in 2321.

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Cloud Atlas Filming Locations

Directed by the Wachowskis and Tom Tykwer, ‘Cloud Atlas’ is a genre-bending film that tells six stories set in different eras, interconnected through themes and characters. Based on the book of the same name by David Mitchell, it has a star-studded cast that explores the ideas of karma, love, oppression, freedom, and humanity, with a visible progression in each timeline. Apart from its compelling storylines, all of which could very well be standalone movies of their own, the film also boasts beautiful locations and elaborate sets. If you want to know where ‘Cloud Atlas’ has been filmed, here’s the answer.

Where Was Cloud Atlas Filmed?

‘Cloud Atlas’ tells six stories, all of which span time and space, set in different eras with different challenges for the characters. The film takes us from the Chatham Islands to Neo Seoul, from England and San Francisco to a post-apocalyptic world. Filming all these sections was a real challenge for the directors, with three of them helming different storylines. With a strict schedule, the directors worked with their separate crews in different countries, which meant that the cast, who had different roles in each storyline, had to continuously jump from one location to another.

Most of the scenes in the film have been shot in Scotland. The production also turned towards the Balearic Islands of Mallorca in Spain to shoot the forest scenes. The crew also used several locations in Germany to complete the filming process.

Even though Germany is not the main location in the stories of ‘Cloud Atlas’, it was a big part of its making. Studio Babelsberg in Potsdam was the head office of the production. Sonmi’s execution scene was filmed in Krematorium Baumschulenweg in Berlin. The scene where Rey and Sixsmith part after their conversation in the elevator was filmed in Dreischeibenhaus in Düsseldorf. The Nuclear Power Plant scenes were filmed at Messe Berlin Eingang Süd. Some scenes were also shot in Sächsische Schweiz in Saxony.

Mallorca, Spain

Even though none of the stories in ‘Cloud Atlas’ are set in Spain, the country was used for filming a number of scenes in it. Mallorca is one of the prominent locations in the film. Port de Sóller features in the 19th-century setting, where the ship is moored. The scene at the beginning, where Mr. Ewing meets Dr. Goose, was filmed at Sa Calobra. Some scenes were also shot in Cala Tuent and Formentor. Mallorca also sits in for the Big Island section of the movie. The World Heritage site of Serra de Tramuntana mountains was used for these scenes.

Tom Hanks,Halle Berry in our bay on a beautiful super yatch filming Cloud Atlas here in Soller Mallorca pic.twitter.com/Sw3Q6q1 — Mel Farmer (@mellyf147) September 18, 2011

Scotland, United Kingdom

Most of the filming of ‘Cloud Atlas’ took place in Scotland, with Glasgow doubling for San Francisco and London in the 1973 and 2012 timelines, respectively. Glasgow University was used to film the scenes of Cambridge University. Overtoun House in Dumbarton was used as the setting for Vyvyan Ayrs’ manor in 1936 and Aurora House in 2012. The car crash and shootout in 1973 were filmed at Douglas Street. Some scenes were also filmed at Saint Vincent Place and George Street.

Another city used in several scenes was Edinburgh. The scene at the monument where Frobisher likes to watch the sunsets. It was filmed at the Scott Monument, West Princes Street Garden. The City Chambers doubled for Cambridge, with Victoria Terrace and Calton Road at St Ninian’s Row also featuring in several scenes.

Some other Scottish locations to appear in the film are Clackmannanshire Bridge, used as Swannekke Bridge in San Francisco; Glenfinnan for railroad stretch; and The Drovers Inn in Inverarnan as the Scottish pub where Cavendish and his friends end up after escaping from Aurora House.

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An exploration of how the actions of individual lives impact one another in the past, present and future, as one soul is shaped from a killer into a hero, and an act of kindness ripples acro.

Genre: Action ,  Drama ,  Mystery ,  Tamil Dubbed

Director: Lana Wachowski , Tom Tykwer

Actors: Halle Berry , Hugh Grant , Tom Hanks

Country: United States

Duration: 172 min

Quality: HD

Release: 2012

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