Incluvie – Better diversity in movies.
Identity in film with Incluvie stamps, scores, reviews.

Incluvie – Better diversity in movies.
Explore identity in film with Incluvie stamps, scores, reviews, and insights.

trailer banner
The Lost Moment poster

The Lost Moment (1947)

In a long flashback, a New York publisher is in Venice pursuing the lost love letters of an early-19th-century poet, Jeffrey Ashton, who disappeared mysteriously. Using a false name, Lewis Venable rents a room from Juliana Bordereau, once Jeffrey Ashton's lover, now an aged recluse. Running the household is Juliana's severe niece, Tina, who mistrusts Venable from the first moment. He realizes all is not right when late one night he finds Tina, her hair unpinned and wild, at the piano. She calls him Jeffrey and throws herself at him. The family priest warns Venable to tread carefully around her fantasies, but he wants the letters at any cost, even Tina's sanity.
- / 5
PopScore
Representation

Pictures and Videos


Incluvie Gala

Movie Information


In a long flashback, a New York publisher is in Venice pursuing the lost love letters of an early-19th-century poet, Jeffrey Ashton, who disappeared mysteriously. Using a false name, Lewis Venable rents a room from Juliana Bordereau, once Jeffrey Ashton's lover, now an aged recluse. Running the household is Juliana's severe niece, Tina, who mistrusts Venable from the first moment. He realizes all is not right when late one night he finds Tina, her hair unpinned and wild, at the piano. She calls him Jeffrey and throws herself at him. The family priest warns Venable to tread carefully around her fantasies, but he wants the letters at any cost, even Tina's sanity.

Rating:NR
Genre:Drama, Thriller, Romance
Directed By:Martin Gabel
Written By:Leonardo Bercovici
In Theaters:11/21/1947
Box Office:

Runtime:89 minutes
Studio:Walter Wanger Productions

Articles You May Like


"The Father" is a Depressing But Insightful Look at Dementia

With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.

Matt Geiger