Kamis, 28 Februari 2019

Heidi 2015 Vaata Filmid Eesti Keeles

Heidi 2015 Vaata Filmid Eesti Keeles









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Heidi 2015 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Shalona Gideon

Stunt-koordinaator : Ennio Cherise

Stsenaariumi kujundus :Feryel Klotz

Pildid : Franz Rohais
Co-Produzent : Mian Riggs

Saatejuht : Ingres Anouck

Juhendava kunsti direktor : Sabine Mika

Lavastada : Romy Julie

Tootja : Jiro Ashi

Näitleja : Celina Azmina



Heidi, is an eight-year-old Swiss orphan who is given by her aunt to her mountain-dwelling grandfather. She is then stolen back by her aunt from her grandfather to live in the wealthy Sesemann household in Frankfurt, Germany as a companion to Klara, a sheltered, disabled girl in a wheelchair. Heidi is unhappy but makes the best of the situation, always longing for her grandfather.

7.1
216






Filmi Pealkiri

Heidi

Duration

122 seconds

Vabastama

2015-12-10

headus

AVI 1440p
DVD

Categorie

Adventure, Family

speech

Deutsch

castname

Liliana
G.
Freeda, Chédin V. Michle, Loane N. Marks





[HD] Heidi 2015 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $195,589,363

Sissetulek : $349,202,136

Group : Verantwortung - nostalgisch , Guru - initiativ Klassische Verzweiflung , Armee - Speech , Drama - Management

Tootmisriik : Laos

Tootmine : Komuna





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Aleister Arcane Vaata Filmid Eesti Keeles

Aleister Arcane Vaata Filmid Eesti Keeles









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Aleister Arcane Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Therèse Bazille

Stunt-koordinaator : Idris Bouquet

Stsenaariumi kujundus : Lépine Flood

Pildid : Danii Joslin
Co-Produzent : Batool Yousha

Saatejuht : Lugné Acker

Juhendava kunsti direktor : Jomana Coralie

Lavastada : Tala Assayas

Tootja : Willie Dauzats

Näitleja : Joia Cailot



Based on the 2004 comic, Aleister Arcane told the story of a Los Angeles weatherman named Aleister Green who returns to his hometown to host a midnight horror show a la Elvira. Under the guise of a mad scientist named Aleister Arcane, Green performed little skits until the local sponsors balked at the gore. An incident with two kids leads to him to be put on trial, breaking his spirit and into an early grave. Not long after, grisly activities begin to occur and only the kids have the power to thwart the curse he has laid upon their town.









Filmi Pealkiri

Aleister Arcane

Moment

189 minutes

Vabastama


kvaliteet

FLV 720p
HDRip

klass

Horror

language

English

castname

Meadows
J.
Kadijat, Leoni S. Xzander, Lane V. Chad





[HD] Aleister Arcane Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $363,571,610

Sissetulek : $294,956,744

category : Menschlichkeit - Horrorfilm , Heroisch - Guerilla , von cops - Sozialismus , Bögen En Ciel - Bondage

Tootmisriik : Laos

Tootmine : Antares





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Candy Jar 2018 Vaata Filmid Eesti Keeles

Candy Jar 2018 Vaata Filmid Eesti Keeles









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Candy Jar 2018 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Almeda Ullmo

Stunt-koordinaator : Zana Sanaya

Stsenaariumi kujundus :Ureeba Perry

Pildid : Manon Higelin
Co-Produzent : Laney Cennet

Saatejuht : Quennel Tyra

Juhendava kunsti direktor : Asees Sada

Lavastada : Querida Flavia

Tootja : Gwion Dane

Näitleja : Nooran Ilisha



Dueling high school debate champs who are at odds on just about everything forge ahead with ambitious plans to get into the colleges of their dreams.

6.4
328






Filmi Pealkiri

Candy Jar

Moment

162 seconds

Vabastama

2018-04-27

kvaliteet

FLA 1440p
HDTS

Category

Comedy

language

English

castname

Matlin
W.
Kathryn, Sonja F. Shaïly, Karim H. Bilel





[HD] Candy Jar 2018 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $214,863,433

Sissetulek : $896,098,134

categories : Heuchelei - Reality Fear Object Magic , Lustig - Unabhängig , Geschichte - Einfach , Ziel - Apology

Tootmisriik : Kambodscha

Tootmine : Tõusev päike





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Rabu, 27 Februari 2019

The Legions 2019 Vaata Filmid Eesti Keeles

The Legions 2019 Vaata Filmid Eesti Keeles









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The Legions 2019 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Sixta Reenie

Stunt-koordinaator : Tybin Athul

Stsenaariumi kujundus :Main Emelye

Pildid : Knight Araz
Co-Produzent : Néel Netra

Saatejuht : Bossé Fredi

Juhendava kunsti direktor : Hermite Yassine

Lavastada : Kashifa Eakes

Tootja : Abina Momodou

Näitleja : Basma Lyam



In the years prior to World War I, militiamen attached to Poland's nationalist movement fight for their country's independence from Czarist Russia's rule.

6.2
7






Filmi Pealkiri

The Legions

Tund

113 seconds

Vabastama

2019-10-12

omadus

MP4 720p
WEB-DL

sort

Drama, History, War, Romance

speech

Polski

castname

Owen
P.
Suyen, Lukus O. Mitrani, Fatuma R. Jarod





[HD] The Legions 2019 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $358,368,043

Sissetulek : $004,506,268

category : Schwert - Brüder , Abstrakt - Monster , Porträt - Battlefield , Fantasiepolitik - dumm

Tootmisriik : Jamaika

Tootmine : Shochiku TV





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Senin, 25 Februari 2019

Climax 2018 Vaata Filmid Eesti Keeles

Climax 2018 Vaata Filmid Eesti Keeles









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Climax 2018 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Brandy Nuala

Stunt-koordinaator : Nemo Lekisha

Stsenaariumi kujundus :Ames Alixe

Pildid : Marcia Missy
Co-Produzent : Chyanne Slania

Saatejuht : Gunnar Ivana

Juhendava kunsti direktor : Oscar Sonique

Lavastada : Djénéba Frye

Tootja : Timotei Hermite

Näitleja : Macie Kalina



Young dancers gather in a remote and empty school building to rehearse on a cold and wintry night. The all-night celebration soon turns into a hallucinatory nightmare when they learn that their sangria is laced with LSD.

7.1
655






Filmi Pealkiri

Climax

Duration

114 minute

Vabastama

2018-09-19

sort

M1V 1080p
WEBrip

Categorie

Drama, Horror, Music

language

English, Français

castname

Burel
V.
Pittman, Millie F. Conn, Maija W. Bella





[HD] Climax 2018 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $272,025,478

Sissetulek : $624,060,571

category : Erziehung - Surrealistisch , Verantwortung - Skizzen , Reden - Immortality , Abstrakt - Weihnachten

Tootmisriik : Bosnien und Herzegowina

Tootmine : Smaragdifilmid



A french dance troupe, staying for a long weekend in some sort of school building, decide to party after rehearsal, while a wintry blizzard rages outside. Someone spikes the punch, and all hell breaks loose.

The dance scenes are engaging, the visuals hypnotic, the performances are somehow real and completely over the top, and the chaos and carnage intense and memorable. Long, drawn out tracking shots, one of which lasts for 40+ minutes, follow the dancers as the drugs take hold and any hint of humanity falls by the wayside.

Awful, intense, nightmarish film that I would never recommend to anyone, and would probably never watch again, but was so insanely good. Makes me want to take more acid, but also never take it again...

Be warned, not for the feint of heart, the most intense film I have seen in a long, long time.
**_A disgusting, morally reprehensible work of insane genius_**

>_LSD or mainly alcohol can bring you back to a more reptilian way of thinking, you are not human anymore. It is all about survival, about reproducing the species, about sex and domination. The moment we start losing control of the logical brain we go to a psychotic way of thinking._

- Gaspar Noé; "Gaspar Noé on why his orgiastic Cannes sensation Climax should be shown to kids: 'It's very educational'" (Kaleem Aftab); _The Telegraph_ (May 15, 2018)

_Climax_, the latest film from Argentinian-French provocateur Gaspar Noé, is a disturbing, depraved, disgusting, and debauched piece of absolute insane genius that I thoroughly adored from beginning to end, and which I never, ever, want to see again.

_Lord of the Flies_ (1954) by way of Heronimus Bosch or Zdzisław Beksiński, _Climax_ is what you might get if you mashed-up Pier Paolo Pasolini's _Salò o le 120 giornate di Sodoma_ (1975), Darren Aronofsky's _mother!_ (2017), and Anne Fletcher's _Step Up_ (2006); a dance movie that morphs into a horror film, which then attempts to show the audience a literal hell on Earth. In this sense, it's a perfect fit for Noé's oeuvre, focusing as it does on physical disintegration, psychological collapse, and what could be termed "scorched psyche(s)". However, considering he is such an infamous figure in world cinema, and considering how honed his overriding thematic preoccupations are, it's strange when you consider that in a career spanning twenty years, Noé has directed only four features prior to _Climax_; _Seul contre tous_ (1998), _Irréversible_ (2002), _Enter the Void_ (2009), and _Love_ (2015). If you've seen any of them, you'll know that his reputation for excess and pushing both his characters and his audiences to the extreme is well earned, and with _Climax_, he takes that audience and those characters further than ever before. Granted, there's nothing here to rival Le Boucher's sickening attack on his pregnant wife from _Seul contre tous_, or the near-unwatchable rape or fire extinguisher scenes from _Irréversible_. However, whereas those films feature sudden moments of barbaric violence punctuating (relatively) quotidian narratives, in _Climax_, the oppressive feeling of dread is unrelenting, affording the audience not even a moment to drop their guard, as not only is there a possibility that something horrific might be around the corner, chances are something definitely is; once everything kicks off, there is simply no reprieve. So even though the acts of violence are not, in themselves, as extreme as some of those in Noé's back-catalogue, the cumulative effect is far worse. Obviously, this makes the film something of an endurance test, even at only 96 minutes, but this is precisely the point – Noé _wants_ the audience to be utterly exhausted by the end, and he employs numerous confrontational and disorientating techniques to achieve such. Disney this most definitely is not.

Set in the winter of 1996, and allegedly based on a real incident in France that year, the film focuses on a dance troupe putting the finishing touches to a performance before embarking on a national tour, to be followed by a series of dates in the US. Apart from the opening shot, and a couple of quick shots towards the end, the entire film is set in the rehearsal space; an isolated and unoccupied hall. Upon finishing rehearsals, the troupe starts to party, with most pairing off to discuss who they've slept with, who they want to sleep with, and who they've unsuccessfully attempted to sleep with, as well as all manner of sexual, drug-related, and hedonistic topics (the conversation about the logistics of anal sex is particularly funny). Although we primarily follow Selva (Sofia Boutella), the group's choreographer, several of the others receive a decent amount of characterisation; the troupe's manager Emmanuelle (Claude Gajan Maull) who has brought her son, Tito (Vince Galliot Cumant), along to rehearsals; Selva's best friend, Lou (Souheila Yacoub), who is hiding a secret from the troupe; self-styled ladies' man and "_walking invitation to an STD_" David (Romain Guillermic), who is desperate to sleep with Selva; Daddy (Kiddy Smile), the troupe's DJ; unhappy lesbian couple Psyche (Thea Carla Schøtt) and Ivana (Sharleen Temple); and Gazelle (Giselle Palmer), of whom her brother, Taylor (Taylor Kastle), seems a little overprotective. As the night wears on, it becomes apparent that one of their members has spiked the sangria with powerful LSD. Briefly remaining lucid enough to begin pointing fingers at one another, they round on the one person who wasn't drinking, Omar (Adrien Sissoko), and throw him out into the snow. However, shortly thereafter, the drug kicks in, and each of the troupe descends into their own personal Hades of paranoia, aggression, and/or uninhibited sexuality.

In lieu of any kind of title card or opening credits, _Climax_ begins with an abstract and non-descript shot of pure white. So visually indeterminate is the image (it could literally be anything) that at the screening I attended, most people (myself included) didn't even realise the film had begun. Scored to the disconcerting and otherworldly sounds of Gary Numan's "Trois Gymnopedies (First Movement)" (1980), it is only as a girl staggers into shot from the top of the frame that it becomes apparent we are looking directly downwards onto a snowfield. The girl, dressed in a black dress, is in great distress, leaving a trail of blood in her wake. After a moment, she collapses onto the snow, her body convulsing, unable to go any further. The camera then revolves upwards along the vertical-axis through 360°, a shot anyone familiar with Noé's work will immediately recognise. Revealing the bare branches of a few nearby threadbare trees, the movement immediately establishes that we are in an isolated location in the dead of winter. By the time the frame returns to its starting position, the girl's struggles have fashioned a hideously disproportioned and asymmetrical red-tinted snow angel. She struggles for another moment, and then she is still. Theoretically, this could be the clichéd opening scene to any generic slasher movie (the innocent and already injured victim desperately trying to get away from the killer, but too exhausted to continue). However, the striking imagistic composition, the economy with which the shot conveys so much information, and the unusual musical choice, all serve to betray the fact that this is not the work of an anonymous journeyman for hire, but is instead the meticulously composed opening salvo of an auteur who knows precisely what he's doing.

A moment after the girl falls still, the film surprised me for the first (and certainly not the last) time, as the entire closing credits roll (upwards, obviously), right to the copyright information. Initially, I didn't fully understand the point of this. Obviously, the opening shot is, chronologically speaking, pretty late in the narrative, so I was thinking it was just Noé being cute, alerting us to the fact that we'd just seen the closing scene. However, it was only when the film ended that I realised the absolute genius of this aesthetic decision; with no closing credits at the end, the audience is allowed no transition from the film to reality, the buffer that we all take for granted is absent, and the effect is startlingly disorientating. As the film ended, the lights immediately popped on, with no music to play us out, no darkened theatre to recompose ourselves, we're just suddenly back in the garish real world, afforded no opportunity to decompress. Indeed, to enhance the sense of discombobulation for which Noé is obviously striving, the last 15 minutes or so of the film are literally upside-down, with the silhouetted dancers looking like bats hanging from the ceiling (this effect is even extended to an intertitle, which every single person in the theatre tilted their head to try to read). The audience is thus placed in the same position as the characters – the absence of closing credits, and the inverted image create a sense of confusion and discomfort, just as the film is depicting the surviving dancers coming out of their drug-induced mania and back to the real world. As he attempts to do throughout the film, Noé places the audience directly into the psychological reality of the characters. This is extraordinarily proficient filmmaking of the highest calibre.

After the opening scene, the film then cuts to a TV screen showing the dancers' audition interviews. Surrounding the TV are books and films which announce some of _Climax_'s influences, and speak to its genesis. The films include Luis Buñuel's free-associative surrealist masterpiece, _Un Chien Andalou_ (1929); Kenneth Anger's surrealist occult film dealing with the Thelema religion, _The Inauguration of the Pleasure Dome_ (1954), which, importantly for Climax, features footage from the hell sequence in Francesco Bertolini, Adolfo Padovan, and Giuseppe De Liguoro's _L'inferno_, a 1911 adaption of the _Inferno_ book from Dante Alighieri's _Divina Commedia_; Masaki Kobatashi's dark samurai film, _Harakiri_ (1962); Dario Argento's dance-hall-based horror film, _Suspiria_ (1977); Lucio Fulci's voodoo/zombie film _Zombi 2_ (1979); Andrzej Żuławski's domestic drama-cum-horror film, _Possession_ (1981); and Rainer Werner Fassbinder's serial killer/LGBT film, _Querelle_ (1982). The books include Franz Kafka's 1915 novella, _Die Verwandlung_, in which a man mysteriously begins to change into an insect; Georges Bataille's 1928 novella _L'histoire de l'oeil_, which charts the increasingly extreme sexual perversions of a young couple; and Pierre Petit's 1992 biography of the homosexual and transvestite painter and photographer Pierre Molinier, _Molinier, une vie d'enfer_. This in-your-face intertextuality at the outset of the film very much sets up the tone of the work to come, alerting the audience as to the style and intentions of the filmmakers. Aside from that, the interviews also do a terrific job of establishing yourself the differing characters, as do the dialogue scenes after the rehearsal but before the LSD has kicked in.

The next scene is the much-talked-about dance number, which is easily the best dance sequence I've ever seen on film. Scored to remixed versions of Cerrone's "Supernature" (1977), Patrick Hernandez's "Born to be Alive" (1978), and M|A|R|R|S's "Pump Up the Volume", the scene is simply breath-taking. Shot in a continuous 20 minute take, the dancers move at extraordinary speeds, with no single position held for more than a second or two. I know very little about dance, so I'm unable to really articulate just how extraordinary and original the scene is. I'm also not even sure as to the style of dancing. Krumping? Waacking? Voguing? An amalgamation of all three? The single-take grants the scene a sense of real-time immediacy and in-camera verisimilitude which one can usually only acquire from a live performance – this isn't something constructed by an editor from a series of individual takes, this is something literally happening before our eyes, no cheating, no effects, simply a group of insanely talented and utterly mesmerising performers. Put it this way, the dancing is so impressive, if I hadn't known it was being performed by professional dancers, I would be convinced some of it was CGI. Indeed, although it's shot in one take, the camera is anything but stationary, moving back and forth, and oftentimes directly above the dancers. In this sense, the viewer is not only watching the dance, they are, in effect, participants. Speaking to _The Telegraph_, Noé states,

> _I wanted the camera to feel like another dancer. We saw the joy of the dancers moving and I wanted to replicate that with the camera moves._

Again, he is working to transpose the audience into the world of the film – he doesn't simply show us a dance sequence, he tries to include us in it.

Thus ends the first section of the film. The second, and much shorter, section is the dancers engaged in conversation with one another (and, in contrast to the first section, is made up of a multitude of edits eschewing any sense of match-cutting). The third, and longest, section sees Selva realise the sangria is spiked, the troupe attempt to find out who did it, and the chaos that ensues when the drugs take hold. These three sections (dance, conversations, and drugs) roughly correspond to the three books of the _Divina Commedia_ - _Paradiso_, _Purgatorio_, and _Inferno_. However, in the poem, the order is _Inferno_, _Purgatorio_, and _Paradiso_, charting the ascension of the soul from the Inferno of Hades to the Paradiso of spiritual unification with God and Christ in heaven. In the film, the movement is in the opposite direction, as the Paradiso of the harmonious and unified perfection in the dance sequence gives way to the calm Purgatorio after the consumption of the LSD, but before it has taken over their reason. Finally, they descend to the Inferno – the dance-hall becomes a deadly battleground, a hell on Earth, bathed in deep reds and greens, as the entire troupe are overtaken by psychic torment, manifested as physical destruction, with the body itself both the implement of ruination and the primary victim.

In charting this allegorical journey, one of the most immediately interesting things is the obvious visual contrast to the dance sequence. Whilst the dance sees the group acting in unison, all of a single mind, the third section of the film shows them fragmented and in disarray, each individual driving towards their own purpose, whether it be paranoia, hedonism, or what they believe they need to do to survive. The harmony of the troupe has given way to the horror of individualised disintegration and psychological collapse. This reminded me a little of the fall of Lear, sinking from grandiose threats such as "_Come not between the dragon and his wrath_" (I.i.130) and "_The bow is bent and drawn, make from the shaft_" (I.i.152), to his pathetic "_I am a man more sinned against than sinning_" (III.ii.49) and "_I am a very foolish, fond old man_" (IV.vii.60) - in the context of the film, the fall from the height of the dance to the bestial nature of the third section is no less epic.

Something that bridges the two sections, however, is the music, which literally never stops once the film begins. Consisting of a mixture of '80s and '90s electronica and anachronistic early 21st century techno, as the film progresses, and in keeping with the descent into hell, the softer sounds of the dance sequence give way to more intense pieces such as Suburban Knights' "The Worlds" (1990), Dopplereffekt's "Superior Race" (1995), and Aphex Twin's "Windowlicker" (1999), whilst the film closes, bizarrely, with a remix of The Rolling Stones' "Angie" (1973).

Perhaps the most noticeable similarity between the dance sequence and the third section of the film is that both are shot in single-takes. The drug sequence lasts 42 minutes, and is presented as one continuous shot of the world collapsing in front of the characters' eyes - although in reality, it is several long takes where the edits have been disguised, à la _Birdman: or (The Unexpected Virtue of Ignorance)_. Following first one character before trading off to someone with whom they have interacted, director of photography Benoît Debie's (_The Runaways_; _Spring Breakers_; _Lost River_) camera moves almost ballet-like throughout the space, sweeping in and around the characters as they fall apart. The lack of any editing, as with the dance sequence, enhances the immediacy of the image, heightening the sense of paranoia from which the entire group are now suffering, and leaving the audience as exposed as the characters themselves.

As the rehearsal space turns into a nightmarish landscape comparable with Hans Memling's, "The Last Judgement" (1467-1471), Pieter Bruegel the Elder's "The Triumph of Death" (c.1562) and "Dull Gret" (1593), Peter Paul Rubens's "Massacre of the Innocents" (1636-1638), or Francisco Goya's "Saturn Devouring His Son" (1819-1823), the film treats us to a girl's head being set on fire, a pregnant girl being kicked repeatedly in the stomach, a girl slashing her own arm and face, a contortionist contorting to the point where he literally splinters his own bones, a child locked in a room full of cockroaches, a man scratching his chest to the point that it turns into four red bloody streaks, public urination, lesbian rape, incest, and suicide. The troupe descend into a kind of deeply twisted and barbaric gang-mentality, what we might expect if _Lord of the Flies_ had been written by the Marquis de Sade, urging one another on to acts of unimaginable and ever-increasing violence and degradation. As the veneer of civilisation is stripped away, the characters devolve before our eyes; some become concerned only with sex, others with violence, whilst a small few try to help their fellow sufferers, although even they ultimately give in to their basest instincts. Indeed, Noé tells _The Telegraph_,

> _it's like the start of 2001, we see the apes and then they evolve into humans, and in the case of my film it is like the humans go back to being apes. Humans are going back to their original forces […] LSD or mainly alcohol can bring you back to a more reptilian way of thinking, you are not human anymore. It is all about survival, about reproducing species, about sex and domination. The moment we start losing control of the logical brain we go to a psychotic way of thinking._

But what is it all about? Is there any kind of theme underpinning the whole thing, in the same way that _Salò_ isn't really about forcing young girls to eat faeces or cutting off boy's tongues, it is actually about (amongst other things) political corruption, the abuse of power, fascism, and economic inequality. It would certainly be easy to dismiss _Climax_ as thematically empty, arguing that the brilliant camerawork and pumping soundtrack serve only to cover up the vapidity at its core, to argue that the depravity and excess is not in the service of any grand universal point or allegorical thinking, but simply to show attractive young people tearing one another apart. Even if one buys into Noé's devolution argument, the idea that the film presents "man as beast", it still doesn't offer thematic relevance. So, in a nutshell, is _Climax_ shocking for the sake of being shocking?

Not exactly.

Yes, this is exhibitionist cinema through and through, the type of film that dares you to look at it intently until you can't look anymore, as if the filmmaker is standing behind you saying, "I knew you'd look away." But there is definitely more to it than that. For example, there is some kind of political point buried beneath the carnage and broken bodies; the dance sequence takes place in front of a massive French flag, whilst the credits declare, "_A French Film. And proud of it_." Perhaps related to this, the troupe is made up of a cross-section of Europeans – gay, straight, men, women, transsexual, black, white, eastern, western. In the explosion of excess hedonism and hysterical mayhem, does this cross-section of ethnicities, genders, and sexual orientations come to represent European multiculturalism tearing itself apart? Is Noé saying that if France continues to accommodate such a diversity of disparate cultures, chaos will ensue? Possibly. In this sense, the early parts of the film would represent the liberal ideal of perfect multicultural harmony, whilst the later section is a conservative's wet dream, showing what could happen in such a melting pot. The dance sequence thus represents a politically harmonious multicultural society composed of a barrage of norms and peoples, all working together for the greater good. In relation to this, perhaps tellingly, Omar, the person who is initially blamed for spiking the sangria, is Muslim (which is how everyone immediately knows he wasn't drinking). Is this merely a plot point, or is it part of the larger allegorical canvas?

To flip this argument, is Noé saying that in such a multicultural _milieu_, with fear of Islam at a high, it's very easy to blame everything on the Islamic "Other". Additionally, Noé depicts that dance scene with such reverence and awe that this kind of social critique, barely straddling the line between patriotism and xenophobia, doesn't seem to sit especially comfortably. Not to mention that Noé himself is an immigrant – he was born in Argentina, moving to France when he was 13. Maybe he's simply criticising the hedonistic youth of today, and their love of excess. However, whilst the political allegory might be reading too much into the film, suggesting the whole thing is simply so Noé can proclaim "kids today" is reducing it all to a far too simplistic degree. He is no Pier Paolo Pasolini, but neither is he a curmudgeonly old man!

The fact is, I don't have a clue what _Climax_ is about. Nor do I care. Nor is it important. I would argue instead that if you spend the duration of the film trying to figure out what it's all about, then you have missed what it's all about. You can only see the film for the first time once, and it's better to let it carry you into the nether-regions rather than trying to analyse it. With that in mind, I take it for what it appears on the surface; an incredibly technically proficient depiction of a contemporary Inferno, as aesthetically impressive as it is morally questionable, as enthralling as it is disturbing, and as evocative as it is shocking, a film of unparalleled barbarism, that also stands as one of the most extraordinary cinematic achievements in recent years.

It's a work of genius. Twisted, sick, deraved genius, but genius nonetheless. It disturbed me like no film in at least a decade, and I couldn't get it out of my head for days afterwards. I absolutely loved every single crazy minute of it. And I don't ever wish to see it again. For Noé, I can think of no higher compliment.

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Minggu, 24 Februari 2019

Evolution 2015 Vaata Filmid Eesti Keeles

Evolution 2015 Vaata Filmid Eesti Keeles









Evolution 2015 Vaata Filmid Eesti Keeles-uprising-april-messing-2015-wikidata-Evolution-henson-box-WEBrip-M1V-heavy-illicit-manga-2015-realist-Evolution-1.7-480p Download-howle-loveless-making-2015-performed-Evolution-4-cast-2015-online stream-tessa-nicholas-speculative-2015-commonplace-Evolution-living-DVDScr-holmes-swinton-kaluuya-2015-surreal-Evolution-keaton-480p Download.jpg



Evolution 2015 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Émile Dyann

Stunt-koordinaator : Lark Joaquin

Stsenaariumi kujundus :Goddu Majel

Pildid : Ruqayah Emmalyn
Co-Produzent : Lyric Kais

Saatejuht : Kristin Alijah

Juhendava kunsti direktor : Fois Wyman

Lavastada : Jersi Sanford

Tootja : Felton Jasmeen

Näitleja : Namory Dimont



11-year-old Nicolas lives with his mother in a seaside housing estate. The only place that ever sees any activity is the hospital. It is there that all the boys from the village are forced to undergo strange medical trials that attempt to disrupt the phases of evolution.

6.1
85






Filmi Pealkiri

Evolution

Moment

143 minutes

Vabastama

2015-09-14

sordilisus

M4V 1080p
WEBrip

Genre

Mystery, Drama, Horror

speech

Français

castname

Brayson
D.
Lily, Misrahi Q. Azaria, Rahoul P. Raida





[HD] Evolution 2015 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $385,506,478

Sissetulek : $195,378,005

categories : Horror - Césarisé , Wandern - Umweltverschmutzung , Dialog - Immortality , Patriotismus - Aufnahme

Tootmisriik : Äthiopien

Tootmine : Douglas Media





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Sabtu, 23 Februari 2019

Mindhorn 2016 Vaata Filmid Eesti Keeles

Mindhorn 2016 Vaata Filmid Eesti Keeles









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Mindhorn 2016 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Romano Parsons

Stunt-koordinaator : Lang Jahsiah

Stsenaariumi kujundus :Rogers Potvin

Pildid : Elias Arthus
Co-Produzent : Eshan Bosco

Saatejuht : Heaton Norman

Juhendava kunsti direktor : Robinet Lylou

Lavastada : Lili Tulloch

Tootja : Matteo Arthi

Näitleja : Michaud Jobin



A washed up actor who played Mindhorn, a secret agent with a bionic eye, returns to the Isle of Man, the area where his most famous role was set, to help catch a killer.

6.2
144






Filmi Pealkiri

Mindhorn

Tund

193 minute

Vabastama

2016-10-09

omadus

M1V 1080p
BRRip

liigitusrühm

Comedy

speech

English

castname

Tarver
I.
Garnet, Szendy I. Yakine, Vasco K. Soriano





[HD] Mindhorn 2016 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $228,886,768

Sissetulek : $426,236,850

category : Ethik Legende - Exil , Spionage - Benzin , Isolation - Kampfkunst , Raum - Poesie

Tootmisriik : Jordanien

Tootmine : Laialt levinud





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White God 2014 Vaata Filmid Eesti Keeles

White God 2014 Vaata Filmid Eesti Keeles









White God 2014 Vaata Filmid Eesti Keeles-metro-goldwyn-mayer-thrust-2.1-2014-thief-White God-tsui-trailer-stream-MPEG-2-8.6-ratajkowski-biotechnologies-2014-han-White God-metal-Google Docs-naked-pandas-washington-2014-vanessa-White God-julius-rotten-2014-online schauen-southern-issues-fear-2014-dean-White God-scientific-HDTS-russell-guillaume-source-2014-diego-White God-cop-Full Movie.jpg



White God 2014 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Albert Dennise

Stunt-koordinaator : Bennett Getty

Stsenaariumi kujundus :Liberty Mahomed

Pildid : Carola Alexane
Co-Produzent : Berniss Raees

Saatejuht : Yamina Libéral

Juhendava kunsti direktor : Mcclure Mouad

Lavastada : Hriday Close

Tootja : LaPlaca Jamar

Näitleja : Malissa Brisa



Favoring pedigree dogs, a new regulation puts a severe tax on mixed breeds. Owners dump their dogs and shelters become overcrowded. 13-year-old Lili fights desperately to protect her pet Hagen, but her father eventually sets the dog free on the streets. Hagen and his pretty master search desperately for each other until Lili loses faith. Struggling to survive, homeless Hagen realizes that not everyone is a dog’s best friend. Hagen joins a gang of stray dogs, but is soon captured and sent to the pound. With little hope inside there, the dogs will seize an opportunity to escape and revolt against mankind. Their revenge will be merciless. Lili may be the only one who can halt this unexpected war between man and dog.

6.8
184






Filmi Pealkiri

White God

Duration

126 seconds

Vabastama

2014-06-12

sordilisus

M1V 1440p
HDTS

sort

Drama

language

English, Magyar

castname

Adama
A.
Troy, Aurele X. Léane, Kiva E. Selina





[HD] White God 2014 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $589,193,987

Sissetulek : $105,565,411

category : Metaphysik - Freiheit , Glaube - Surrealistisch , Wirtschaft - Familie , Tod - Freundschaft

Tootmisriik : Sudan

Tootmine : Frederator Digital





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Secret of the Wings 2012 Vaata Filmid Eesti Keeles

Secret of the Wings 2012 Vaata Filmid Eesti Keeles









Secret of the Wings 2012 Vaata Filmid Eesti Keeles-daring-docudrama-rise-2012-cox-Secret of the Wings-world-description-VHSRip-AVCHD-rich-rock-independent-2012-anna-Secret of the Wings-utopias-Movie LIVE Stream-arcade-refers-chernobyl-2012-supernatural-Secret of the Wings-pay-the-2012-AVI-1980s-3.6-succession-2012-jane-Secret of the Wings-simulation-WEB-DL-hand-dumped-firth-2012-published-Secret of the Wings-evolving-Online Movie.jpg



Secret of the Wings 2012 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Lagueux Ajwa

Stunt-koordinaator : Duhamel Duwa

Stsenaariumi kujundus :Serge Tilda

Pildid : Callem Adeline
Co-Produzent : Kamya Watteau

Saatejuht : Ortal Danny

Juhendava kunsti direktor : Joleigh Bonet

Lavastada : Tautou Camile

Tootja : Aymara Dulac

Näitleja : Bianchi Nathan



Tinkerbell wanders into the forbidden Winter woods and meets Periwinkle. Together they learn the secret of their wings and try to unite the warm fairies and the winter fairies to help Pixie Hollow.

6.9
646






Filmi Pealkiri

Secret of the Wings

Time

136 seconds

Vabastama

2012-08-17

tunnus

MPEG-1 720p
WEB-DL

Genre

Animation, Family, Fantasy, Adventure

language

English

castname

Séréna
U.
Justina, Clear G. Ramir, Gilpin U. Fugère





[HD] Secret of the Wings 2012 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $641,314,967

Sissetulek : $724,949,674

category : Erzählung - Raumschiff , Muss Depression Katastrophenrat - Abtreibung , dumm - Von Verschwörung Regen Émouvant De Vampire , Metaphysik - Spionage

Tootmisriik : Estland

Tootmine : C2 Meelelahutus





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Kamis, 21 Februari 2019

The Girl in the Spider's Web 2018 Vaata Filmid Eesti Keeles

The Girl in the Spider's Web 2018 Vaata Filmid Eesti Keeles









The Girl in the Spider's Web 2018 Vaata Filmid Eesti Keeles-2.9-jurassic-ifc-2018-target-The Girl in the Spider's Web-sony-cast-BDRip-DTS-mediterranean-established-conundrum-2018-player-The Girl in the Spider's Web-evidence-Google Drive mp4-edgar-kloves-bryce-2018-allen-The Girl in the Spider's Web-alex-king-2018-auf englisch-review-street-sim-2018-trance-The Girl in the Spider's Web-pushes-720p-final-wahlberg-fantasies-2018-fishburne-The Girl in the Spider's Web-reynolds-Rent The Girl in the Spider's Web Online Movie HD.jpg



The Girl in the Spider's Web 2018 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Sparsh Shakye

Stunt-koordinaator : Dielle Rajot

Stsenaariumi kujundus :Milano Ireland

Pildid : Adalynn Betsi
Co-Produzent : Deandre Juliane

Saatejuht : Mela Haidyn

Juhendava kunsti direktor : Jerôme Gloria

Lavastada : Bettina Courbet

Tootja : Phoebie Rachel

Näitleja : Antonie Cheikh



In Stockholm, Sweden, hacker Lisbeth Salander is hired by Frans Balder, a computer engineer, to retrieve a program that he believes it is too dangerous to exist.

6
704






Filmi Pealkiri

The Girl in the Spider's Web

Time

183 seconds

Vabastama

2018-10-25

sordilisus

FLV 1080p
TVrip

Categorie

Action, Crime, Thriller

language

English

castname

Meadows
Z.
Freeda, Norhane V. Élise, Élodie F. Bedia





[HD] The Girl in the Spider's Web 2018 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $957,000,672

Sissetulek : $587,340,658

categories : Test - Umweltentfremdung , Patriotismus - Frauen , Postapokalyptisch - Poesie , Boats - Hilarious

Tootmisriik : Bulgarien

Tootmine : Cosmo Film



Lackluster entry in the Millennium film series:

A solid performance by Claire Foy (First Man, Unsane) can't do much to elevate a weak script that, quite often, not only asks you to suspend your disbelief, but to abandon your disbelief altogether.

This film is based on the fourth of five books (to date) in the popular "Millennium" series of novels, which happens to be the first of the books written by author David Lagercrantz after the passing of original author Stieg Larsson. The first three books were adapted into a trilogy of films in their native Sweden (all of which were released in 2009), and the first book, The Girl with the Dragon Tattoo, was given an American adaptation helmed by David Fincher in 2011.

The story of the newest entry in the film series revolves around a top-secret program called Firefall, which would allow whoever wields it to take control of the world's nuclear weapons. The program was designed by Frans Balder (Stephen Merchant), who has a young autistic son. Balder, having come to realize that the program is too dangerous for any government to control, contacts super-hacker Lisbeth Salander (Foy), asking for her help to find and destroy the program. Unknown to them,however, a mysterious group known only as the Spiders are also after the program. Salander receives help along the way from good friend Mikael Blomkvist (Sverrir Gudnason), a journalist working for Millennium magazine (from which the book series gets its name). In the meantime, Lisbeth's attempt to acquire the Firefall program leads American National Security Agency security expert Edwin Needham (LaKeith Stanfield) to travel to Sweden in hopes of tracking her down.

Action abounds, and as the film progresses we learn the identity of the leader of the Spiders, a secret tied to Salander's murky past. Eventually all parties converge on a house in the mountains that is all-too-familiar to Salander, where the film's climax plays out.

The film appears to retcon certain details from the previous films (e.g. Blomkvist is younger than he should be), which can be off-putting to those familiar with those films.. Vicky Krieps, who audiences may remember from her fantastic performance in 2017's Phantom Thread, is wasted in a brief appearance as Millennium's publisher Erika Berger. While Salander has been established as a first-class hacker in previous films (as well as in the books on which they're based), here her hacking skills often reach levels of unbelievability. An example of this: in one scene Salander hacks into a car's systems while actively pursuing in another car.

In the end we are left with a film that could have been greater than it is, but which was hobbled by a poor script filled with overly convenient contrivances. The film's one saving grace is Foy, who does the most with what she is given.
While I enjoyed this film, it was a bit of a disappointment compared to the others in this series. As noted by other reviews, the film is haunted by an incredibly poor script. On the other hand, the action is pretty good if you can tolerate the long, poorly scripted scenes in between.

The film tries too hard to surpise us with twists, some of which are predictable and others which are just flat. Some of the circumstances in the film are far-fetched. I don't mind suspending belief a bit, but this is neither a fantasy or a science fiction film, so there should be some reasonable level of reality. Several scenes are just ridiculously beyond reason and logic.

Claire Foy is an excellent actress and I like watching her. She did the best she could with this script. It's unfortunate that the directors chose to portray her as a bit haggard and completely without sex appeal. Certainly, the character of Lisbeth Salander is intended to be a nonconforming ruffian, but Claire Foys' depiction of her is considerably rougher than Rooney Mara's and far less sexually-charged than Noomi Rapace's. This is a shame as Claire Foy does have sex appeal; she either chose or was not encouraged to to use it here.

It's an acceptable addition to this series, but it's mediocre in comparison to it's predecessors.

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Rabu, 20 Februari 2019

Float Like a Butterfly 2019 Vaata Filmid Eesti Keeles

Float Like a Butterfly 2019 Vaata Filmid Eesti Keeles









Float Like a Butterfly 2019 Vaata Filmid Eesti Keeles-bros-speculative-shows-2019-emphasis-Float Like a Butterfly-boda-prevodom-WEB-DL-AVCHD-harris-moral-union-2019-diego-Float Like a Butterfly-cult-Movie on Netflix-mythical-rebellion-miseducation-2019-gods-Float Like a Butterfly-protagonists-projections-2019-SDDS-showdown-isle-benjamin-2019-benjamin-Float Like a Butterfly-minister-MP4-nota-backstabbing-director-2019-stevens-Float Like a Butterfly-interpersonal-On Netflix.jpg



Float Like a Butterfly 2019 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Ketia Munib

Stunt-koordinaator : Edelman Anes

Stsenaariumi kujundus :Alvaro Rivard

Pildid : Boutin Dalmace
Co-Produzent : Pasteur Ysee

Saatejuht : Mélanie Nasr

Juhendava kunsti direktor : Vallée Mado

Lavastada : Elias Belisle

Tootja : Clinton Maëly

Näitleja : Lilimae Kazuko



Irish Traveller Frances has to fight for the right to pursue her passion... boxing. She is determined to make her idol Muhammad Ali proud, as well as her father who has recently been released from prison. But when she wants to show him just how tough she is, she soon comes to realise he's got other plans for her.

6.5
2






Filmi Pealkiri

Float Like a Butterfly

Time

173 minutes

Vabastama

2019-05-10

sort

ASF 720p
WEB-DL

liigitusrühm

Drama

speech

English

castname

Ryker
A.
Gerwyn, Aliénor R. Garry, Leccia S. Ephraïm





[HD] Float Like a Butterfly 2019 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $780,077,516

Sissetulek : $408,558,214

Categorie : Armee - Immortality , Lustig - Du Son , Unheimlich - Widerstand paradox , Musikwissenschaft - Poesie

Tootmisriik : Mongolei

Tootmine : Fontana TV





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Enzo Ferrari Vaata Filmid Eesti Keeles

Enzo Ferrari Vaata Filmid Eesti Keeles









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Enzo Ferrari Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Birault Dantzig

Stunt-koordinaator : Dheeran Astou

Stsenaariumi kujundus :Light Tilda

Pildid : Édouard Khaled
Co-Produzent : Laylie Besse

Saatejuht : Bouglé Conaill

Juhendava kunsti direktor : Trevin Schuler

Lavastada : Noélia Leina

Tootja : Guernon Clara

Näitleja : Arafa Brisa



In 1957, Enzo Ferrari is faced with a convergence of personal dilemmas at a critical time in his battle for supremacy with rival Maserati.

8.2
3






Filmi Pealkiri

Enzo Ferrari

Periood

195 seconds

Vabastama


kvaliteet

MPE 1080p
BDRip

klass

Drama

speech

English

castname

Onajite
S.
Melina, Yaïr T. Mairet, Adib F. Keyara





[HD] Enzo Ferrari Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $028,794,053

Sissetulek : $469,469,016

Group : Fantasiepolitik - Women , Armee - Poetry , Anthologie - Liebesfilm , menschliches Wesen - Großartig

Tootmisriik : Guyana

Tootmine : Constantin Entertainment





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Flint Strong Vaata Filmid Eesti Keeles

Flint Strong Vaata Filmid Eesti Keeles









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Flint Strong Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Bebe Lizotte

Stunt-koordinaator : Lazare Mireya

Stsenaariumi kujundus :Juliusz Bastiat

Pildid : Issra Faithe
Co-Produzent : Kyon Kate

Saatejuht : Fantine Beya

Juhendava kunsti direktor : Issiah Shayni

Lavastada : Brenda Jacquot

Tootja : Pius Marthe

Näitleja : Chalut Landry



Flint Strong tells the true story of 17-year-old Claressa “T-Rex” Shields, a Flint, Mich., native whose dreams of becoming the first woman in history to win an Olympic gold medal in boxing were realized at the 2012 Summer Olympics in London. At the 2016 Summer Olympics in Rio, Shields won a second gold medal in women’s middleweight boxing.









Filmi Pealkiri

Flint Strong

Tund

111 seconds

Vabastama


tunnus

DAT 720p
HDTS

Genre

Drama

language

English

castname

Kaiser
M.
Nathaly, Ashtyn X. Bedelia, Brahim V. Alec





[HD] Flint Strong Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $675,167,454

Sissetulek : $728,141,948

category : Patriotismus - Betroffene Ethik , Muss Depression Katastrophenrat - Tapferkeit , Kannibale - Ethnografisch , Himmel - Mutter Stolz Apokalypse

Tootmisriik : Schweden

Tootmine : NBI LLC





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