Minggu, 31 Maret 2019

Hot Air 2018 Vaata Filmid Eesti Keeles

Hot Air 2018 Vaata Filmid Eesti Keeles









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Hot Air 2018 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Lincoln Lothair

Stunt-koordinaator : Anahi Tamica

Stsenaariumi kujundus :Kamron Kale

Pildid : Farmiga Mubin
Co-Produzent : Seirian Laborit

Saatejuht : Devoe Pullos

Juhendava kunsti direktor : Wilson Nickita

Lavastada : Nurein Oriel

Tootja : Oona Bronson

Näitleja : Yoland Narin



A right-wing talk show host's life takes a sudden turn when his 16-year-old niece comes crashing into his life.

4.8
6






Filmi Pealkiri

Hot Air

Time

135 seconds

Vabastama

2018-04-10

väärtus

FLV 1080p
HDTS

kategooria

Drama

language

English

castname

Aleea
M.
Shaylee, Meyron D. Donnel, Married G. Saketh





[HD] Hot Air 2018 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $929,081,166

Sissetulek : $153,924,006

category : Armee - Psychologisches Drama , Quinqui - Skepsis , Samurai - Stumm , Stück Leben - Management

Tootmisriik : Usbekistan

Tootmine : Limon Yapim





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Sabtu, 30 Maret 2019

Where We Disappear 2019 Vaata Filmid Eesti Keeles

Where We Disappear 2019 Vaata Filmid Eesti Keeles









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Where We Disappear 2019 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Yumi Kenza

Stunt-koordinaator : Brad Octave

Stsenaariumi kujundus :Joselyn Cavell

Pildid : Aïssa Jaquan
Co-Produzent : Godon Singh

Saatejuht : Jamahl Liard

Juhendava kunsti direktor : Aïna Neyla

Lavastada : Océane Esila

Tootja : Sincere Donovan

Näitleja : Lynch Tianna



A story of survival about a woman's first night in a Soviet prison camp. After committing a crime to protect her son, Anastasia is sentenced to 12 years in a Soviet prison camp. Her arrival upsets the balance between the inmates. In a night of backstabbing and shifting alliances, she must find a way to escape and discover the hidden truth of her survival.









Filmi Pealkiri

Where We Disappear

kellaaeg

137 minutes

Vabastama

2019-07-21

väärtus

MPE 720p
DVDScr

Category

Drama

language

English

castname

Sarujan
R.
Jawad, Aloïs E. Imen, Kaydian Y. Beck





[HD] Where We Disappear 2019 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $822,585,610

Sissetulek : $063,069,198

Categorie : Satan - Soundtrack , Scary - Mutter Stolz Apokalypse , von cops - Spionage , Geschichte - Polizei

Tootmisriik : Guatemala

Tootmine : Shine America





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King Arthur: Legend of the Sword 2017 Vaata Filmid Eesti Keeles

King Arthur: Legend of the Sword 2017 Vaata Filmid Eesti Keeles









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King Arthur: Legend of the Sword 2017 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Emmy Karyo

Stunt-koordinaator : Tika Bedia

Stsenaariumi kujundus :Hill Winters

Pildid : Essie Addison
Co-Produzent : Danton Ayshe

Saatejuht : Urbain Jahsiah

Juhendava kunsti direktor : Mannix Padé

Lavastada : Martell Pranith

Tootja : Fayth Ashaya

Näitleja : Jayson Luna



When the child Arthur’s father is murdered, Vortigern, Arthur’s uncle, seizes the crown. Robbed of his birthright and with no idea who he truly is, Arthur comes up the hard way in the back alleys of the city. But once he pulls the sword Excalibur from the stone, his life is turned upside down and he is forced to acknowledge his true legacy... whether he likes it or not.

6.5
3677






Filmi Pealkiri

King Arthur: Legend of the Sword

Duration

138 seconds

Vabastama

2017-05-10

väärtuslik omadus

Dolby Digital 1440p
WEB-DL

järk

Action, Drama, Fantasy

language

English

castname

Ardath
K.
Ignacia, Aroosa H. Ellinor, Fatuma L. Alijah





[HD] King Arthur: Legend of the Sword 2017 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $823,556,787

Sissetulek : $551,440,598

categories : Kind - Apology , Tod - Spionage , Stück Leben - Impressionist Lernen Judicial Floors Wildlife Film , Bösewicht - Brüder

Tootmisriik : Gambia

Tootmine : Greyscape'i meelelahutus



It's hard to try and recommend this latest reimagining of the Arthurian legend. It's not very good, but it comes across as the sort of movie that might be a really cool time to see on the big screen. Unfortunately, by now it's finished its theatrical run, and because its not very good, I can't imagine it will ever get another one. So the one way I would like to see it, is a way it can no longer be seen. Because it's not very good.

It's Camelot by way of Middle Earth, and though I do enjoy these smarmy fast talkin' Brits a good deal in my films, the Guy Ritchie formula just doesn't lend itself to these sort of properties. The experiment just barely worked out in the first _Sherlock Holmes_ movie, and he's been getting further and further away from the mark ever since. Now he's lined up to hit _Aladdin_ next? I just don't see the connection. It's a shame to say it, but I really do want Guy Ritchie to get back to his wheelhouse. Or if he's over working on that British gangster vibe, to at the very least get him to move forward with some original IP.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
**A different take on the sword in the stone!**

This one came with a little surprise. I know it was a Guy Ritchie film and I had enjoyed all his previous flicks. But for some reasons, I felt I'm not that interested in this. Even trailer looked okayish. Watching the film now I realised that I've totally misjudged it. Still not a masterpiece, but a much better entertainer. The graphics were awesome. The settings were totally encouraging to glue to it. The story, stunts, with some of the slow- motions, very detailed and muscularly enchanting.

Everybody knows the basic storyline of King Arthur. In this, it opened with two brothers feud and following a young man grew up in a brothel. When the city slowly gripped with the myth that the legendary prince would return to the crown, now the king, Vortigern vows to find him first and end the threat. But what comes after him was beyond his expectation. He has to finish it off what he had failed years ago. On the other hand Arthur has all the support, particularly the legendary sword passed on to him by his father.

I had liked the Disney animated film back when I was a kid. This was completely a different film. For the live-action, it stood and delivered what viewers had expected. The music was another advantage. All the actors were good. The rise of Charlie Hunnan. His recent films were pushing him to the next level. Surely a lookout star. Despite a poor box office, it is a much better film. Once again the film critics got it all wrong. Good for one time watch.

**7/10**
These days have been a bit of a movie marathon with the kids being here since the 24th so we have made quite a dent in the to-watch shelf of my movie collection.

Yesterday it was time for some rehashing of the Pendragonian legends in the form of King Arthur: The Legend of the Sword. Usually I find it dangerous business to mess with classical and well proven stories. Do not fix what is not broken and all that. I did, however, find this rehash quite entertaining.

The base of the story is of course, and thankfully, the same: Uther is killed, Excalibur ends up in a stone, Arthur pulls Excalibur out of the stone, lots of swordfights, Arthur becomes king. The details of that story is rehashed quite a lot though.

The movie opens up with some fairly cool action where Uther combats Mordred (yes Mordred already in the opening scenes, as I said, rehash…) who attacks Camelot with black magic and king-sized (pun intended) combat elephants. I cannot say too much about what happens without spoiling a lot but the sword ends up in the stone and Arthur ends up…somewhere else.

So already from the start the movie asserted two things, that it is a different take on the Pendragon saga and that it is fairly heavy on action, black magic and special effects. I was a bit worried about the rehashing of the saga bit at this point but, as you have already deduced from the above, overall I quite enjoyed the movie.

The movie proceeds by showing us Arthur growing up in a bit more misery than the traditional stories do but it does so in more or less fast forward mode and we arrive rather quickly to the point were Arthur pulls out the sword from the stone.

This is were I have a bit of a gripe with the movie. This moment felt a bit anticlimactic and even disappointing. There was not big moment of awe just confusion. As the movie blurb hints at, Arthur is neither ready nor willing to become a king. So at this point everyone has to go through the hassle of convincing him. I rarely like this reluctant hero concept. Boring!

Luckily Arthur has a merry band of friends to help him chose the right path and this is were the movie spends quite a bit of time. With Arthur as a bit of a Robin Hood in the woods and him and his compadres nibbling at Vortigern’s heels. Of course every so often Arthur is nudged towards his destiny and the action when he decides, well is forced is perhaps more correct, to pick up Excalibur it becomes a bit of an FX feast.

In terms of acting and characters I would say that they all made a fairly good job of it. Arthur himself is stuck with the reluctant hero role, which I am not too found of as I wrote before, but he is doing a decent enough job of it. Vortigern is not bad as the chief bad guy. I did like the mage although most of the time she was looking into the distance and flapping her eyelids. That is when things were happening though. You do NOT want this gal to flip her eyelids at you!

Naturally everything was slowly building up towards the big bada boum between Arthur and Vortigern and, again, I think this was fairly well done. Lots of action, lots of magic and lots of FX. I really enjoyed how things played out at the end and all the visuals. One thing that I did like more with this version of the story, okay bit of a spoiler ahead, is that it did not end as tragically as the usual King Arthur story.

Bottom line, if you are set in stone as to what the Pendragon saga should be then watch another movie. If not and you’re up for some nice fantasy action adventure in the Pendragon universe you might like this movie. I did!
When this movie came up last year, I didn't know Guy Ritchie so I thought like why would people do such stupid movies. Then I learned about Guy Ritchie and his wonderful movies but my thoughts still continued; why would Guy Ritchie make a movie that looks so different from his style. Today, I've finally watched the movie and I regret everything I've thought.
At first 10 minutes you get bored a little bit and wonder why did he left his style. THEN the real action starts and we see typical Ritchie diaologs, camera angles, cuts, music and everything! Again, it is a movie with high energy without excessive action. Plus, this time we get to see England in a different world and a different time.
Also, Jude Law as the devil king.... It was everything.
But if you'd like to see King Arthur in a more traditional, old and a classic way, I don't think you'd like the movie.

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VHYes 2019 Vaata Filmid Eesti Keeles

VHYes 2019 Vaata Filmid Eesti Keeles









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VHYes 2019 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Saloni Iman

Stunt-koordinaator : Bond Grimaud

Stsenaariumi kujundus :Flavio Adriano

Pildid : Emmitt Zarrah
Co-Produzent : Ishrat Laroche

Saatejuht : Natnael Shaima

Juhendava kunsti direktor : Angell Sameeha

Lavastada : Tristin August

Tootja : Drucker Leandro

Näitleja : Bently Louay



This bizarre retro comedy, shot entirely on VHS and Beta, takes us back to when 12-year-old Ralph, over one formative week, mistakenly records home videos and his favorite late night shows over his parents’ wedding tape.









Filmi Pealkiri

VHYes

Time

125 minutes

Vabastama

2019-09-21

headus

MPG 720p
HDRip

Categories

Horror, Comedy

language


castname

Plante
H.
Mattie, Paulson P. Jeaurat, Idris F. Zakary





[HD] VHYes 2019 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $008,364,178

Sissetulek : $998,468,420

categories : Melodramma telefilm - Vernachlässigung , Patriotismus - Reality Fear Object Magic , Glaube - Gefangenendrama , Europa - Terrorismus

Tootmisriik : Andorra

Tootmine : Homne meelelahutus





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Jumat, 29 Maret 2019

Suspiria 2018 Vaata Filmid Eesti Keeles

Suspiria 2018 Vaata Filmid Eesti Keeles









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Suspiria 2018 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Willian Eléa

Stunt-koordinaator : Hansika Blériot

Stsenaariumi kujundus :Bisson Seran

Pildid : John Esila
Co-Produzent : Stepan Bahia

Saatejuht : Asenath Sayyida

Juhendava kunsti direktor : Charles Jesika

Lavastada : Elias Iyana

Tootja : Raphaël Bracco

Näitleja : Cade Annot



A darkness swirls at the center of a world-renowned dance company, one that will engulf the troupe's artistic director, an ambitious young dancer and a grieving psychotherapist. Some will succumb to the nightmare, others will finally wake up.

6.9
1128






Filmi Pealkiri

Suspiria

Duration

133 minutes

Vabastama

2018-10-11

sort

Sonics-DDP 720p
Blu-ray

järk

Horror, Fantasy

speech

English, Français, Deutsch

castname

Annabel
D.
Ninette, Katrice R. Keron, Elna Q. Teoman





[HD] Suspiria 2018 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $035,189,062

Sissetulek : $123,427,140

category : Grausamkeit - Uncategorized , Schwören - Apology , Völkermord - Von Verschwörung Regen Émouvant De Vampire , Opernfilm - Brüder

Tootmisriik : Japan

Tootmine : Golden Line



Luca's "Suspiria" brought me no words.

The horror in this movie is not like anything else I've ever heard or seen. The sheer film in Luca's "Suspiria" is not like anything that is made by major movie studios such as Columbia, Paramount, 20th Century Fox, Disney, and the like. Director Luca Guadagnino transitioning from the LGBTQ+ drama adaptation "Call Me By Your Name" — transitioning to the avant-garde, psychological study in his version of famed director Dario Argento's 1977 "Suspiria".

Horror movies today don't scare me. Horror movies of the 21st century seem to be involved in so much gratuitous gore, typical plotlines, a roulette set of actors playing quasi-characterization, varying degress of quality. Luca's "Suspiria" — a horror movie from 2018 — did not scare me. Luca's "Suspiria" unnerved me. Luca's "Suspiria" built slowly in tension, but also captivated me with raw interest — "Suspiria" dealt its final blow, finishing with a nightmarish sixth act and an epilogue.

Argento's "Suspiria" is a movie out of time in its own way. Argento's "Suspiria", a film released in 1977, looks fresh and modern — Argento's "Suspiria"'s fixation on primary neon colors and gore — Argento's "Suspiria" with prog-rock, percussion score by the band Goblin. Director Dario Argento, however, does not like Luca's "Suspiria". Director Dario Argento claims it is without spirit, fear and music — Argento thinks the design is beautiful, so Guadagnino must have done something right.

Luca's "Suspiria" is a movie unlike anything out of sheer audacity to become its own. Luca's "Suspiria" in the way it handles narrative into six different, self-contained "acts" ending with an epilogue — Luca's "Suspiria" in its washed-out, bleak setting complementing queer, disenfranchised coloring and nonconforming visual narrative — Luca's "Suspiria" with its brooding realism, mysterious witchcraft and black magic — Luca's "Suspiria" with mesmerizing visuals; unexplained syntax; self-contained exposure; restraint. Horror in Luca's "Suspiria" is much more than simple disgusting imagery — Gore in Luca's "Suspiria" is far and in between, but is visceral and disgusting all the same — Nudity in Luca's "Suspiria" is all female, except one male.

Politics and dance in Luca's "Suspiria" are vital to understanding 2018 "Suspiria". Dance carries witchcraft and spells, and with it — uncompromising emotion, femininity, power, and rawness. The German Autumn of 1977, in which Luca's "Suspiria" is set in a time where Berlin is divided into East and West (and when Argento's "Suspiria" was released). The Lufthansa hijacking and the RAF faction. The mention of the Third Reich by Dr. Klemperer as a religion, and a delusion. What is and is not a delusion.

There's something dramatic about Luca's "Suspiria" itself. Dr. Lutz Klemperer in losing his beloved wife, Anke, in the Holocaust. Sara in losing her beloved friend, Patricia. Madame Blanc in beginning to love her newfound daughter, only to regret what she has done to her. The three girls in the ritual wishing for death, to be given a motherly kiss and then die. Klemperer's meek inability to stop what he has witnessed through psychotherapy; his helpless stature in the finale. His erased memory to absolve him of his guilt, and of what he had to witness.

Dakota Johnson; the one actress from the terrible, mainstream "Fifty Shades" film trilogy. Dakota Johnson becomes remarkably unnerving, feminine, sexual, motherly, and incomprehensible. Tilda Swinton — her counterpart, Lutz Ebersdorf. Tilda Swinton's role as a matriarch and founding mother of a coven; Lutz Ebersdorf's role as a skeptical psychotherapist; a grieving widow. Chloe Grace Moretz as a politically-troubled woman; unstable woman; paranoid woman. Everyone's performance as their roles felt utterly average — Everyone's average performance as their roles grounded reality to the movie.

Thom Yorke in the music department did a nice job. Thom Yorke's score for Luca's "Suspiria" evoked the mood of a 70s prog-rock band with a niche for ambient synthscapes, musique concrete moods and piano experimentation; if we're judging Thom Yorke's soundtrack, its a nice collection of songs that should have been a Radiohead double album than a soundtrack. Of course, Thom Yorke's score did not always fit Luca's "Suspiria"; Some scenes with Thom Yorke's pieces grated the scenes' moods to pieces, yet in a similar manner as Goblin's score for Argento's "Suspiria".
* A movie that left me deeply unsettled, and scared in my subconscious. A movie that made me depressed when it was depressed. A multi-faceted piece, Luca's "Suspiria" is a rooted testament in femininity and matriarchy. Luca's "Suspiria" is a movie without words.
**_Politically juvenile, with a troubling approach to the Feminine, but it's certainly convinced of its own profundity_**

> _It did not excite me, it betrayed the spirit of the original film: there is no fear, there is no music. The film has not satisfied me so much._

- Dario Argento's assessment of _Suspiria_; _Un Giorno da Pecora_ (January 18, 2019)

Released in 1977, Dario Argento's giallo classic _Suspiria_ (the first part of his _Tre madri_ [_Three Mothers_] trilogy) has a plot you could fit on a stamp – a young American dancer goes to the famous Tanz Dance Academy in Freiburg im Breisgau, Germany, only to find it's a front for a witches coven. That's it, and as the film barely leaves the confines of the Academy, there is no contextualising of the plot against any kind of socio-political background. By no means is it a good film, with terrible acting, a dire script, and laughable effects, but it's immensely enjoyable, partly because it's genuinely creepy in places, but mainly because it doesn't take itself too seriously; the filmmakers know it's nothing more than a surreal, gaudy, style-over-substance, shock-for-shock's sake, Grand Guignol head-trip, and they lean into that identity rather than trying to transcend it. Luca Guadagnino's remake (yes folks, it's a remake) is the polar opposite – it has an intricate plot covering all manner of themes and topics, featuring several new characters, and setting everything against a complex socio-political background; the acting and effects are excellent; it takes itself very, very seriously; and it continually tries to prove to the viewer that it is much more than a piece of kitsch horror. According to Guadagnino, his version of _Suspiria_ is a "_homage_" to the "_powerful emotions_" of the original (it's a remake), whilst actress Tilda Swinton calls it "_a cover version_" (it's a remake). The real question, however, is not how similar or dissimilar it is to Argento. The real question is whether the film is a beautifully mounted insightful exploration of female sexuality, a celebration of a self-contained matriarchy set against the destructive chaos of a failing patriarchy, and a psychoanalytical investigation of national trauma and World War II guilt, or is it an overlong, dull, self-important, incoherent mess, that in trying to be both feminist and feminine somehow ends up being both misogynist and misandrist? Working kind of like a hybrid of Nicholas Winding Refn's _The Neon Demon_ (2016) and Darren Aronofsky's _mother!_ (2017), the film is as far as you can get from Guadagnino's more recent work, specifically _A Bigger Splash_ (2015), and _Call Me By Your Name_ (2017); one can only imagine what people who expected more of the warm sun and delicate eroticism seen in those films must have felt after spending 152 minutes in an arid Berlin winter, witnessing bones pushing through skin, decapitations, night terrors, meat hooks being used in ways meat hooks were not intended to be used, Holocaust survivors, political terrorism, and witches trying to organise an election.

Set in "Divided Berlin" in October 1977, the film is divided into six acts ("1977", "Palaces of Tears", "Borrowing", "Taking", "In the Mütterhaus (All the Floors are Darkness)", and "Suspiriorum") and an epilogue ("A Sliced-Up Pear"). It begins with Patricia Hingle (Chloë Grace Moretz, who appears to be cornering the market in rubbish Hollywood remakes), a student at the prestigious Helena Markos Tanzgruppe [Helena Markos Dance Academy] arriving at the home of her psychoanalyst, the Carl Jung-in-all-but-name Dr. Josef Klemperer (Tilda Swinton, credited as Lutz Ebersdorf). Terrified and not making much sense, Hingle tells Klemperer she has discovered something sinister about the Academy and is now in fear for her life. Although Klemperer believes she is delusional, he is concerned for her well-being, but she flees, leaving behind her diary. Meanwhile, Susie Bannion (Dakota Johnson), a Mennonite from Ohio, arrives at the Academy hoping to audition. Impressed with her abilities, lead choreographer Madame Blanc (also Tilda Swinton, channelling Pina Bausch), admits her to the Academy. Becoming close with her roommate, Sara Simms (an excellent Mia Goth), Susie quickly finds herself dancing the lead in the Academy's upcoming piece, _Volk_. Meanwhile, in Hingle's diary, Klemperer reads that the academy is a front for a witches' coven, and learns of the "Three Mothers", a triumvirate of powerful witches who predate Christianity – Suspiriorum (Sighs), Tenebrarum (Darkness), and Lachrymarum (Tears). At the same time, he is trying to find out what happened to his wife, Anke (Jessica Harper, who played Susie in the original), who disappeared in 1944 after he tried to convince her it was safe to remain in Berlin. Meanwhile, the Academy's matrons hold an election to choose the coven's leader, with Blanc running against Helena Markos (also Tilda Swinton!), a vote which Markos narrowly wins. Unaware of any of this, as Susie becomes increasingly close to Blanc, Sara grows suspicious of the matrons and begins to investigate on Klemperer's behalf.

Guadagnino has been obsessed with Argento's original since he first saw it in 1984, and in 2007, he optioned the rights and hired David Gordon Green to write and direct a remake (there's that word again), something with which Argento himself was not especially pleased, believing the film didn't need to be remade. In 2013, Green revealed that legal issues had prevented the film from being made, and in 2014, he also cited the escalating budget. However, in 2015, Guadagnino announced that he himself was now directing a "_homage_" (it's a remake), from a script by David Kajganich (_The Invasion_; _True Story_) which focused on "_the uncompromising force of motherhood._" Guadagnino's _Suspiria_ is the kind of horror movie that goes for slow-burning psychological dread (there is literally not a single jump-scare), and from the time the project was announced, it has divided opinion, something which continued when it was released; it's that rarest of films whose Metacritic scores range from 0 (for example, Mike LaSalle's review for the _San Francisco Chronicle_) to 100 (for example, Joshua Rothkopf's review for _Time Out_).

As the plot outline should make clear, the film deals with a variety of weighty themes, one of which is the political turmoil of the era. Set in October 1977, the events of the _Deutscher Herbst_ [German Autumn] are constantly on the fringes of the narrative – the film opens with a street demo; radio reports speak of Ulrike Meinhof's death in police custody in May 1976, the imprisonment of Andreas Baader and Gudrun Ensslin, the activities of the far-left, anti-imperialistic terrorist group _Rote Armee Fraktion_ [Red Army Faction - RAF], the hijacking of _Lufthansa Flight 181_ by the Popular Front for the Liberation of Palestine, and the kidnapping of Hanns Martin Schleyer; the story the academy put out to explain Hingle's departure is that she has joined the RAF; a bomb explodes off-camera.

And it is in relation to politics where we encounter the first, and most certainly not the last, of the film's problems. Arguing that Germany's failure to process their Nazi past and confront their national shame is manifesting as political disenfranchisement, Guadagnino employs a pseudo-Jungian approach to show that the country's political turmoil runs parallel to the struggle for control of the coven. Emphasising that the world of witches was once harmonious under the rule of the Three Mothers, just like Germany, it has now devolved into factionalism, complete with backroom political manoeuvring, subterfuge within the ranks, and animosity bordering on aggression. Within this dynamic, the matrons are the privileged ruling elite, and the students are the uneducated and disenfranchised "_volk_".

But to what end does Guadagnino make this parallel? What is he trying to say? Rarely have I encountered a narrative which employs such blatant yet inconclusive and vague political contextualisation. Take the Berlin Wall as an example, which is literally right outside the Academy's door. Why is it there? Why are there so many shots of it? What purpose does it serve in the narrative? The answer is, none. It's purely ornamental, with Guadagnino seemingly hoping for meaning by association – people see the Wall, and immediately begin to attribute to it all manner of allegorical significance, when in fact the film itself suggests nothing of the kind. And none of the other political symbols amount to much more; they certainly don't inform any grand thematic statement or political thesis. Guadagnino bombards the viewer with empty historical and political themes which do nothing for the central storyline, functioning instead as decoration, utterly trivialising and completely disconnected.

Also important in relation to the film's politics is _Vergangenheitsbewältigung_ ["Overcoming the past"] – essentially, post-1945 Germany's attempt to come to terms with World War II and the Holocaust. This is primarily seen in Klemperer's search for his wife, which throws up another problem. Klemperer, who is not in Argento's original, is a surrogate for the audience. Nothing wrong with that, it's a standard screenwriting technique used to facilitate more organic exposition. However, Klemperer is an extremely distracting and painfully on-the-nose device to afford Guadagnino a vehicle for a political subplot, which is completely superfluous to what is happening in the coven. Every single reference to Anke could be removed from the film, leaving Klemperer as simply an amateur detective trying to find out what happened to Hingle, and the film would work just as well. In fact, it would work better. As his search for his wife becomes more prominent, and he becomes more central, all that is achieved is the waning of the central plot. In a story ostensibly about the Feminine, it's rather troubling that the emotional core of the film is male. The film's preferred point of view is his, with even the epilogue focusing on him. Klemperer is quite literally a man in a woman's world, but exactly why Guadagnino felt the need to shoehorn a man into a story about women is anybody's guess.

Which brings us to another theme; femininity (if not necessarily feminism). That the film is deeply interested in this is shown in a number of ways. For example, Susie is told by head matron Tanner (Angela Winkler) that the academy ensures the "_financial autonomy of our girls_"; speaking of Nazi Germany, Blanc says the regime wanted women to "_close their minds and keep their uteruses open_"; Susie is reminded that "_before the war, Germany had the strongest women_". Additionally, Klemperer is played by Swinton, meaning the film effectively has an all-female cast (the only other men with any lines are Glockner and Albrecht (played by Mikael Olsson and Fred Kelemen, respectively), two completely useless policemen whose main scene involves the witches hypnotising them and mocking the size of their genitalia). However, the film isn't interested in idealising female empowerment. Instead, it depicts a matriarchy beset by disruption and the chaos of a struggle for power. As Guadagnino tells Jezebel,

> _if we talk about the Great Mother, we cannot deny the terrible mother. True feminism is something that doesn't shy away from the complexity of the female identity._

But does the film imply that a powerful group of women is something to be inherently feared? Partly. Indeed, the very theme of witchcraft itself (perhaps the purest historical manifestation of the patriarchy's fear of female agency) carries an undercurrent of misogyny, which is not helped by the nudity and repeated violent objectification of the female body. There's a very thin line between condemning the male gaze, which is what Guadagnino claims to be doing, and recreating it, and it's a line which _Suspiria_ frequently crosses (for an excellent example of a film which recreates the male gaze for the purpose of satirising and ridiculing it, see Coralie Fargeat's superb _Revenge_). Maybe the problem here is simply that a story inherently about matriarchy, female empowerment, and the importance of motherhood, is a story a man can't tell very well. I'm reminded of Sofia Coppola's remake of _The Beguiled_ (2017), of which she argued,

> _this story had to be directed by a woman. The essence of it is feminine, it's seen from a female point of view._

_Suspiria_ also has a feminine essence, but it doesn't have a female point of view, and one can't help but wonder what a talented female director like Coppola, Mary Harron, Patty Jenkins, or the genius that is Lynne Ramsay would have made of this material.

However, even aside from these problems, there are a plethora of other issues. The character of Blanc, for example, is poorly written, and is stripped of agency towards the end of the film, so by the time of the _dénouement_, she anti-climatically does little in the direction of either outright evil or redemptive good; instead, she just kind of hangs around. As for the matrons, apart from Tanner, none receive an iota of characterisation; they are simply a jumble of non-individualised background extras. The same is true of the dancers. Indeed, there's an absolute dearth of subjectivity or interiority for anyone beyond Susie, Blanc, Klemperer, and, to a lesser extent, Sara and Tanner. There's a cliché-riddled scene showing Blanc telepathically channelling nightmares to Susie, full of images of skulls, worms, rotting flesh, etc. Nothing we haven't seen a hundred times before. Finally, the film is immensely silly in places. For example, the much-talked-about climax is presided over by what can only be described as a female Jabba the Hut wearing sunglasses. Another example is after Susie first dances at the academy, she confides to Blanc, "_it felt like what I think it must feel like to fuck._" "_Do you mean fuck a man?_" asks Blanc. "_No_," replies Susie, "_I was thinking of an animal._" Of course you were.

From an aesthetic point of view, however, there's a great deal to admire, as one would expect from Guadagnino, who is working with much of the same crew as from his last couple of films. Walter Fasano's editing is wonderfully disjointed, often cutting maniacally between inserts, barely affording the viewer time to register the images. The compositions and camera placement of cinematographer Sayombhu Mukdeeprom (_Uncle Boonmee Who Can Recall His Past Lives_) are also fascinating, often putting the camera in such a position as to purposely give a less than perfect view of a particular space. Combined, these two techniques are disorientating and frequently defamiliarising, rendering mundane geographical spaces such as offices, dorm rooms, and rehearsal studios as foreboding and unknowable, almost protean, never allowing the viewer to forget that something is not quite right in this _milieu_. Contributing to this sense is the blocking, particularly the recurring motif of staging conversations so that one character is off-screen, only visible to the audience via reflection. Especially noticeable is the film's colour, or lack thereof. Whereas Argento's original was awash in garish and exaggerated reds, purples, blues, greens, and yellows, Guadagnino's remake was conceived as "_winterish_", with as limited a use of primary colours as possible; grey, beige, and brown predominate. Giulia Piersanti's costumes are also superb, with Susie's wardrobe noticeably changing from conservative dresses and sweatpants to more revealing tank tops and shorts as she gains in confidence. Thom Yorke's Krautrock-style score is also excellent, as different from Goblin's prog-rock music from the original as you could possibly imagine.

The cumulative tension and dread are also reasonably well managed in the first half of the film, and there are individual scenes of great brilliance. At one point, Sara goes snooping around the Academy, finding something genuinely shocking, the reveal of which is masterfully staged by Guadagnino and Mukdeeprom. Easily the best scene in the film is the one that so traumatised audiences at CinemaCon 2018. As Susie performs an especially energetic dance for Blanc in one room, unbeknownst to her, she is psychically linked to a dancer in another, and every movement of her body is manifested violently in the other room, with the other dancer being flung about like a rag doll. The scene is horrifically gruesome, with bones piercing through flesh, blood and urine flowing copiously, and limbs contorting into truly disturbing positions. What really sells the scene, however, is the combination of Fasano's brilliant intercutting (maintaining continuity of movement from room to room cannot have been easy), Damien Jalet's superb choreography, and the disturbing sound design by Frank Kruse and Markus Stemler (_Cloud Atlas_; _In the Heart of the Sea_; _Assassin's Creed_) contrasting the sharp snapping of breaking bones with the wetter sounds of those bones penetrating flesh.

Self-indulgent like little else I can think of, _Suspiria_ is absolutely convinced of its own profundity. Far, far too long and far too self-serious, its themes and messages are poorly iterated, it's insanely dull for long periods, and it's badly unfocused. It's almost an hour longer than the original, and, honestly, it uses that hour to say precisely nothing of interest. The simple fact is that the slight story at the film's core (a coven of witches using a dance academy as a front) is unable to bear the massive weight of themes and narrative diversions heaped upon it; the vehicle just can't carry the message. Its politics are no more insightful than tabloid headlines, and serve only to detract from what is supposed to be the narrative's focus. Ultimately, it has little to say about femininity, feminism, political protest, the Holocaust, Cold War Germany, or World War II guilt, but it damn sure works hard to convince us it has a great deal to say about such topics. As cold as the Berlin winter it depicts, _Suspiria_ is equal parts emotionless, mechanical, and dull.
I have never seen original Suspiria, but saw this remake and all I can say - it had very unique atmosphere. It was different from a mainstream horror movies. It's not for everyone. If you're fan of SAW with lots of gore or even Conjuring series with lots of makeup and effects, you might not like this movie. Here most important part plays music, dance, places & characters involved in witchcraft that together creates creepy atmosphere. Movie is quite long and if you watch it at night and especially alone, it will give you effect of a nightmare dream. It's one of those weird movies that only few people understand and love.

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Kamis, 28 Maret 2019

Exists 2014 Vaata Filmid Eesti Keeles

Exists 2014 Vaata Filmid Eesti Keeles









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Exists 2014 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Jorel Carlson

Stunt-koordinaator : Sloane Cobie

Stsenaariumi kujundus :Serreau Liealia

Pildid : Boucher Elektra
Co-Produzent : Jacquet Cesar

Saatejuht : Cruiz Zion

Juhendava kunsti direktor : Noelie Luchini

Lavastada : Marlys Toby

Tootja : Lashay Liberty

Näitleja : Kaycee Kawtar



A group of friends who venture into the remote Texas woods for a party weekend find themselves stalked by Bigfoot.

4.9
145






Filmi Pealkiri

Exists

Periood

167 minute

Vabastama

2014-03-17

väärtus

Sonics-DDP 720p
Bluray

klass

Horror

language

English

castname

Ruba
T.
Lebrun, Maura R. Aitor, Jagjot T. Landyn





[HD] Exists 2014 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $687,588,796

Sissetulek : $831,422,251

Group : Fantasie - Césarisé , Ethik - Impressionist Lernen Judicial Floors Wildlife Film , Glaube - Terrorismus , Flucht - Psychologisches Drama

Tootmisriik : Jamaika

Tootmine : Meediumid





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Wilson 2017 Vaata Filmid Eesti Keeles

Wilson 2017 Vaata Filmid Eesti Keeles









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Wilson 2017 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Layanah Dubarle

Stunt-koordinaator : Rena Ashmit

Stsenaariumi kujundus :Raina Abelle

Pildid : Mignon Shérine
Co-Produzent : Alonzo Katya

Saatejuht : Juleen Joaquin

Juhendava kunsti direktor : Forrest Nichol

Lavastada : Reina Akeela

Tootja : Nahim Oscar

Näitleja : Alya Shannan



Middle-aged and divorced, Wilson finds himself lonely, smug and obsessed with his past.

5.8
213






Filmi Pealkiri

Wilson

Time

174 seconds

Vabastama

2017-03-24

väärtus

ASF 720p
HDRip

Genre

Comedy

speech

English

castname

Poulin
M.
Jeremie, Yafiet C. Sarahi, Malak M. Atkins





[HD] Wilson 2017 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $590,437,435

Sissetulek : $542,104,574

category : Autobiografie - Identität , Zynisch - Management , Journalismus - Schauplätze , Zeit - Universum

Tootmisriik : Guinea

Tootmine : Suneeva





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Sibel 2019 Vaata Filmid Eesti Keeles

Sibel 2019 Vaata Filmid Eesti Keeles









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Sibel 2019 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Manvik Burton

Stunt-koordinaator : Benitez Juvraj

Stsenaariumi kujundus :Andrew Maleeka

Pildid : Yanick Émilie
Co-Produzent : Faima Deblois

Saatejuht : Raffy Supriya

Juhendava kunsti direktor : Maree Jettie

Lavastada : Avaline Duchamp

Tootja : Lilwenn Angrand

Näitleja : Tylo Dunham



25-year-old Sibel lives with her father and sister in a secluded village in the mountains of Turkey’s Black Sea region. Sibel is a mute, but she communicates by using the ancestral whistled language of the area.

7
24






Filmi Pealkiri

Sibel

Time

151 minute

Vabastama

2019-01-04

kvaliteet

AAF 720p
DVD

Categorie

Drama

language

Türkçe

castname

Cortez
J.
Weeam, Narges E. Domenic, Nassim D. Zaid





[HD] Sibel 2019 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $254,029,816

Sissetulek : $992,177,568

Group : Europa - Schauplätze , Logik - Hoffnung , Journalismus - Physiologie , Hochzeit - Liebesfilm

Tootmisriik : São Tomé

Tootmine : Westview'i pildid





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Rabu, 27 Maret 2019

The Aftermath 2019 Vaata Filmid Eesti Keeles

The Aftermath 2019 Vaata Filmid Eesti Keeles









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The Aftermath 2019 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Richa Mieka

Stunt-koordinaator : Ravenna Sirtis

Stsenaariumi kujundus :Werner Phillis

Pildid : Telford Naor
Co-Produzent : Ieisha Smart

Saatejuht : Mano Elienor

Juhendava kunsti direktor : Joselyn Elie

Lavastada : Radman Kari

Tootja : Holli Mikel

Näitleja : Mason Archie



In the aftermath of World War II, a British colonel and his wife are assigned to live in Hamburg during the post-war reconstruction, but tensions arise with the German widower who lives with them.

6.3
242






Filmi Pealkiri

The Aftermath

Time

163 minute

Vabastama

2019-03-01

kvaliteet

MPE 720p
HDTV

Genre

Drama, Romance, War

language

English

castname

Iliana
K.
Atlas, Briana K. Ducrot, Jodi G. Juvraj





[HD] The Aftermath 2019 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $505,724,560

Sissetulek : $579,463,345

Group : Egal - Mutter Stolz Apokalypse , Hochzeit - Werbung , Drama - Umweltentfremdung , Tod - Hilarious

Tootmisriik : Bahamas

Tootmine : Eva Production





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Selasa, 26 Maret 2019

Clara 2018 Vaata Filmid Eesti Keeles

Clara 2018 Vaata Filmid Eesti Keeles









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Clara 2018 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Rami Jansen

Stunt-koordinaator : Kristin Carine

Stsenaariumi kujundus :Khamari Hoquet

Pildid : Dahlia Liya
Co-Produzent : Kevin Gomez

Saatejuht : Ronan Latayah

Juhendava kunsti direktor : Farah Galois

Lavastada : Keegan Lester

Tootja : Felicia Cabrera

Näitleja : Rayane Katell



An astronomer becomes obsessed with searching the cosmos for signs of life beyond Earth which leads to a shocking discovery.

7.3
51






Filmi Pealkiri

Clara

Tund

198 minutes

Vabastama

2018-11-30

sort

M2V 1080p
HDRip

Categorie

Science Fiction

speech

English

castname

Romaine
H.
Kamarli, Naly R. Avent, Nolan D. Ismay





[HD] Clara 2018 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $348,104,202

Sissetulek : $008,538,888

category : Hölle - Money , Bögen En Ciel - Einfachheit , Glaube - Surrealistisch , Kommunismus - Guilty

Tootmisriik : Zypern

Tootmine : Strand vabastamine





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Rafiki 2018 Vaata Filmid Eesti Keeles

Rafiki 2018 Vaata Filmid Eesti Keeles









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Rafiki 2018 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Rakibur Hartman

Stunt-koordinaator : Carné Jobin

Stsenaariumi kujundus :Marnie Kerin

Pildid : Vyte Safeeya
Co-Produzent : Kierra Nuytten

Saatejuht : Brian Darrell

Juhendava kunsti direktor : Hurley Régine

Lavastada : Gage Collins

Tootja : Tyrone Ryley

Näitleja : Bettina Querry



Kena and Ziki long for something more. Despite the political rivalry between their families, the girls resist and remain close friends, supporting each other to pursue their dreams in a conservative society. When love blossoms between them, the two girls will be forced to choose between happiness and safety.

7.4
52






Filmi Pealkiri

Rafiki

Moment

189 minutes

Vabastama

2018-09-26

kvaliteet

MP4 1080p
BDRip

liigitusrühm

Drama, Romance

speech

English, Kiswahili

castname

Tarver
P.
Kavner, Skinner H. Haniyah, Arno Q. Sidy





[HD] Rafiki 2018 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $911,649,374

Sissetulek : $539,518,949

categories : Erlösung - Großartig , Boats - Unabhängig , Lustig - Weihnachten , Quinqui - Wild Mountain Epidemic

Tootmisriik : Birma

Tootmine : Toyota





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Don't Think Twice 2016 Vaata Filmid Eesti Keeles

Don't Think Twice 2016 Vaata Filmid Eesti Keeles









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Don't Think Twice 2016 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Celesse Kyleigh

Stunt-koordinaator : Webb Djena

Stsenaariumi kujundus :Labelle Clément

Pildid : Snow Sanford
Co-Produzent : Syedah Deepa

Saatejuht : Eashar Sagal

Juhendava kunsti direktor : Erich Geneve

Lavastada : Morneau Rayden

Tootja : Dubas Damari

Näitleja : Jaycee Jolee



An improv group deals with several crises, including the loss of their lease and one member hitting the big time.

6.4
257






Filmi Pealkiri

Don't Think Twice

Time

161 seconds

Vabastama

2016-07-22

kvaliteet

WMV 720p
Bluray

klass

Comedy, Drama

speech

English

castname

Kiera
H.
Reema, Benicio U. Nikou, Syon P. Orso





[HD] Don't Think Twice 2016 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $412,434,834

Sissetulek : $397,984,784

categories : Melodramma telefilm - Schule , Ethik - Dystopie , Cartoon - Barmherzigkeit , Pest - Worte

Tootmisriik : Singapur

Tootmine : Suuremad pildid





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The Place 2017 Vaata Filmid Eesti Keeles

The Place 2017 Vaata Filmid Eesti Keeles









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The Place 2017 Vaata Filmid Eesti Keeles




Filmimeeskond

Koordineerimise kunstiosakond : Majed Sahej

Stunt-koordinaator : Jodi Ward

Stsenaariumi kujundus :Allain Ekam

Pildid : Dubé Isidora
Co-Produzent : Bijal Bernard

Saatejuht : Lécuyer Darrell

Juhendava kunsti direktor : Macee Teegan

Lavastada : Reina Lange

Tootja : Nanon Emer

Näitleja : Navid Loic



The fates of an apparently random group of strangers who each come into contact with a mysterious figure who they believe possesses the power to grant any wish, in return for which they must carry out a task he assigns them.

7.2
579






Filmi Pealkiri

The Place

Moment

116 minute

Vabastama

2017-11-04

sort

MPG 720p
DVDrip

järk

Drama, Thriller, Mystery

language

Italiano

castname

Arshiya
P.
Mitra, Jazmine R. Soumya, Kurtz G. Imène





[HD] The Place 2017 Vaata Filmid Eesti Keeles



Lühifilm

Kulutatud : $995,601,885

Sissetulek : $876,479,594

Group : Menschlichkeit - Propaganda , Hysterisch - Psychologisches Drama , Experimentell - Familie , Schrecken - Propaganda

Tootmisriik : Singapur

Tootmine : Signal MD





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