auberus
जून 2000 को शामिल हुए
नई प्रोफ़ाइल में आपका स्वागत है
हमारे अपडेट अभी भी डेवलप हो रहे हैं. हालांकि प्रोफ़ाइलका पिछला संस्करण अब उपलब्ध नहीं है, हम सक्रिय रूप से सुधारों पर काम कर रहे हैं, और कुछ अनुपलब्ध सुविधाएं जल्द ही वापस आ जाएंगी! उनकी वापसी के लिए हमारे साथ बने रहें। इस बीच, रेटिंग विश्लेषण अभी भी हमारे iOS और Android ऐप्स पर उपलब्ध है, जो प्रोफ़ाइल पेज पर पाया जाता है. वर्ष और शैली के अनुसार अपने रेटिंग वितरण (ओं) को देखने के लिए, कृपया हमारा नया हेल्प गाइड देखें.
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रेटिंग2.1 हज़ार
auberusकी रेटिंग
समीक्षाएं46
auberusकी रेटिंग
"The Sister's Brothers" is the perfect example on how a so called "Western" can be more than its Genre. Made by French director, the talented Jacques Audiard who already gave us gems like the 2009 "un prophète" or the 2012 "de rouille et d'os", "the Sister's brothers" tells a story of violence and greed but also of freedom and vast spaces, proposing a definition of what the American Dream could also be. Based on Patrick DeWitt's novel, this movie revolves around two henchmen and brothers, Charlie Sisters (Joaquin Phoenix) and Eli Sisters (John C. Reilly) who are chasing down across one thousand miles of 1850s Oregon desert to San Francisco, California the gold prospector and idealist Hermann Kermit Warm (Riz Ahmed) and his partner to be, John Morris (Jake Gyllenhaal). The film works as an initiatory journey where the two brothers will be confronted to their violent past, their meaningless present and eventually a choice for another feasible and peaceful future. All protagonists wish to fill their life with sense, transitioning from an absurd condition to a meaningful one. Hermann Kermit Warm is pursuing his dream to build a peaceful community, understanding that gold is only a means to an end. John Morris his willing to accompany Warm in his utopian quest, understanding that what matters is the journey and not the last station. As per our brothers they are looking for redemption and peace, one think he can find those in a bottle of whisky the other think he can fool himself in a virtual relationship with a stole. But eventually both understand that what matters is what we do. It's not our blood that conditions who we are but our actions that shape our present and future.
Serve by outstanding actors delivering "frugal" but true lines of dialog and a terrific cinematography where gun flashes in the dark are an allegory of the Wild West, "The Sister's brothers" is more than a Western, it's a film about freedom and redemption, the roots of the American Dream.
"The Strangers" from Hong-Jin Na is a thriller horror film. We all remember the very good 2008 "The Chaser" from the same director who won best Director and best film at the 45th Grand Bell Awards. "The Chaser" is probably one of his best works to date and one of the best thriller horror movies of recent years. I strongly advise to give it a watch. But let's go back to "The Strangers" aka "The Wailing".
Release in 2016 the film depicts a series of strange events and the spread of a mysterious disease happening in a little South Korean village soon after the arrival of a Japanese stranger. The film begins with an excerpt from the Bible. Luke 24:38, to be precise: "Why are you troubled" Jesus asked, "and why do doubts arise in your hearts? Look at my hands and my feet. It is I myself." Then we see the first shot involving a fisherman hanging worms on the hook of his fishing rod. Those details may seem unimportant but believe me they are the keys to understand this story of demonic possession and trickery between our revealed world and the hidden one.
In 156 minutes Hong-Jin Na explores through the eye of a policeman and his family the nature of men when face against irrational and obscure events. The result is a slow burning movie riddled with tension, horror, a sense of loss of control over the events but also funny parts and clownish characters who struggle to make sense of what is happening to them. If Life was a game where traps are set by hidden entities only for humans to fall into it, then "The Strangers" could be the very depiction of this game. The film bates us with the story of a bizarre stranger who seems confronted against racism only to reshuffle the cards half way with stories of bizarre strangers manipulating our belief or/and our superstitions and questioning the very nature of what we believe in. Nothing is what it seems to be...
"The Strangers" is not a perfect movie, too long, unbalanced, hesitating on what the film wants to be, it's probably one of Hong-Jin Na less controlled film. However this lack of control is largely offset by the originality of its subject, the questioning the movie leads to and the horror it inserts in our mind, on par if not more subtle than what "The Exorcist" proposed a few decades earlier. It's definitely not for everyone but if you like unsettling movies then "The Strangers" is for you and will leave you with one haunting question: do we really understand the true nature of God?
In 1966 Andrei Tarkovsky directed Andrei Rublev, also known as The Passion according to Andrei. The film loosely depicts the life of Andrei Rublev, an early 15th century monk who is renowned as Russia's greatest creator of religious icons and frescoes. Tarkovsky used this historical figure to anchor the film in one of Russia's most tragic period, making Andrei Rublev not only a witness of his Time but also depicting the artist's creation process, the importance of his faith, the Loss of it and more importantly how the two (Art and Faith) can help go through event you can't really grasp or even understand. The complexity of the film as well as the political implications explain why Andreï Rublev was not released in an atheist USSR until 1971 and in a censored version mind you.
The film starts with a prologue where we see a man call Yefim taking off from the roof of a church in a hot air balloon and escaping a mob trying to prevent the Take-off. Yefim seems highly exited and delighted by the sight he experiences from the air; but as the air balloon crashes, we understand that elevation in this obscurantist time is not going to be easy. We fall before we reach enlightenment. This is our Human Condition, this is what Life is about and the shot of a Horse lolling in the grass by a river bank epitomizes Life, its struggle and its beauty. This prologue summarizes metaphorically the seven chapters that follow narrating the trepidations of Andrei Rublev looking for elevation and falling back into his Human condition.
For Andrei Rublev, Faith and Art are intimately linked, he paints religious icons and frescoes because he believes this is his priesthood the only way he can transmit his Faith to the people. Losing his Faith in Humanity might imply losing his Faith in God and so in Art. It's only when Andrei witnesses the casting of a bell that his life turns around. He meets the character of Boriska,the bell caster, another creative character a reminiscence of young Andrei and when Andrei sees the young Boriska collapsing on the ground of fatigue and breaking into tears, he takes him in his arms to comfort him and break his vow of silence. He understands he is not alone struggling with the concept of artistic creation and Faith as both (the young Boriska and the older Andrei) brought people so much joy. An artist with a vision can create and eventually echoes god's power of creation by using his or her technical skills but more importantly his or her heart and Faith.
The "tour de force" of Andrei Tarkovsky is to use the same creative process than the one of his film's protagonist. By putting his heart and soul in the core of his cinematographic technique he transcends the genre and the medium. We understand that "in cinema it is necessary not to explain, but to act upon the viewer's feelings, and the emotion which is awoken is what provokes thought". To this respect Andrei Rublev is a film to experience and I humbly suggest we experience it with our heart and soul.
The film starts with a prologue where we see a man call Yefim taking off from the roof of a church in a hot air balloon and escaping a mob trying to prevent the Take-off. Yefim seems highly exited and delighted by the sight he experiences from the air; but as the air balloon crashes, we understand that elevation in this obscurantist time is not going to be easy. We fall before we reach enlightenment. This is our Human Condition, this is what Life is about and the shot of a Horse lolling in the grass by a river bank epitomizes Life, its struggle and its beauty. This prologue summarizes metaphorically the seven chapters that follow narrating the trepidations of Andrei Rublev looking for elevation and falling back into his Human condition.
For Andrei Rublev, Faith and Art are intimately linked, he paints religious icons and frescoes because he believes this is his priesthood the only way he can transmit his Faith to the people. Losing his Faith in Humanity might imply losing his Faith in God and so in Art. It's only when Andrei witnesses the casting of a bell that his life turns around. He meets the character of Boriska,the bell caster, another creative character a reminiscence of young Andrei and when Andrei sees the young Boriska collapsing on the ground of fatigue and breaking into tears, he takes him in his arms to comfort him and break his vow of silence. He understands he is not alone struggling with the concept of artistic creation and Faith as both (the young Boriska and the older Andrei) brought people so much joy. An artist with a vision can create and eventually echoes god's power of creation by using his or her technical skills but more importantly his or her heart and Faith.
The "tour de force" of Andrei Tarkovsky is to use the same creative process than the one of his film's protagonist. By putting his heart and soul in the core of his cinematographic technique he transcends the genre and the medium. We understand that "in cinema it is necessary not to explain, but to act upon the viewer's feelings, and the emotion which is awoken is what provokes thought". To this respect Andrei Rublev is a film to experience and I humbly suggest we experience it with our heart and soul.
