Adicionar um enredo no seu idiomaIt was the summer of 82, when a priest, about to be ordained, was exhausted by temptations and an arrogant girl felt passionately in love... A sifted memory and a personal history of a narra... Ler tudoIt was the summer of 82, when a priest, about to be ordained, was exhausted by temptations and an arrogant girl felt passionately in love... A sifted memory and a personal history of a narrator who tells with nostalgia and poetry the meeting of his parents until their marriage...It was the summer of 82, when a priest, about to be ordained, was exhausted by temptations and an arrogant girl felt passionately in love... A sifted memory and a personal history of a narrator who tells with nostalgia and poetry the meeting of his parents until their marriage...
- Prêmios
- 5 vitórias e 2 indicações no total
Diamand Abou Abboud
- La Danseuse
- (as Diamand Bou Abboud)
Antoine Balaban
- Abou Ziad
- (as Antoine Balabane)
Seham Haddad
- Oum Amer
- (as Sihame Haddad)
Avaliações em destaque
I have just watched Tannoura Maxi, All I have to say is Wow! Coming from a MIddle Eastern background myself I have deeply been touched by this movie. The storyline, is realistic as can be, I felt like I was living every moment. From beginning to end I was captured, the scenery was excellent,I loved the vivid sets that hold true to Lebanon's beauty, the characters, the sublime humor and of course who can forget the unforgettable Love story in between the two main characters!
This movie holds true to its roots and storyline, it is a must watch for anyone who is from the middle east or anywhere in the world! If you are interested in viewing a truly organic love story, this is the movie for you!
Love!
This movie holds true to its roots and storyline, it is a must watch for anyone who is from the middle east or anywhere in the world! If you are interested in viewing a truly organic love story, this is the movie for you!
Love!
I am in love with every single frame of this movie
Just inspiring, just leading to true reflexion
One of its kind in its artistic and esthetic's choices.. Poetry from the beginning till the end, with a new way of interpretation that no other Lebanese Director had the courage to do it this way.
From The opening scene, which begins with a bucket of water and ends with the house, we can feel an opening to an antique village, a heritage, a country, to Lebanon. This house of the past is revisited by actors that become characters; aliens that morph into the skin of those most familiar. This space becomes, throughout the film, a place of meeting; meeting with the past; meeting of the real with the imaginary.
The child during the film creates a kind of brackets. He concludes a life cycle: we return to the same space that of which we came out of, but certainly with modification, with change. The final jump the child takes sends him to new territories, towards a new discovery, a new infinity, a new virtual imaginary space, a new film. Memory reaps nothing but the harvest of interference. One throws himself into the past, tries to imagine his future, and creates a present that one overlooks relentlessly. The film that doesn't lack traveling in, makes absence to traveling back, except for two critical moments: the opening scene and the end shot. At the beginning, when the camera starts backing out from the close up of the mother, it reveals the entire scene of Childbirth, bringing all the characters close around, one next to the other, until the baby's delivery. The camera here draws the path of the newborn's journey to the outside world. The child comes out and is liberated; the camera also moves away to better simulate the situation. It is liberated from the real story and becomes the camera that will weave just as a sewing machine would, its own film.
The controversial issues that this movie talked about is so deep and true to a point it really frustrated some parts of closed societies who ask for censorship
I give all my respect to this piece of art.
From The opening scene, which begins with a bucket of water and ends with the house, we can feel an opening to an antique village, a heritage, a country, to Lebanon. This house of the past is revisited by actors that become characters; aliens that morph into the skin of those most familiar. This space becomes, throughout the film, a place of meeting; meeting with the past; meeting of the real with the imaginary.
The child during the film creates a kind of brackets. He concludes a life cycle: we return to the same space that of which we came out of, but certainly with modification, with change. The final jump the child takes sends him to new territories, towards a new discovery, a new infinity, a new virtual imaginary space, a new film. Memory reaps nothing but the harvest of interference. One throws himself into the past, tries to imagine his future, and creates a present that one overlooks relentlessly. The film that doesn't lack traveling in, makes absence to traveling back, except for two critical moments: the opening scene and the end shot. At the beginning, when the camera starts backing out from the close up of the mother, it reveals the entire scene of Childbirth, bringing all the characters close around, one next to the other, until the baby's delivery. The camera here draws the path of the newborn's journey to the outside world. The child comes out and is liberated; the camera also moves away to better simulate the situation. It is liberated from the real story and becomes the camera that will weave just as a sewing machine would, its own film.
The controversial issues that this movie talked about is so deep and true to a point it really frustrated some parts of closed societies who ask for censorship
I give all my respect to this piece of art.
I must congratulate you for the awful image you create to the world Of Lebanon. It felt like the director is someone who really hates Lebanon first and Christianity second when changing in a such low way what we are proud of. A formal apology is required for this audiovisual insult and a solid position of all the viewers not to accept any form of racism and religious intolerance by not viewing these genre of movies. The actors are really good and soundtrack is beautiful. The story is incoherent and it is founded on the worst types of polemical subjects that is better left alone or treated by professionals in that matter..
Ps. Your rights end when others are harmed. This is when the liberty of expression " in all its forms " should be under supervision.
Ps. Your rights end when others are harmed. This is when the liberty of expression " in all its forms " should be under supervision.
A movie that gave me the desire to love, to think, to write about its small hidden and so interesting layers
A narrator who has decided to peek through door locks more specifically the one belonging to his parent's room. Idols who become puppets, manipulated by the hands of their own descendant. He digs into their privacy without restraint. He broadcasts their little secret with good conscience, and sometimes unconsciously
Between the sacred and the profane, a sewing machine is in the act of stitching a hatching memory, a memory that seeks guiding points, among his toys, his photo albums, and his music box
A memory of a child that arrogantly decides to exist before the meeting of his own parents, to even achieve attending their own marriage, to organize it, design it, imagine it, to film it and above all to be put face to face with a camera that denudes, that unveils, that penetrates the absolute intimacy. The time machine will equate the 'sewing machine' that runs just as a negative roll would. A sewing machine with a series of Christmas lanterns that certainly served the small and old trees of grandmothers or old cousins decorating the plateau of an intimate shooting.
A child playing with the heels of his mother, who dances in her studio What's in those boxes? Is it beads or buttons? Small toys or forgotten photo albums? Scissors? A story board? A magazine of 82, Catherine Deneuve on the cover, existed on the set of that memory box, in the studio of a narrator who exhibits himself.
A real charming emotional movie to be definitely seen more than once Eager to watch it again with in Italy in the very near future I hope.
A narrator who has decided to peek through door locks more specifically the one belonging to his parent's room. Idols who become puppets, manipulated by the hands of their own descendant. He digs into their privacy without restraint. He broadcasts their little secret with good conscience, and sometimes unconsciously
Between the sacred and the profane, a sewing machine is in the act of stitching a hatching memory, a memory that seeks guiding points, among his toys, his photo albums, and his music box
A memory of a child that arrogantly decides to exist before the meeting of his own parents, to even achieve attending their own marriage, to organize it, design it, imagine it, to film it and above all to be put face to face with a camera that denudes, that unveils, that penetrates the absolute intimacy. The time machine will equate the 'sewing machine' that runs just as a negative roll would. A sewing machine with a series of Christmas lanterns that certainly served the small and old trees of grandmothers or old cousins decorating the plateau of an intimate shooting.
A child playing with the heels of his mother, who dances in her studio What's in those boxes? Is it beads or buttons? Small toys or forgotten photo albums? Scissors? A story board? A magazine of 82, Catherine Deneuve on the cover, existed on the set of that memory box, in the studio of a narrator who exhibits himself.
A real charming emotional movie to be definitely seen more than once Eager to watch it again with in Italy in the very near future I hope.
Amazing scenery of Love in contemporary Cinema
I had a lot of expectation for this film but when I saw it, my expectation was much lower then the power of this controversial movie
Some adored it, some other had their personnel opposite point of view, but for my side I never felt taken by an Arab movie as much as I was taken by "Tannoura Maxi"
From the first image, the actress captivated me she exhorted her inner demons and hooked me... She delivers from her insides, water, blood, and a living creature.
A woman who continues to capture attention, to capture us as a shutter would in a dark room, in his world of demon women, and innocent girls. She comes from the outside world, and penetrates the village, taking away the community's virginity. A little refugee girl becomes the refuge of a man, about to undertake in a mission of life. She comes as a matador to prove herself and bear out her passion. Never lacking Red, she will mark the stones, soil the village, and invade the monasteries. She will transform the cassock into a Maxi skirt. She will fall madly in love, and will drown in a revolted sea of agitated waves. Silently, she will deploy her charm, and will function through her emotions. She becomes unveiled when facing love, and her fragility suddenly becomes manipulative.
A Film that's much more like a moving modern art, and a moving Romanesque painting Watching it several times is a must to get lost in each of it's wonderful shades...
From the first image, the actress captivated me she exhorted her inner demons and hooked me... She delivers from her insides, water, blood, and a living creature.
A woman who continues to capture attention, to capture us as a shutter would in a dark room, in his world of demon women, and innocent girls. She comes from the outside world, and penetrates the village, taking away the community's virginity. A little refugee girl becomes the refuge of a man, about to undertake in a mission of life. She comes as a matador to prove herself and bear out her passion. Never lacking Red, she will mark the stones, soil the village, and invade the monasteries. She will transform the cassock into a Maxi skirt. She will fall madly in love, and will drown in a revolted sea of agitated waves. Silently, she will deploy her charm, and will function through her emotions. She becomes unveiled when facing love, and her fragility suddenly becomes manipulative.
A Film that's much more like a moving modern art, and a moving Romanesque painting Watching it several times is a must to get lost in each of it's wonderful shades...
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Detalhes
- Data de lançamento
- Países de origem
- Centrais de atendimento oficiais
- Idioma
- Também conhecido como
- Heels of War
- Locações de filme
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 1.000.000 (estimativa)
- Faturamento bruto mundial
- US$ 117.797
- Tempo de duração
- 1 h 35 min(95 min)
- Cor
- Mixagem de som
- Proporção
- 1.85 : 1
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