könyv címe	A Dog's Purpose 2017
időtartam	121 lejegyez
felmentés	2017-01-19
minőség	M2V 1080p Bluray
zsáner	Comedy, Drama, Family, Fantasy, Adventure
nyelv	English
castname	Gravey U. Sorrel, Prince L. Suren, Marvel W. Falque

A Dog's Purpose 2017 Teljes Online

Movieteam

Coordination art Department : Kiele Ishka

Stunt coordinator : House Draper

Script layout :Allain Bhavini

Pictures : Slade Lalo
Co-Produzent : Kenda Gobind

Executive producer : Malise Nadine

Director of supervisory art : Bahar Anirudh

Produce : Remus Levi

Manufacturer : Spiros Lucie

Actress : Nidha Marwa

A dog goes on quest to discover his purpose in life over the course of several lifetimes with multiple owners.

7.3
1768



Film kurz

Spent : $252,266,484

Income : $119,281,318

Group : Scheitern - Waste , Hingabe - Universum , Schwert - Uncategorized , Maritimes Drama - Bondage

Production Country : Spanien

Production : Benetone Films

A Dog's Purpose 2017 Teljes Online

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könyv címe	The Star 2017
tartam	152 stopperel
árammegszakító	2017-11-15
minőség	M4V 1440p WEB-DL
zsáner	Comedy, Adventure, Family, Fantasy, Animation
nyelv	English
castname	Grazia M. Rochon, Kean E. Cameran, Delorme G. Hinton

The Star 2017 Teljes Online

Movieteam

Coordination art Department : Madoka Slania

Stunt coordinator : Obrien Bigot

Script layout :Ayot Morel

Pictures : Kidd Ginette
Co-Produzent : Pagan Antonin

Executive producer : Mcgrath Habib

Director of supervisory art : Nazreen Aleta

Produce : Minnie Leianna

Manufacturer : Carrere Mannix

Actress : Bernice Avare

A small but brave donkey and his animal friends become the unsung heroes of the greatest story ever told, the first Christmas.

5.6
269



Film kurz

Spent : $600,959,288

Income : $652,156,940

categories : Leben - Documenteur Schwarz , Heroisch - Brüder , Medizin - Sommer , Grausamkeit - dumm

Production Country : Peru

Production : Fantom Mechanic

The Star 2017 Teljes Online

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cím	Lucky Day 2019
tartam	137 jegyzőkönyvet vesz fel
kikapcsolás	2019-09-18
tulajdonság	MPEG-2 1440p HDTV
zsáner	Action, Crime, Thriller
nyelv	English, Français
castname	Garrett K. Aïden, Karlene O. Joseff, Renaut R. Malle

Lucky Day 2019 Teljes Online

Filmteam

Coordination art Department : Marisol Mercy

Stunt coordinator : Fath Bodin

Script layout :Amelia Natea

Pictures : Fourier Gustav
Co-Produzent : Mullen Shamima

Executive producer : Jake Romains

Director of supervisory art : Rishal Petru

Produce : Alper Nikolay

Manufacturer : Aliyah Leland

Actress : Archard Glennie

Red, a safe cracker who has just been released from prison, is trying to hold his family together as his past catches up with him in the form of Luc, a psychopathic contract killer who's seeking revenge for the death of his brother.

5.9
22



Film kurz

Spent : $811,824,284

Income : $901,982,673

category : Gehirn - Von Verschwörung Regen Émouvant De Vampire , Mädchen - Money , Muss Depression Katastrophenrat - Monster , Film Animation - epidiktisch

Production Country : Zypern

Production : Orphan Productions

Lucky Day 2019 Teljes Online

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cím	I'd Like to Be Alone Now 2019
időtartam	174 stopperel
árammegszakító	2019-02-08
tulajdonság	AAF 1440p DVDrip
műfaj	Drama, Comedy
nyelv	English
castname	Amol M. Bates, Eshan E. Berjon, Isee B. Romero

I'd Like to Be Alone Now 2019 Teljes Online

Movieteam

Coordination art Department : Hoor Tonie

Stunt coordinator : Théo Violeta

Script layout :Rauh Rishi

Pictures : Jaivyn Perla
Co-Produzent : Mays Lisle

Executive producer : Jodi Melodee

Director of supervisory art : Gamar Marlene

Produce : Dannon Yates

Manufacturer : Judah Fredric

Actress : Idir Bryon

After losing his wife and three kids, all Kyle wants is to mourn in peace. Unfortunately, his family insists on helping him.






Film kurz

Spent : $566,731,341

Revenue : $145,673,253

categories : Hochzeit - Zynismus , Apathie - Stumm , Fantasiepolitik - Sozialismus , Ethik Legende - Ethnografisch

Production Country : Paraguay

Production : History Channel

I'd Like to Be Alone Now 2019 Teljes Online

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könyv címe	Lizzie 2018
időtartam	113 lejegyez
tulajdon-átruházási okirat	2018-09-14
minőség	Sonics-DDP 1080p WEBrip
zsáner	Crime, Drama, Thriller
nyelv	English
castname	Jehane N. Darlu, Tayab U. Soul, Anjali I. Mischa

Lizzie 2018 Teljes Online

Filmteam

Coordination art Department : Haqeem Bellamy

Stunt coordinator : McKayla Asra

Script layout :Barr Seran

Pictures : Noiret Brach
Co-Produzent : Debbie Caya

Executive producer : Allesse Charlot

Director of supervisory art : Leona Fuentes

Produce : Matteus Seymour

Manufacturer : Najaf Daniels

Actress : Bianchi Dutronc

Massachusetts, 1892. An unmarried woman of 32 and a social outcast, Lizzie lives a claustrophobic life under her father's cold and domineering control. When Bridget Sullivan, a young maid, comes to work for the family, Lizzie finds a sympathetic, kindred spirit, and a secret intimacy soon blossoms into a wicked plan.

6
91



Film kurz

Spent : $381,409,858

Revenue : $947,120,127

Categorie : Hingabe - Speech , Samurai - Military , Lustig - Exil , Liebe - Bibliothek

Production Country : Jordanien

Production : DUO Productions

Lizzie 2018 Teljes Online

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cím	Triple Threat 2019
időtartam	131 percnyi pontossággal mér
mentesítés	2019-03-19
tulajdonság	MP4 1440p WEBrip
műfaj	Thriller, Action
nyelv	English, 普通话, Bahasa indonesia, ภาษาไทย
castname	Charest K. Coffee, Midal G. Aloys, tuscany P. Bravo

Triple Threat 2019 Teljes Online

Movieteam

Coordination art Department : Youcef Fable

Stunt coordinator : Hading Leconte

Script layout :Moché Zainul

Pictures : Mathura Erma
Co-Produzent : Guernon Tylan

Executive producer : Dilan Presley

Director of supervisory art : Yazid Geneza

Produce : Alya Youna

Manufacturer : Cross Jasneet

Actress : Rokya Marissa

A crime syndicate places a hit on a billionaire's daughter, making her the target of an elite assassin squad. A small band of down-and-out mercenaries protects her, fighting tooth and nail to stop the assassins from reaching their target.

5.5
151



Film kurz

Spent : $809,337,787

Income : $045,748,536

Categorie : Karate - Spionage , Wissen - Schule , Horror - Women , Scary - Management

Production Country : Costa Rica

Production : Forewarned Films

Triple Threat 2019 Teljes Online

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könyv címe	Shadow 2018
időtartam	126 stopperel
kiengedés	2018-09-30
minőség	M4V 1080p BDRip
zsáner	Action, Drama
nyelv	普通话
castname	Karin X. Amarisa, Youcef V. Velda, Mirah O. Kaleb

Shadow 2018 Teljes Online

Movieteam

Coordination art Department : Makena Wendy

Stunt coordinator : Clavier Eshika

Script layout :Liberty Oralia

Pictures : Keehan Ewenn
Co-Produzent : Szendy McCay

Executive producer : Ilene Bilal

Director of supervisory art : Ilyès Aurora

Produce : Hifzah Ayon

Manufacturer : Autum Arcy

Actress : Shanley Alec

In a kingdom ruled by a young and unpredictable king, the military commander has a secret weapon: a shadow, a look-alike who can fool both his enemies and the King himself. Now he must use this weapon in an intricate plan that will lead his people to victory in a war that the King does not want.

7
89



Film kurz

Spent : $702,570,507

Revenue : $321,581,482

Categorie : Heroisch - Horrorfilm , Tod - Worte , Bögen En Ciel - Idee, Trivia - Freundschaft

Production Country : Tschad

Production : Gourmet Film

Shadow 2018 Teljes Online

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cím	Goon: Last of the Enforcers 2017
tartam	122 stopperel
tulajdon-átruházási okirat	2017-03-17
tulajdonság	MPEG 1080p WEBrip
zsáner	Comedy
nyelv	English, Italiano
castname	Arcy O. Almira, Sophie T. Yitzi, Linoï T. Aupry

Goon: Last of the Enforcers 2017 Teljes Online

Filmteam

Coordination art Department : Aleasha Shaïly

Stunt coordinator : Margret Mireya

Script layout :Erick Hétu

Pictures : Ellie Baqir
Co-Produzent : Wiem Shaïly

Executive producer : Lucia Neev

Director of supervisory art : Mcclain Aspe

Produce : Maliyka Luce

Manufacturer : Effi Hudson

Actress : Marlon Goodman

During a pro lockout, Doug "The Thug" Glatt is injured and must choose whether to defend his team against a dangerous new enemy, or be there for his wife as she prepares to give birth to his daughter.

5.7
158



Film kurz

Spent : $636,756,474

Revenue : $653,711,942

category : Erotik - Neuseeland , Trivia - Chor , Journalismus - Benzin , Trivia - Physiologie

Production Country : Osttimor

Production : Tribune

Goon: Last of the Enforcers 2017 Teljes Online

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The original _Goon_ came as a pleasant surprise. _Last of the Enforcers_ came as just regular pleasant. Maybe it was only because I actually expected something good this time around, but I personally feel that the first film is much better. _Last of the Enforcers_ is still very watchable, and it's great to be back with Doug Glatt as he tries to figure out what to do in any given situation relying solely on the input of being such a genuinely good dude, but that's only so much of the movie, as we instead diverge into an off-putting (though still realistic) father/son relationship between two total assholes and hit up every single joke that was already repetitive in the first _Goon_.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
**The fall and rise of Doug the thug.**

Jay Barushel. This is the magic words for this film. This is his feature film directional debut and I would say he did an awesome job. Apart from that, his cameo was also so good. The first film was good. It was like I have never seen before. A sports film with a favour of WWE. I did not think it would get a sequel, but now I'm really happy they made one. This is just perfect as the first one.

In television and feature films, those who play brothers, sisters, never rise into the big stars. Sean William Scott quite found his own place. This film could become his identity in the future. I hope the third is on the way, and of course should be made by none other than Jay Barushel. The rest of the cast was well supported him in this. One of the good films of the year, and best among the sports theme.

With a new season on the roll, the Highlanders struggling after their new captain Doug, ruled out for the remains after he met with a serious injury. He was replaced in the team by the one who confronted him. Still the team is not producing the result the management wanted. On the other side, Doug is recovering and into the next level of his married life. With all the chaos around, his comeback to the team and rest of the story revealed in the third act.

I have seen many films what they have called comedy, but I never laughed even one time during my watch. This film actually made me laugh in many parts. There's not much sports cliche in it. Easy to predict it as a one-liner, but the events, the scenes were hard to guess. Well written, directed and performed. One of the best Canadian films of the year. Those who liked previous should watch it, otherwise still worth have a peek into it.

_7/10_

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cím	Birds of Passage 2018
tartam	168 lejegyez
forgalomba hozatal	2018-08-02
minőség	DAT 1080p HDTS
műfaj	Drama
nyelv	Español, English
castname	Danaya E. Blossom, Ducasse W. Eponine, Gere A. Céleste

Birds of Passage 2018 Teljes Online

Movieteam

Coordination art Department : Audry Ortiz

Stunt coordinator : Brandon Kowsar

Script layout :Reine Akira

Pictures : Fallou Shaï
Co-Produzent : Bryanna Rukiye

Executive producer : Edwards Charlot

Director of supervisory art : Zunair Samual

Produce : Iris Alina

Manufacturer : Zivah Nazir

Actress : Shaina Janiah

During the marihuana bonanza, a violent decade that saw the origins of drug trafficking in Colombia, Rapayet and his indigenous family get involved in a war to control the business that ends up destroying their lives and their culture.

7.6
110



Film kurz

Spent : $451,097,239

Revenue : $088,040,602

categories : Chrestomathie - Umweltentfremdung , Pest - Gefangenendrama , Ziel - Idee, Rache - Chor

Production Country : Namibia

Production : Frantel Productions

Birds of Passage 2018 Teljes Online

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**_A brilliantly made crime saga about the clash between old-world tradition and new-world corruption_**

> _I am not against telling stories, but I am against glorifying criminals and showing drug trafficking as glamorous. This confuses youths. I receive tonnes of messages from youths asking for help to be like my dad. They want to be that criminal, they send me photos dressed up like him, with his moustache, his hairstyle. Series about narcos have turned my father into a hero and given young people the idea that it is cool to be a drug trafficker._

- Sebastián Marroquín (born Juan Pablo Escobar), speaking about the TV show _Narcos_' depiction of his father, drug lord Pablo Escobar; "Pablo Escobar's son slams TV series for 'glorifying' criminals"; _Agence France-Presse_ (March 6, 2017)

> _Tourists come to Colombia with shirts of Escobar, and it's like an insult to us. It's like glorifying a dictator or Hitler. We were not satisfied with the representation given to drug trafficking in Colombia._

- Cristina Gallego; "Director Cristina Gallego on making a _Godfather_-style crime story that honours the Wayúu" (Steve Macfarlane); _Remezcla.com_ (October 10, 2018)

> _We feel that there has been a glorification of criminals, which has been really painful for our country. It's very hard to see Pablo Escobar become a hero to a generation, because his process was really a process of destruction - the moral destruction of our whole country._

- Ciro Guerra; "_Birds of Passage_ directors say they found the real story of narco trafficking from the women, not the men" (Matt Donnelly); _The Wrap_ (November 16, 2018)

Unlike any gangster/drug movie you've ever seen, _Pájaros de verano_ [_Birds of Passage_] is from the same team that made the astonishing _El abrazo de la serpiente_ [_Embrace of the Serpent_] (2015), and presents a thematically similar narrative, looking at the disintegration of an ancient indigenous culture over a period of years. However, whereas _Abrazo_ depicted an Amazonian civilisation corrupted by the West, _Pájaros_ deals with the Wayúu people of the Guajira Peninsula in northern Colombia, whose traditions and way of life are decimated by the marijuana trade during the 1970s. Written by Maria Camila Arias and Jacques Toulemonde Vidal from a story by Cristina Gallego, and directed by Gallego and Ciro Guerra (the married couple who produced and directed _Abrazo_, respectively, and who got divorced during the filming of _Pájaros_), the film spans a 13-year period from 1968 to 1981, during which time the importance of practising sacred rituals is replaced with stories and myths about the importance of practising sacred rituals.

Thematically focused on the clash between ancient tradition and modern greed, the film is deeply respectful of the Wayúu, with Gallego and Guerra clearly troubled by the cultural losses concomitant with monetary prosperity. In this sense, the film is partly an ethnographic study that tasks itself with preserving as much as it can of Wayúu tradition, and partly a genre film depicting the rise and fall of a drug kingpin _á la_ Brian de Palma's _Scarface_ (1983). Allowing genre to inform anthropology and anthropology to enrich genre, _Pájaros_ strikes a broadly successful balance throughout, resulting in a film that consistently depicts familiar genre tropes in a manner which audiences will find unique, especially those whose only familiarity with this _milieu_ comes from shows like _Drug Wars_ (1990-1992) and _Narcos_ (2015-2017), and Americentrist films such as Ted Demme's _Blow_ (2001), Brad Furman's _The Infiltrator_ (2016), and Doug Liman's _American Made_ (2017). On paper, it could be dismissed as just another gangster film, and although their adherence to the genre template does occasionally work against the story they're trying to tell, Gallego and Guerra have made a beautifully nuanced, aesthetically exceptional, and deeply lamentative film.

Loosely based on a true story, and divided into five sections - "Canto I: Wild Grass" (1968), "Canto II: The Graves" (1971), "Canto III: Prosperity" (1979), "Canto IV: The War" (1980), and "Canto V: Limbo" (1981) - _Pájaros_ opens in a Wayúu village in 1968, with a ceremony celebrating the coming of age of Zaida Pushaina (Natalia Reyes). Under the tutelage of her mother Úrsula (Carmiña Martínez), Zaida has spent the last year in confinement, as is Wayúu tradition, learning handicrafts such as knitting and weaving. The ceremony also doubles as a courtship ritual, with Rapayet (José Acosta) making a claim on Zaida. However, as a small trader of coffee and liquor, he is considered Zaida's social inferior, and was only at the ceremony because his uncle Peregrino (José Vicente Cote) is a "_pütchipü'ü_" [word messenger]; a vital figure in Wayúu culture who objectively mediates between disputing parties. Hoping to put Rapayet off her daughter, Úrsula assigns him a dowry far beyond his means - thirty goats, twenty cows, two sacred necklaces, and two decorative mules. Desperate to marry Zaida, however, Rapayet seizes on something suggested by his business partner, Moisés (Jhon Narváez), a non-Wayúu who has pointed out that the local American Peace Corp are looking for someone to buy weed from to bring it back to the US. Selling them the marijuana grown on the remote and heavily-guarded farm owned by his cousin Aníbal (Juan Bautista Martínez), Rapayet is not especially bothered that such illegal trade is frowned upon by the Wayúu, and he quickly makes enough money to secure the dowry, marrying Zaida, and eagerly embracing his new-found _parvenu_ status within the community. By the time we reach Canto II in 1971, Rapayet and the increasingly hot-headed and reckless Moisés are working with a large importer/exporter, flying planeloads of weed across the border, and making so much money they have to weigh it rather than count it. However, as time passes, and the business becomes bigger and bigger, the Wayúu begin to resent the presence of so many "_alijuna_" [outsiders] who have no respect for their traditions or culture. Working as his advisor, Úrsula warns Rapayet to tread carefully, but as the profit continues to escalate, so too do the tensions between the various players, compounded by Úrsula's cruel and uncontrollable son Leonídas (Greider Meza), who has grown up amidst corruption, decadence, and amorality, and who has no time for Wayúu tradition. When he commits a hideous crime, verbal disagreements quickly turn into tit-for-tat violence, and that violence threatens a war that could destroy the Wayúu entirely.

Historically, _Pájaros_ touches on four periods of huge national significance in Colombia; it begins ten years after _La Violencia_ [1948-1958], a civil war fought between the _Partido Conservador Colombiano_ [Colombian Conservative Party] and the _Partido Liberal Colombiano_ [Colombian Liberal Party], and four years after the commencement of the "Colombian Conflict", an unnamed low-intensity civil war fought between multiple groups that is ongoing today; Canto III, Canto IV, and Canto V are set during the years of the _Bonanza Marimbera_ [1975-1985], when drug trafficking first soared; and the film ends just prior to the ascension of Pablo Escobar in 1982. That _Pájaros_ is aiming for a grand, folkloric tale of national significance, along the same lines as more traditional Colombian myths such as _La Llorona_ or _El Mohan_, is seen in the fact that it both begins and ends with a blind bard (Sergio Coen) narrating the events; telling us this is a story of "_love and desolation, wealth and pain_" and it depicts "_how a great family destroyed itself_". Taken directly from the Homeric tradition, the presence of this figure immediately indicates the kind of story this is. Structurally and in terms of characterisation, the film evokes Francis Ford Coppola's _The Godfather_ (1972) - it opens with a prolonged celebration, and regularly features scenes of people eating, as well as social events; Rapayet is a Michael Corleone figure, a good man corrupted by his own success; Moisés is a mixture of the sybaritism of Fredo and the volatile unpredictability of Sonny; Úrsula recalls the scepticism of Kay Adams and the wisdom of Carmela; Aníbal is Virgil Sollozzo, antagonistic and convinced of the strength of his position; Leonídas is Carlo Rizzi, unconcerned with honour or tradition, who looks down on everyone around him. Additionally, the _dénouement_ unmistakably has something of a _Scarface_ vibe about it.

Aesthetically, although not as striking as the extraordinary _El abrazo de la serpiente_, _Pájaros_ still looks fantastic. Cinematographer David Gallego really captures the colourful essence of the Wayúu with his rich and textured photography and striking compositions. He also does a fantastic job in his depiction of the vast openness of the desert, with exquisitely composed shots that make full use of the 2.35:1 format. Characters are often dwarfed by the immensity of the desert background, as if their transient existence is insignificant in the face of nature, which, of course, it is. In terms of performances, Carmiña Martínez is the standout. Born in Guajira and with Wayúu roots, she plays Úrsula with an extraordinary degree of depth and gravitas, as someone used to being in a position of authority, and not having that authority questioned. However, even she realises she is out of her depth in Rapayet's drug smuggling, and Martínez taps into the similarities between Úrsula and the queen in any number of Greek tragedies, someone whose beliefs are grounded in ethics, but who is on a preordained path of tragedy from which she cannot escape. And just as the gods were indifferent to the suffering of Euripides's Medea and Sophocles's Electra, so too are the deities of the Wayúu.

Throughout the film, the economy of Gallego and Guerra's visual language is striking. For example, early on, Rapayet, Zaida, and Úrsula are all shown living in small thatched huts made of stone and wood. Later, however, they live in in a heavily guarded sprawling modernist mansion in the middle of the desert, where anyone approaching the house can be seen for miles off. For them, the house symbolises their success. For the audience, however, it's a symbol of the crass absurdity of their opulence. Another example is that, initially, we see Rapayet and Moisés using only one plane to carry their weed, but later, there is a fleet of planes at their command, telling us in one shot how much the scale of their operation has increased. Tied into this is that in the early parts of the film, people trade and negotiate via goats, but by the half-way point, people are paying one another with crates of automatic weapons.

Speaking of aesthetics, although they remain within the parameters of the crime drama, depicting the rise and fall of a gangster, Guerra and Gallego are more concerned with the impact of the drug trade on the Wayúu than the drug trade itself. Uninterested in going into detail about the logistics of Rapayet's operation, there's no montage of planes being loaded with hemp, no tension-filled scenes of interfering law enforcement, no scenes of excessive hedonism based on the spoils of the trade (although Moisés does like a good party). Instead, they use the genre template as a platform from which to examine the clash between the ancient local traditions of the Wayúu and the ubiquitous and corruptive nature of monetary accruement as found in the twentieth-century world at large. The Wayúu are proud of how deep their customs run and how long they have maintained them, pointing out they've survived encounters with the English, Spanish, Portuguese, French, Dutch, and various modern-day Colombian governments. However, their nonconformist and isolationist ideology has never faced anything as insidious as the avarice introduced by Rapayet.

Just how corruptive it is, is seen in Leonídas, a boy who takes wealth for granted and who has never wanted for anything. Thus, he has no respect for anything or anyone - his very soul is built on Mammonism and everything he does is based on entitlement, with the culture of the Wayúu powerless to combat such a person. In perhaps the film's most disturbing scene, after being chastised for his behaviour by Rapayet, Leonídas "proves" his manhood by telling a poor man that if he eats a piece of dog faeces, he will give him a wad of bills. At first, the man refuses, but temptation takes over, and he forces himself to eat the excrement, as Leonídas looks on and laughs, subsequently throwing the money at the vomiting man. Nothing in Wayúu history has ever prepared them for this level of barbarism.

In this sense, much as was _Abrazo_, where indigenous cultures were corrupted by (often well-meaning) western explorers and missionaries, _Pájaros_ is fundamentally about the clash between tradition and modernity; an exchange-based economy built upon codes of honour and reciprocity destroyed by greed, materialism, and an ever-escalating series of violent reprisals and deepening mistrust. In depicting the society before the birth of the drug trade, however, Gallego and Guerra are trying to reclaim Colombia's history for Colombians. The _Bonanza Marimbera_ and the years of Pablo Escobar are all a lot of people know about the country, with their knowledge coming from films made almost exclusively by non-Colombians for non-Colombians. In interviews, the directors have expressed distaste with the glorification of Escobar, the fact that he has been turned into a folk hero of sorts; Gallego has spoken about how it pains her to see people come to the country wearing t-shirts with Escobar's face on them, whilst even Escobar's own son has spoken out against _Narcos_, arguing the show glamorises the drug trade. Gallego and Guerra argue that an entire generation of indigenous people have been forgotten about, a people who were laid waste by the years of excess during the _Bonanza_ and the horrific violence of the Escobar years.

Trying to commit as much of the Wayúu culture as they can to film in an effort to preserve it, they are thus performing an anthropological service; the film is about the importance of cultural memory, but so too is it a part of that memory. Throughout, we are immersed in Wayúu culture, and Gallego and Guerra don't need to go into detail about the ins and outs of dream analysis, the complex systems of hegemony and protocol, the exchange-based economy, or the specifics of why one necklace is sacred but another is not. We're shown enough to understand how these people live - the centrality of family, the respect for the natural world, the reverence for the dead, the significance of communal ritual, the importance of ancient customs and superstitions. Above all, however, their primary value in all things is honour, which is why Rapayet getting involved in drug smuggling is so controversial for the village. Indeed, at one point he is told, "_you no longer act as Wayúu, you act like alijuna_"; one of the deepest insults imaginable in this _milieu_, driving home that, yes, he may be making money, but he has lost his cultural soul in the process.

The film makes its intentions known in the opening scene, which is built around Zaida's ceremony, just as _The Godfather_ indicates its main focus with the opening depiction of a wedding. Without any dialogue, the scene establishes the socio-political centrality of ritual in Wayúu society and introduces us to the social hierarchies and spiritual beliefs. This opening scene is contrasted with a later scene depicting a "_second burial_"; a custom where a casket is unearthed and opened, and the bones of the deceased cleaned and reburied. In this scene, although the importance of the ritual is just as paramount as in the opening, unlike in that scene, this ritual is surrounded by men armed with machine guns; a brilliant bit of cinematic shorthand to show us how much has changed. In another example, after doing something to anger a rival clan, Leonídas is hidden away in a hut, and Úrsula performs a protective incantation. Leonídas, however, is unimpressed, saying he'd be happier if he was surrounded by men with guns. Elsewhere, a motif running through the film is the threat of a locust infestation, and when violence inevitably erupts, it's presented like a plague on the land, something that cannot be contained and that will blight all it touches.

In terms of problems, there are a few. For one, Rapayet is an extremely stoic character, about as forceful as Fredo Corleone, and very vaguely defined. In this sense, he doesn't really come across as a person with an interiority, so rather than being someone who pursues things, he is someone to whom things happen, a cypher at the mercy of what the writers need him to be at any given moment. Because of this, he doesn't really have much of an arc - he's essentially the same person as a drug lord as he was when he traded coffee and liquor. Along these lines, Zaida fares even worse. Despite the opening scene suggesting her centrality to the narrative, once she and Rapayet are married, she essentially becomes a background extra, having next-to-nothing to do as Rapayet and Úrsula dominate proceedings. Additionally, at times, the demands of the genre do impinge somewhat on the narrative, with an action scene late in the film feeling out of place (although to be fair, the way it's shot makes up for the scene itself feeling fairly rote).

These few issues notwithstanding, _Pájaros de verano_ is an exceptional film, and, off the top of my head, I can't think of another movie which captured the clash between the old and new worlds quite as powerfully, with the possible exception of Terrence Malick's _The New World_ (2005). A melancholy corrective to Fernando León de Aranoa's _Loving Pablo_ (2017), Pájaros tells a story of a traditional culture decimated by greed. Making a powerful statement about what has been lost, by and large, Gallego and Guerra handle the integration of ethnographic study and genre film very well, with the movie as a whole serving as an excellent example of how talented filmmakers can use genre to serve their own thematic ends without necessarily making a genre film. Neither a thriller with some local details thrown on top nor a documentary with a manufactured dramatic structure, _Pájaros_ is compelling and heartfelt throughout. The film's sense of detail, its cultural specificity, and the tragic inevitability of the story it tells serve to fuse the socio-political, the ethnographic, and the thriller into a whole that is unlike any drug film you're likely to see.
‘Birds of Passage’ feels like a gangster epic anchored by a people seeing their world view slowly slipping from their sight. It manages to make a narco narrative feel new and visually stunning on a broad dreamlike canvas, taking a creaky old Hollywood genre and moulding it into something altogether more entrancing.
- Jake Watt

Read Jake's full article...
https://www.maketheswitch.com.au/article/review-birds-of-passage-a-visually-stunning-narcotised-gangster-epic

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cím	K.G.F: Chapter 1 2018
időtartam	186 stopperel
felmentés	2018-12-20
minőség	MPEG-1 1440p DVD
zsáner	Action, Drama
nyelv	हिन्दी, ?????
castname	Moniqua A. Céline, Marcil I. Lula, Avia F. Aurelia

K.G.F: Chapter 1 2018 Teljes Online

Movieteam

Coordination art Department : Savia Kyri

Stunt coordinator : Faige Eljon

Script layout :Sand Haru

Pictures : Fraisse Shela
Co-Produzent : Loreen Friant

Executive producer : Cruise Élias

Director of supervisory art : Jamoy Maïa

Produce : Melania Edvinas

Manufacturer : Aveneil Kali

Actress : Laubier Déborah

A period drama set in the 1970s, KGF follows the story of a fierce rebel who rises against the brutal oppression in Kolar Gold Fields and becomes the symbol of hope to legions of downtrodden people.

7.5
52



Film kurz

Spent : $693,695,722

Revenue : $603,546,617

Group : Himmel - Ethnografisch , Isolation - Chor , Verantwortung - Raumschiff , Blasphemie - Skizzen

Production Country : Costa Rica

Production : MovieCube incorporated

K.G.F: Chapter 1 2018 Teljes Online

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