Event's Details Film Vojna zvezd: Poslednji Jedi je drugi film iz trilogije, ki se je začela s filmom Vojna zvezd: Sila se prebuja. Režiser je tokratl Rian Johnson (Časovna zanka). Vstopnice so že v predprodaji na blagajni kina. Event's Location Kino Bežigrad Linhartova cesta 11 Ljubljana 1000, Slovenia Schedule Wednesday, December 13, 2017 07:00pm CET Venue Kino Bežigrad Linhartova cesta 11 Ljubljana, 1000 Slovenia Share The Fun! Organizer Kino Bežigrad • • • • Star Wars - The Last Jedi [Premiera]. Disclaimer: The content of the pages of this website is for your general information and use only. It is subject to change without notice. Neither we nor any third parties provide any warranty or guarantee as to the accuracy, timeliness, performance, completeness or suitability of the information and materials found or offered on this website for any particular purpose. You acknowledge that such information and materials may contain inaccuracies or errors and we expressly exclude liability for any such inaccuracies or errors to the fullest extent permitted by law. Your use of any information or materials on this website is entirely at your own risk, for which we shall not be liable. It shall be your own responsibility to ensure that any products, services or information available through this website meet your specific requirements. Za druge pomene glej Vojna zvezd (razločitev). Logo Vojna Zvezd (angleško Star Wars) je komercialna znamka, ki jo je ustvaril ameriški filmski režiser in. Star Wars - The Last Jedi [Premiera] Ljubljana, Slovenia. Film Vojna zvezd: Poslednji Jedi je drugi film iz trilogije, ki se je začela s filmom Vojna zvezd.
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South Korean director Hong Sang-soo returns to his master theme of what love means in men and women’s lives in this film starring Kim Min-hee as an actress who has an affair with a director. Film after film, South Korean indie auteur Hong Sang-soo has examined the meaning of love in his characters’ lives, as man meets woman with subtle fugue-like variations. When it’s not soporific, On the Beach at Night Alone ( Bamui haebyun-eoseo honja) is a wryly observant study of a young actress whose affair with a married filmmaker has left her with the wrenching pain of loss and longing. Shot on a budget on a handful of locations in Germany and South Korea, the story is scarce to non-existent, but Kim Min-hee in the main role keeps the audience awake, waiting for her next socially uncensored outburst of truth. The forecast is for limited appeal beyond the edgiest art house audiences. To even call the film a study or a portrait may be going too far. It’s more a series of Rohmer-like scenes from a life which casually reveal something about the characters, who do very little, but talk a lot about themselves. Gathered around a dining table, they scream their feelings as the bottles of Soju wine accumulate in front of them. It’s an oddly oblique way to make movies, but Hong gets under their skin to find the profound loneliness at the heart of all relationships. His recent work chooses a young woman's point of view. On the Beach at Night Alone comfortably nestles between his dissection of the encounter between a famous filmmaker and a young painter (who was also played by Kim) in Right Now, Wrong Then, and the tormented romance between a student and her teacher in Nobody’s Daughter Haewon. Here Kim, who got notices as the beautiful Japanese heiress in Park Chan-wook’s The Handmaiden, has the film practically to herself. Her Young-hee vaunts a modern aplomb and a desire to live her own way that makes her easy to identify with. We first meet her on a visit to Hamburg, where she is simultaneously waiting for her lover to come to her and trying to convince herself it doesn’t matter. She bounces inconsequential dialogue off an older woman friend, who has been there for a decade. She even considers moving to Germany and seems surprised when her friend declines to share her apartment. Typically, Hong’s extremely glancing screenplay only reveals, much later, how this turns out. Instead, the two women visit a German couple; the man (film critic Mark Peranson in a laid-back cameo) is presumably Young-hee’s friend’s ex-husband, judging by her nervousness. Their relationship just died out after 10 years from a lack of desire, which the passionate Young-hee still has plenty of. All this is before we discover she is a talented actress who is taking a break from her screen career to pursue an affair with an older, married filmmaker. The four of them drive to a gray winter beach, where the first 'chapter' of the film enigmatically concludes with a circular camera pan and Young-hee apparently passed out, though it is far from clear what happened. We next find her back in Korea, this time visiting a beach town off-season and on her own. Her love affair, we will learn, is formally over, but its emotional effects linger on; smoking a cigarette, she sings a song to herself about love and yearning. No film by Hong, the master of excruciating social moments, would be complete without drunken dinner parties, and a pair furnish the key payoff scenes. The film's slow, do-nothing pace vanishes in some piercing psychological revelations. Two old acquaintances who run a local film theater gently come on to Young-hee in a humorous wink at another well-trodden theme from Hong’s work, male narcissism and emotional immaturity. When she goes out with them and their wives and gets drunk over dinner, she proceeds to insult most of the company, telling them they’re “not qualified to love.” But she’s so charming — and apparently still a bankable name that can be exploited — they forgive her. The best is saved for last. Finding her only solace in nature, Young-hee is found sleeping on the cold beach by her lover’s assistant and from him discovers her ex is in town shooting a new film. With no further ado, we find them at dinner in a restaurant, already loaded with alcohol and ready to fire the final salvos at each other and themselves. When the director reads a passage about them, probably from his own book, and breaks down in tears, it’s clear he’s still broken-hearted, but also that his great love for Young-hee revolves around his own ego. As usual, the camerawork is peppered with disturbing zooms which are almost as irritating as the characters’ universal habit of answering questions with other questions. Otherwise, the maverick framing is a pleasurable tease, excluding what you most want to see. Cinematography by Kim Hung-koo and Park Hong-yeol is melancholy, shot under gray winter skies, where even nature seems to be shedding a tear to the accompaniment of Franz Schubert’s deeply moving 'Cello Quintet.' Production company: Jeonwonsa Film Company Cast: Kim Min-hee, Seo Young-hwa, Jung Jae-young, Moon Sung-keun, Kwon Hae-hyo, Song Seon-mi Director-producer-screenwriter: Hong Sang-soo Directors of photography: Kim Hung-koo, Park Hong-yeol Editor: Hahm Sung-won Venue: Berlin International Film Festival World sales: Finecut 104 minutes. On the Beach at Night Alone (Bamui haebyun-eoseo honja) - Buy movie tickets, find showtimes, read reviews, see trailers and more on MovieTickets.com. ON THE BEACH AT NIGHT ALONE a film by Hong Sangsoo. Cinema Guild 2017. [한글, 영문 sup] 밤의 해변에서 혼자 Bamui.haebyun-eoseo.honja.Aka.On.the.Beach.at. 페이지 정보 작성자 후회 작성일 2017-10-07 15:42 조회. THIS SCREENING IS FREE FOR UWM STUDENTS & UNION CINEMA MEMBERS! $5 General Admission Milwaukee Premiere! The film stars Kim Min-hee as Young-hee, a washed up actress. Synopsis Art imitates life in this quietly devastating masterpiece from Hong Sangsoo. Kim Minhee ( The Handmaiden, Right Now, Wrong Then)—in the role that won her the Silver Bear for best actress in Berlin—plays Younghee, an actress reeling in the aftermath of an affair with a married film director. Younghee visits Hamburg then returns to Korea, but as she meets with friends and has her fair share to drink, increasingly startling confessions emerge. No stranger to mining his own experience for his films, Hong, whose real-life affair with Kim stirred up a media frenzy in Korea, here confronts his personal life with a newfound emotional directness. With an incredibly raw and vulnerable performance from Kim at its center, On the Beach at Night Alone is one of the most dynamic collaborations between director and performer in contemporary cinema. Reviews 'Poignant and witty. A fascinating sublimation of autobiography into Hong’s precise creative terms.' - Eric Kohn, Indiewire 'As gut-wrenching, funny, and formally freewheeling as anything in recent cinema.' - Dan Sullivan, Film Comment 'An equality between performer and director which I haven’t experienced before in a film.I think it's Hong Sangsoo's best.' - Neil Bahadur, MUBI Notebook 'Touchingly direct.The beauty of Hong’s latest lies in how piercingly affecting it feels even if one isn’t aware of the personal circumstances surrounding it.' - Kenji Fujishima, Slant 'Hong’s most compelling character to date, which is appropriate, as he knows her best of all.' - Jordan Cronk, Cinema Scope. Film Review: ‘The Meyerowitz Stories (New and Selected)’ Adam Sandler and Ben Stiller play half-brothers working out family issues in the best Netflix Original. The Meyerowitz Stories (New and Selected) (2017) on IMDb: Movies, Tv, Celebrities, and more. ½ A mix of family drama and comedy with a very subtle humor, not unlike Anderson's Royal Tennenbaums. So people should not expect noisy slapstick from Sandler or Stiller here. Instead, they are giving two or their strongest performances to date, with a very fine mix of seriousness and humor. The rest of the cast shines too. Some will certainly find this too quirky, talkative or anticlimatic, but if you are into this kind of film you're in for a real treat. Only the very last scene leaves you a little lost. JEAN AND HER BROTHERS - My Review of THE MEYEROWITZ STORIES - NEW AND SELECTED (4 Stars) I love Noah Baumbach's work. He's like Woody Allen before things got creepy. Yes, he has pretty much carried the torch for a whites only, middle class New York, but he has demonstrated such a good ear for how people really talk, and a true artistry has slowly crept into his films. His latest film, THE MEYEROWITZ STORIES (NEW AND SELECTED), which opened in select theaters October 13th and is also currently streaming on Netflix, may seem on the surface like the successor to HANNAH AND HER SISTERS, but displays its own unique rhythms and it's own voice. It also has a group of actors doing some of their finest work. The film opens on Danny Meyerowitz (Adam Sandler) trying to find a parking space in Manhattan. Next to him is his daughter Eliza (a lovely Grace Van Patten of the famous EIGHT IS ENOUGH/NATURAL BALANCE DOG FOOD dynasty), who shows a deep love for her father despite his agitated state. Their bond feels real, the kind that allows for losing your shit and knowing the other person has your back. With Eliza off to college, Danny, always a little unlucky when it comes to financial success, plans on moving in with his aging artist Harold (Dustin Hoffman) and hard-drinking, hippie step-mother Maureen (Emma Thompson). Trouble is, Harold and Maureen, are considering selling their apartment and moving to their country house. I know, I know. Champagne problems. But Baumbach has a way of making you care, mostly because of Sandler being so attuned to his character's desperation. It's not all rosy anyhow. Harold isn't getting any younger and can't help but compare his lackluster career to that of his old and wildly successful rival (Judd Hirsch, hilarious and spot-on as an artist of a certain age who tries to pull off a knit cap and hoodie). Complicating matters is Danny's brother Matthew (Ben Stiller), who has found success as a financial manager and escaped his clan by moving to LA. Despite his distance, he remains Harold's favorite. They also have a sister Jean, HOUSE OF CARDS' Elizabeth Marvel, who completely disappears into her role of the child who can't stand out in a family of such outgoing personalities. The Meyerowitz's gather periodically as an art show and an illness form the loose storyline, but the crux of the movie is the fissures in the relationships. Told in loose chapters, switching points of view, the film builds and coalesces into a complete and touching tale of the bonds that see us through the toughest of times. As such, each leading actor gets their chance to shine, with Sandler doing the best work of his career. Obviously it's been a long time since he's been broke, but he mines the depths of his character so beautifully, you're convinced he's held on to that feeling all this time. From his aching gait to his quick anger, quiet resentments, and deep affection, his Danny has me convinced he should just stop making his big, broad comedies and from here on out show us the great actor he's been all along in such films as PUNCH-DRUNK LOVE, FUNNY PEOPLE, THE WEDDING SINGER, and now this film. Ben Stiller, coming off of his great performance in BRAD'S STATUS, does great work here as well, especially during a gut-punching speech late in the film. An early scene in which he futilely resists getting sucked into his father's spiral of social slights gets such careful attention and precision from Stiller, Baumbach and Hoffman. In the end, you're convinced there's no escaping that we all become our parents. Now about those parents. Dustin Hoffman! Welcome back! It's been a while since he's been given the opportunity to really chew on a role, and he does not miss the chance. His Harold, who clearly never listens to anybody except his own delusional inner voice, is one of the true standout roles of 2017. Hoffman reminded me of Laurie Simmons, Lena Dunham's mother, in TINY FURNITURE, with his portrait of self-absorbed narcissism. Baumbach, while still creating his touching moments, doesn't go all soft and gooey with Hoffman. His Harold remains headstrong and not particularly likable throughout, and as moviegoers, we're all the better for it. Unfortunately, I thought Emma Thompson was wildly miscast. With her accent going in and out and her wig always looking like a wig, she played surface neurosis and never seemed to get a grasp of what she's doing. It's as if she always wanted to be in a Woody Allen movie and do some Mia Farrow schtick, but didn't quite know how to deliver it. She's not terrible, but to me, the performance fell flat. Another minor misstep is what short shrift Elizabeth Marvel gets in the film. Yes, she's written as the forgotten one, and she even gets her own chapter, but, because she's just so damn good and can go toe-to-toe with her fellow actors, I would have loved a little more. Same goes for Candice Bergen in a too-short but effective cameo. Special mention must go to Jennifer Lame's editing. She cuts out of some scenes mid-sentence, perfectly complimenting the unstable drama onscreen, and in one jaw-dropping moment, uses multiple jump cuts and a quiet hush as Sandler looks dead into the camera. Her style keeps the film from feeling like a shaggy Woody Allen knockoff and goes a long way towards raising the artistic stakes. All told, I really liked this film a lot, despite its lack of diversity. Baumbach clearly knows the world he writes about and can find empathy even with the more compromised characters he writes. The fact that he wrote an entire scene around a rude person in a restaurant who keeps leaving his empties on an occupied table gave me the sense that he's got a perfect sense of the little crimes people commit on a daily basis. We need Baumbach and he's operating in his own little lane. You don't have to be Jewish to love this film.but as the saying goes.it wouldn't hurt. I have been a fan of director Noah Baumbach ever since his work on films like Greenberg and Frances Ha. Continuing his talented ways, I found myself really enjoying his work when I came across the film While We're Young back in 2014, but I must admit that his newest mark on the industry may just be my favourite film that I've seen of his. The Meyerowitz Stories (New and Selected) isn't wide enough of a release to score any big awards this year, but if that wasn't such a factor, I feel as though this movie deserves a few nods. Now streaming on Netflix, here is why I'll be giving this film a glowing recommendation. There's just something special about a movie that mirrors reality, in that it takes itself very seriously, while still giving many laughs to its audience in order to provide levity. Following a family that reunites due to an illness of a relative, this really is a tale about sibling rivalry and the fact that it really shouldn't be a thing. I found myself entranced throughout this entire film, feeling as though I was watching someone provide insight into real events, and for all I know Noah Baumbach could've written this about his own experiences, but I just have to give him props for his terrific screenplay here. It's not very often that a fantastic film stars Adam Sandler, but I'll admit it when I see it. He knew how to choose a good project here and he clearly cares about the material at hand, because he is 100% devoted to this character. He and Ben Stiller both deliver wonderful performance as step brothers and throughout certain portions of this movie, I felt as though they were growing a bond in real life. Movies like this don't come around very often, and I feel are unappreciated when they finally do. A story about family is very hard to accomplish, especially when you're trying to make it feel as real as possible, but I feel The Meyerowitz Stories (New and Selected) nails it. Not to compare the two in any way, but I love Aaron Sorkin's screenwriting and when it comes to his dialogue, I honestly don't think it can be topped in today's day in age, but Noah Baumbach definitely gives him a run for his money here. Never once did I find myself bored, and when a movie is just a series of sequences with people talking, that can be hard to keep audiences engaged, but I feel this movie accomplishes that nearly impossible feat. From the way a character reacts, to a memory that's being explained from their past, to a revelation they have, opening up to a crowd standing in front of them, this screenplay really goes for it. In the end, with a screenplay as terrific as this one, having a cast as talented as it does, with addition of applause-worthy direction, and a satisfying conclusion, I really can't complain about this movie all that much. Aside from a few awkward moments in editing that will definitely take certain viewers out, I found them to be oddly fascinating, so I have nothing but praise for The Meyerowitz Stories (New and Selected) from my end. This movie is now on Netflix for the world to see and I can't recommend it enough. The Polka King (2017). (working title) The Man Who Would Be Polka King: Spain: El rey de la polca: France: Le roi de la polka: Italy. Telecharger Le roi de la Polka gratuit, Le roi de la Polka Streaming VF, Le roi de la Polka En Streaming HD, Le roi de la Polka version complet, Le roi de la Polka. This article is about the children of the King of France. For the 17th century female immigrants to Quebec, see. For the film, see. Fils de France ( French pronunciation: , Son of France) was the and held by the sons of the and of France. A daughter was known as a fille de France ( French pronunciation: , Daughter of France). The children of the dauphin (a title reserved for the king's whether son, grandson or great-grandson of the monarch) were accorded the same style and status as if they were the king's children instead of his grandchildren or great-grandchildren. Dauphin of Louis XV Monseigneur [ ] This was another way of addressing, the only legitimate son of Louis XIV. After the death of le Grand Dauphin, the heir apparent to the throne of France for half a century, the style of Monseigneur was not used again to describe the dauphin himself. Rather, it became the style used by his sons as prefix to their peerages. During the lifetime of the Grand Dauphin, his three sons were addressed as: • • • Madame la Dauphine [ ] This was the style of the dynastic wife of the dauphin. Some holders of the were: • (1660–1690), also called Dauphine Victoire, first wife of, and the grandmother of (1710–1774) • (1685–1712), wife of the (1682–1712) and mother of Louis XV. • (1726–1746), first wife of (1729–1765), the only son of Louis XV, and held the style till her death at age twenty-one. • (1731–1767), second wife of the Dauphin Louis, and mother of (1754–1793), (1755–1824) and (1757–1836). •, Marie Antoinette was the dauphine until her husband succeeded to the throne in 1774 as Louis XVI. • (1778–1851); daughter of Louis XVI and Marie-Antoinette, known as, she became the last Dauphine of France when her father-in-law, Charles X, succeeded to the throne in 1824. Known as, eldest daughter of Louis XVI Monsieur [ ] This honorific belonged to the oldest living brother of the King. Among those who held this style were: • (1550–1574), younger brother of (1544–1560), was known as Monsieur at the beginning of the reign of Francis II. He was as Charles IX from 1560 to 1574; • (1551–1589), younger brother of Francis II and Charles IX, was known as Monsieur during the reign of Charles IX. He became King of France as Henry III from 1574–1589; • (1555–1584), youngest brother of Francis II, Charles IX and Henry III, was known as Monsieur during the reign of Henry III; • (1608–1660), younger brother of (1601–1643), was known as Monsieur during the reign of Louis XIII and was the first fils de France to assume the use of altesse royale abroad; • (1640–1701), Gaston's nephew was known as le Petit Monsieur and Gaston as le Grand Monsieur when Louis XIII died in 1643; • (1640–1701) was the younger brother of Louis XIV, and known as Monsieur in 1660 after the death of his uncle, Gaston. He was the founder of the; • (1755–1824), younger brother of Louis XVI, known as Monsieur during the reign of Louis XVI, and was later King of France as Louis XVIII from 1814 to 1824; • (1757–1836) was the youngest brother of Louis XVI and Louis XVIII, and known as Monsieur at the beginning of the reign of Louis XVIII, later King of France as Charles X from 1824 to 1830. Orphaned, penniless but ambitious and with a mind crammed with imagination and fresh ideas, the American Phineas Taylor Barnum will always be remembered as the man with the gift to effortlessly blur the line between reality and fiction. Thirsty for innovation and hungry for success, the son of a tailor will manage to open a wax museum but will soon shift focus to the unique and peculiar, introducing extraordinary, never-seen-before live acts on the circus stage. Some will call Barnum's wide collection of oddities, a freak show; however, when the obsessed for cheers and respectability showman gambles everything on the opera singer Jenny Lind to appeal to a high-brow audience, he will somehow lose sight of the most important aspect of his life: his family. Will Barnum risk it all to be accepted? Orphaned, penniless but ambitious and with a mind crammed with imagination and fresh ideas, the American Phineas Taylor Barnum will always be remembered as the man with the gift to effortlessly blur the line between reality and fiction. Thirsty for innovation and hungry for success, the son of a tailor will manage to open a wax museum but will soon shift focus to the unique and peculiar, introducing extraordinary, never-seen-before live acts on the circus stage. Some will call Barnum's wide collection of oddities, a freak show; however, when the obsessed for cheers and respectability showman gambles everything on the opera singer Jenny Lind to appeal to a high-brow audience, he will somehow lose sight of the most important aspect of his life: his family. Will Barnum risk it all to be accepted? Ver El gran showman pelicula completa online 2017, Ver pelicula El gran showman online 2017, Ver El gran showman online pelicula completa, Ver El gran show. The movie original name is Bamui haebyun-eoseo honja. In United States, this movie has the following alternate names: '1'. The movie runtime is 1h 0mn 0s 410ms. Bamui haebyun-eoseo honja[original title] 6 wins & 4 nominations. See more awards » Plot: After an affair with a married man, celebrated actress Younghee decides. THIS SCREENING IS FREE FOR UWM STUDENTS & UNION CINEMA MEMBERS! $5 General Admission Milwaukee Premiere! The film stars Kim Min-hee as Young-hee, a washed up actress who wanders the streets of a seaside town in Hamburg, after a publicized affair with a married man leads to her quick departure from South Korea. On the Beach at Night Alone allows the audience to ponder the true meanings of love and personal identity along with Young-hee, as she reminisces about her past and purpose. (Hong Sang-soo, South Korea, Korean w/ Eng. Sub, 101 min, DCP, 2017) Read more about On the Beach at Night Alone. Teenage outsider Adam sets out on an epic and daring quest to uncover the mystery behind his long-lost dad, only to find out that he is none other than the legendary Bigfoot! He has been hiding deep in the forest for years to protect himself and his family from HairCo., a giant corporation eager to run scientific experiments with his special DNA. As father and son start making up for lost time after the boy's initial disbelief, Adam soon discovers that he too is gifted with superpowers beyond his imagination. But little do they know, HairCo. Is on their tail as Adam's traces have led them to Bigfoot! Aug 31, 2017 Mali Bigfoot (The Son of Bigfoot) - trejler. Mali Bigfoot I Trailer #1 - Duration. The Son of Bigfoot 2017. Crtani film: MALI BIGFOOT - 3D - sinhronizovan Petak,. Dom kulture opštine Novi Bečej. Ulaznica: 250 din. Žanr: animirani, avantura. More Mali Bigfoot (2017) images. Title: The Son of Bigfoot (2017) 6.2 /10. Want to share IMDb's rating on your own site? Use the HTML below. Oreino.com.br hosted in Brazil accessing to Internet through IPV6 Internet Ltda (Internet Service Provider). Meta Title: oreino.com.br| o reino de Deus. Latitude: -23.6167 Longitude: -46.9333 Timezone: America/Sao_Paulo Country: City: Cotia Region: Sao Paulo Region Code: 27 DNS Records DNS (Domain Name System) is a system that converts human-readable website names into computer-readable numeric IP addresses. A record assigned to for oreino.com.br Host Type TTL Class Other Hostoreino.com.br. TypeTXT TTL3599 ClassIN Other'v=spf1 include:_spf.uni5.net -all' Hostoreino.com.br. TypeMX TTL3599 ClassIN Other5 mx-vip-02-farm74.uni5.net. The Universal Church of the Kingdom of God (UCKG, from Igreja Universal do Reino de Deus [iˈɡɾeʒɐ univeʁˈsaw du ˈʁejnu dʒi ˈdews] (IURD) is a Pentecostal. Igreja Petencostal Resgatando Vidas Para a O Reino de Deus is a religious organization located in Rio De Janeiro, Brazil. View phone number, employees, products. TypeMX TTL3599 ClassIN Other5 mx-vip-01-farm74.uni5.net. TypeA TTL3599 ClassIN Other177.12.163.86 Hostoreino.com.br. TypeSOA TTL3599 ClassIN Otherdns1.dfinformatica.net.br. 0 6 Hostoreino.com.br. 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So great, that “Wonder Woman” movie. Second biggest box-office hit of the year, biggest film ever directed by a woman, empowering all around. Did you know, though, how the third most enduring comic book superhero came to be? It’s an exhilarating story, too, but much more complicated than most people probably know. Now writer-director Angela Robinson’s “Professor Marston and the Wonder Women” tells that incredible tale. The film stars British actors Luke Evans (“Furious 7,” “Beauty and the Beast”) and Rebecca Hall (“The Town,” “The Prestige”) as the psychologist, educator and inventor William Moulton Marston and his wife and co-developer of the lie detector test Elizabeth, and Australian Bella Heathcote (“Fifty Shades Darker,” “The Man in the High Castle”) as his student turned both Marstons’ lover Olive Byrne. PMWW_00772_CROP(l-r.) Rebecca Hall stars as Elizabeth Marston, Luke Evans as Dr. William Marston and Bella Heathcote as Olive Byrne in PROFESSOR MARSTON AND THE WONDER WOMEN, an Annapurna Pictures release.Credit: Claire Folger / Annapurna Pictures Already sexual pioneers in the Ivy League environs of the 1920s, ’30s and ’40s, the Marstons and Byrne were also as dedicated to feminism as they were to one another (Byrne was, respectively, the daughter and niece of birth control advocates Ethel Byrne and Margaret Sanger). They later discovered bondage, which dovetailed nicely with William’s DISC theory, that all human interactions were governed by some combination of dominance, inducement, submission and compliance. Download Professor Marston and the Wonder Women (2017), Nonton Watch Streaming Wonder Women 2017. Professeur Marston et la Wonder Woman; Stars. Professor Marston and the Wonder Women (2017) 108 min. – Biography| Drama. Share this page. Your request cannot be processed at this time. Please try again. More Professeur Marston Et La Wonder Woman (2017) images. He fathered children by both women, and they lived together most of the time up until his 1947 death. Elizabeth and Olive remained domestic partners for 38 years after that. While they endeavored to keep their polyamorous relationship on the down-low, the Marstons’ academic careers were ruined by it. Desperate to make some money (he apparently didn’t patent the lie detector) and inspired by the loving, brave and strong women in his life, William came up with the idea of an Amazon superheroine for the exploding new medium of comic books. Wonder Woman debuted in late 1941 and has been published almost continuously ever since then; only her DC comics stablemates Superman and Batman have stayed in print longer. Related Articles • • • • • While having many more movies and TV shows made about them than Princess Diana has. A fan since childhood, when she was inspired by the 1970s Lynda Carter “Wonder Woman” series, Robinson first learned about the Marstons and Byrne about a decade ago. As she saw more and shows about the male Justice Leaguers appear while the “Wonder Woman” feature remained mired in development hell, Robinson became more determined to tell her own take on the story. “It was an incredibly emotional experience to watch the ‘Wonder Woman’ movie,” Robinson, who has writing, producing and/or directing credits on such series as “How to Get Away with Murder,” “True Blood” and “The L Word,” says of Patty Jenkins’ summer blockbuster. “Part of my impetus to start writing my film was this huge frustration that Superman has gotten multiple rebirths and television shows. And how many times have we seen Bruce Wayne’s parents get killed in an alley? You could go anywhere in the world and Wonder Woman was popular, but where was the movie?” PMWW_00247_RActor Rebecca Hall and Director Angela Robinson on the set of PROFESSOR MARSTON AND THE WONDER WOMEN, an Annapurna Pictures release.Credit: Claire Folger / Annapurna Pictures Packed with uncompromisingly brainy ideas and dialogue along with its political and erotic elements, “Professor Marston” took awhile to find funding. For all its historic and taboo-breaking elements, though, the final product may be most impressive in its complex emotional credibility. “Oh, man,” Heathcote exhales when asked about some of the shattering feelings she had to express as Byrne... Then couldn’t suppress a nervous chuckle. “You know, it felt a lot like your early twenties. Just very vulnerable. I tend to be open and sensitive to a fault, so I could relate to Olive on that level. “I was just lucky I got to do that I got to do it in the environment that I did,” the actress continues. “I felt really safe with Angela and Rebecca and Luke to go there. Also, they helped pull me out afterward; the levity that was on set was really lovely. It was just like being in any good relationship, basically; if you feel safe, you can be vulnerable.” Acknowledging that William is still a deservedly controversial figure in feminist and psychology circles, Robinson made sure that Olive and Elizabeth constantly challenged him in the movie, even as they questioned their own feelings, behavior and the societal judgment of what they were doing. “The actors were very actively playing through these exchanges of power and desire, and it was really important to me to get very micro about all of their dynamics and the exchange of consent,” the filmmaker explains. “And I wanted the audience to feel what it feels like to fall in love in a very organic way. At the end of the day, it’s a very organic love story between three people, without a lot of commentary or judgment.” And with a lot of pointed, but crucially never snickering, humor (Elizabeth in particular exhibits a cutting wit reminiscent of the great female roles in Hollywood comedies of the film’s period). Yep, that all took some directing. Now, about the lovemaking scenes. Robinson employed an old “L Word” trick of hers, blasting a playlist of music chosen by the actors during intimate takes. That suppressed inhibitions, and for the kinkier scenes she tried to emphasize the characters’ psychology over the acts that they were performing. It all worked, despite initial skepticism. “Angela sent me a note about how she liked to shoot sex scenes beforehand: ‘Just leave it up to me, I’ve done a bunch of them, you’re going to be fine, it’s gonna be fun’,” Heathcote reports. “I’m like, ‘Yeah, right.’ Sex scenes are just what you grit your teeth through and try to pretend that you’re enjoying. But Angela made this great soundtrack that we kind of played our way through it, and it was probably the most I’ve enjoyed ever shooting scenes like that. I want to take a playlist into future projects; they’re just going to have to bear with me.” With Wonder Woman now key to Warner Bros.’ efforts to raise their DC Extended Universe endeavor to the same high level Disney is enjoying with its Marvel comic book films (Gal Gadot’s adored role model hits theaters again next month in “Justice League”), we wondered if Robinson has been contacted by the studio in regard to what her independent production reveals about the valuable intellectual property. The filmmaker says she hasn’t heard a peep out of Burbank yet. Robinson added that, while an extensive legal process was gone through before the movie could be made, “I didn’t have to be granted rights to show what I did.” Which, as far as Wonder Woman comics are concerned, is focused on the postwar censorship outcry over the strip’s sadomasochistic and lesbian imagery. The heroine’s fans – old and new, younger and not – shouldn’t let any of it keep them away from the new movie though, according to the wonder women who made it. “I feel like if you loved ‘Wonder Woman,’ you would love our film,” Heathcote says. “It’s her origin, where she came from. I love the fact that she was created by a guy who was a feminist long before it was fashionable, and who dedicated his life and work to encouraging peace and love and acceptance.” “Since I started as a fan, it’s important to me how much Wonder Woman means to people who love the character,” Robinson concludes. “I really wanted to be respectful to that. And now that she’s in this kind of renaissance after so many years, it’s the perfect time to go back and look at where she came from and the people whose ideas and ideals really actively inspired her. This is her real origin story, and Wonder Woman was the only superhero who was created to stop war and violence. That’s a really fresh message that the world can use right now.”. Join the Conversation We invite you to use our commenting platform to engage in insightful conversations about issues in our community. Although we do not pre-screen comments, we reserve the right at all times to remove any information or materials that are unlawful, threatening, abusive, libelous, defamatory, obscene, vulgar, pornographic, profane, indecent or otherwise objectionable to us, and to disclose any information necessary to satisfy the law, regulation, or government request. We might permanently block any user who abuses these conditions. If you see comments that you find offensive, please use the “Flag as Inappropriate” feature by hovering over the right side of the post, and pulling down on the arrow that appears. Or, contact our editors by emailing [email protected]. 'Yamada: The Samurai of Ayothaya' Thai Theatrical Poster Thai welterweight Muay Thai kickboxer Buakaw Banchamek ( Yamada: The Samurai of Ayothaya) is back with Thongdee: The Warrior, an upcoming martial arts flick that will apparently be directed by Bin Bunluerit ( Panya Raenu trilogy). Here’s the film’s official plot: Phraya Phichai was a Siamese general serving under King Taksin. After the fall of Ayudhya in 1767, Phraya Pichai and Chao Phraya Chakri (who later become the first King of Chakri Dynasty) followed Phraya Taksin in repelling the Burmese and reuniting Siam. They were considered Phraya Taksin’s left and right hands. Don’t miss a preliminary, which should give you an idea of what to expect from Thongdee: The Warrior (via ). Disclaimer: cityonfire.com does not own any of the photos contained in the blog. Cityonfire.com was made merely to pay homage to these films, directors, talent, etc. And not for any profit or commercial reasons. No copyright infringement intended. The photos are copyrighted and courtesy by their respective owners. Cityonfire.com is a non-profit website for the private use and entertainment and/or parody purposes. 'Copyright Disclaimer, Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statue that might otherwise be infringing. Non-profit, education or personal use tops the balance in favor of fair use.' Thongdee The Warrior (2016) ทองดีฟันขาว. Watch Online Thongdee The Warrior (2016) ทองดีฟันขาว With English Subtitle Full Movie HD Watch Online Free In Movies2days.Com. THONGDEE The Warrior Broken Sword Hero Trailer (2017) Martial-Arts Movie| Thong Dee Fun Khao Broken Sword Hero - Thong Dee Fun Khao - 2017 Muai Thai Martial. Thongdee The Warrior 2017- Full Movie Hd. Cast Buakaw Banchamek Phutharit Prombandal. No links available. No downloads available. 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