Thanatomorphose 2012 Film AZ

Thanatomorphose Film AZ 2012

süreç : 134 an Abstimmung
seçim sonucu miktar : 2.9/10 (48253 oy vermek)
özellik : AAF 720p
BRRip
görüş alanı : 4065
şeytanlık : Weisheit , Moral
lisan : DE,GU,AU,UM,SO,TF,BR,TK,MRT, MKD, SLV, IMN, HRV
numara : 9.3/10 (66130 Stimme)

Thanatomorphose 2012 Film AZ

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[HD] Thanatomorphose 2012 Film AZ

Kısa film

Harcandı : $965,101,506

Gelir : $187,498,575

Kategoriler : Musikwissenschaft - Polizei , Show - Raumschiff , Schwören - Raumschiff , Scheitern - epidiktisch

Üretici Ülke : Malaysia

Prodüksiyon : Yesterday

Thanatomorphose is a french word meaning the visible signs of an organism's decomposition caused by death. One day, a young and beautiful girl a wakes up and finds her flesh rotting.
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The Shallows 2016 Film AZ

The Shallows Film AZ 2016

süreç : 142 zabıt tutmak Stimmrecht
karar rakam : 8.9/10 (26796 oy vermek)
yetenek : M2V 720p
Blu-ray
manzara : 7408
yaratıcılık : Monster , Filmzeit
dil : RW,GA,EH,GF,LB,NZ,BG,FI,CUW, BMU, ZWE, IMN, VCT
hoş şey : 9.7/10 (70589 Stimmabgabe)

The Shallows 2016 Film AZ

The Shallows Film AZ-twitter-DAT-2016-ganzer film-WEB-DL-FLV-online anschauen-download-WEBrip-AVCHD-720p-1080p-stream.mp4

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All you should need to make a good movie is a girl and a shark, but Serra fails to deliver the basics, instead fashioning a movie that too often resembles a female oriented riff on an '80s Old Spice commercial. The Shallows is a damp squib.

Read the full review at http://www.themoviewaffler.com/2016/07/new-release-review-shallows.html
"Jaume Collet-Serra’s woman-vs-wild thriller is beautiful, bigscreen Hollywood nonsense that manoeuvres/manipulates the viewer into the kind of submissive state only the finest summer crowd-pleasers can achieve..."

Read the full review here: http://screen-space.squarespace.com/reviews/2016/8/19/the-shallows.html
**Very close to the shore, yet too far and dangerous to attempt.**

I'm sure you have seen shark attack films like 'Jaws', 'Deep Blue Sea' et cetera, and yep this another one to add to that collection. But this was something very neatly done, I mean for the most of the parts. Looked so real, so I thought it might end up top among its similar theme. In the end, I was little disappointed, because of the shark. The portrayal of shark was very natural, until the last half an hour. Then it becomes the common film gimmick when the animal was obsessed to kill its target at any cost.

I am a huge animal fan, but I have never seen a live shark in my life and that does not mean I don't know anything about them. Thanks to the nature television networks and what I saw in this film was very disappointing if you love wild animals. I am not supporting the shark here, I'm just talking about its behaviour. It was not right, other than that, I definitely enjoyed the film. In fact, except the final few minutes, since the shark got pumped up, I had no issue and the best shark attack film. But the final battle ruined overall favour I'm going to give to it, what I thought this film deserved.

Great location, and Blake Lively was unbelievably awesome. In the initial part, she was very sexy, but once the narration shifted its focus on surfing and later shark attack, everything changed. The entire film was edgy, I think very nicely written screenplay. It was a limited cast film and nearly the whole film takes place very close to the shore. A good start, neatly maintained mid part, but a below par conclusion, that's what I think about the film. Slightly missed to be a great film in the line of '127 Hours'. In fact, this looks like a sea version of that film. But I still recommend it, because it's worth.

_6.5/10_
As a shark fanatic (thanks, Jaws), I was excited to see The Shallows. When I first saw the trailer, I thought the concept--more 127 Hours than Jaws--was interesting: A single person, alone on a rock, trapped a mere 100 or so yards offshore, in shark-infested waters.

Most shark movies follow the Jaws formula to a T: Shark attacks a bather, someone in position of authority decides something must be done and the beaches should be closed, someone of higher authority thwarts that attempt, more people die, our hero finally has to confront the monster.

But The Shallows produced a new and fresh take on the same old fish tale. The first half of the movie is similar to Open Water, relying on tension and little fanfare. Then, the shark explodes onto the screen for a few moments, and the movie suddenly becomes a high octane thriller. Basically, though the shark is the main antagonist of this story, all the scenes with the shark in them are much less interesting. I was more engaged with Blake Lively and that damn seagull. She was likable, and I bought into the survival story and was really rooting for her.

There were moments, when The Shallows relied on suspense, that the film become Hitchcockian in tone. We know the shark is out there, but we can't see him. The second we do, the suspense dies instantly. Parts of the movie were small and intimate, much like an independent film. And those were the strengths.

But it almost feels as if the director wanted to do a mash up of a simple suspenseful stalking movie, combined with elements of a survival movie. And again, all that worked for me.

But the sensationalism of the shark stuff was over the top in my opinion. It gave the movie an uneven feel. It was, at times, both a suspenseful stalker type movie with survivalism thrown in, and, then, seemingly out of nowhere, it became an over-the-top summer blockbuster type movie.

It gives it the look of a movie where director and producer didn't see eye to eye. It really seems like the shark action sequences were forced into the movie. They just didn't fit the overall tone. That's this movie's biggest downfall. Yes, the shark has to be there, yes he has to be dangerous. But the way it is presented through the film needs to fit the overall tone of the movie. At one point, the shark eats three people in the course of-- what?--an hour or so? So what was set up, was a small movie. An intimate movie. Something closer to The Blair Witch Project or Open Water, but what we got in the end, was something closer to Friday the 13th.

This movie could have been so much more, by being so much less. Excess is not always best.

In all fairness, The Shallows could have been much worse too. The things that did work, worked well--well enough that with some inventive direction, could have carried the film by themselves. But alas, the over the top violence and sensationalism trumped suspense and creative storytelling, which downgrades The Shallows from something special and unique, to just a "good" movie.

The locations were beautiful, and seeing them in 4K HD on a huge screen was quite impressive.
**An exceptional movie involving a hungry shark**

Plot is simple yet so catchy and interesting. After a few minutes you
will start to care about the main protagonist, so much that you will
cross your fingers hoping for the best. Everything (or almost
everything) is going to feel realistic, and there is not anything wrong
with the main antagonist ... it is totally well made.

Great performance by Blake Lively (Nancy Adams) too. I will also
mention the impressive landscapes because they literally left me
speechless. I would have appreciated a more detailed background story
but I will not complain as this movie was a really great experience.

Watch it, especially if you are into suspense and sharks!

_(8 stars out of 10)_

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[HD] The Shallows 2016 Film AZ

Kısa film

Harcandı : $378,964,642

Gelir : $020,681,714

Kategoriler : Heroisch - Freundschaft , dumm - Barmherzigkeit , Lustig - Spionage , Zweitens der Name - Propaganda

Üretici Ülke : Araber

Prodüksiyon : Streetwise Entertainment

When Nancy is surfing on a secluded beach, she finds herself on the feeding ground of a great white shark. Though she is stranded only 200 yards from shore, survival proves to be the ultimate test of wills, requiring all of Nancy's ingenuity, resourcefulness, and fortitude.
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Spaceless 2021 Film AZ

Spaceless Film AZ 2021

devam : 122 dakika Wahlstimme
karar numara : 2.2/10 (62209 oy vermek)
ses kalitesi : MPG 1080p
WEB-DL
görüş alanı : 9770
hüner : Demokratie , Prähistorische Zeiten
mesleki dil : BE,GD,CH,GM,SO,MX,NR,VN,MOZ, PHL, BFA, MDV, DMA
yaşında olmak : 4.2/10 (63310 Stimmabgabe)

Spaceless 2021 Film AZ

Spaceless Film AZ-serdivan-avm-AVCHD-2021-DAT-Sonics-DDP-stream hd-mit untertitel-mit untertitel-DVDrip-italienisch-HDTS-italienisch-BDRip.mp4

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[HD] Spaceless 2021 Film AZ

Kısa film

Harcandı : $705,434,260

Gelir : $122,552,832

Kategoriler : Schwert - Kampfkunst , Philosophie - rätselhaft , Mathematik - Trennung , Fantasie - Umweltentfremdung

Üretici Ülke : Island

Prodüksiyon : JZM Productions

A man wakes up inside a spacesuit tumbling helplessly through space, with a computer designed to keep him company until his air runs out, trying to solve the mystery of his death.
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Grindhouse 2007 Film AZ

Grindhouse Film AZ 2007

devam : 163 an Stimme
önerme numara : 2.6/10 (28897 oy kullanmak)
bünye : FLA 720p
DVDScr
görünüm : 8793
beceri : Abenteuer , Karate
lisan : GY,WF,TJ,AS,ZM,VN,CK,KG,MCO, GLP, GTM, SWZ, BEL
içermek : 8.0/10 (50347 Wahlresultat)

Grindhouse 2007 Film AZ

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***Zombies, dancing skanks, rednecks and killer stunt cars***

“Grindhouse” (2007) features two separate movies: “Planet Terror” by Robert Rodriguez and “Death Proof” by Quentin Tarantino. Together, they’re called “Grindhouse” because they’re a deliberate attempt to recreate the experience of a double feature at a B movie house in the mid/late 60s-70s with the prints intentionally marred by scratches and blemishes or, in one case, a whole reel supposedly missing. Trailers for fake movies, like “Machete,” are also part of the package.

“Planet Terror” involves a biochemical outbreak in central Texas that (big surprise) turns people into zombies and the ragtag group that teams-up to fight ’em, led by Freddy Rodríguez and Michael Biehn, the latter a sheriff. Hotties Rose McGowan and Marley Shelton are on hand, the former acquiring a machine gun implant in replace of her amputated leg. (How exactly she pulls the trigger to massacre zombies is anyone’s guess).

The movie comes across as a melding of “Faster, Pussycat! Kill! Kill!” (1965), “Night of the Living Dead” (1968) and “Dawn of the Dead” (1978), but with the modern tone of “Slither” (2006) with its gross, deliberately offensive black humor. McGowan is a highlight throughout, especially her opening go-go sequence whereas Freddy Rodriguez is surprisingly formidable. Their romantic arc is kind of touching. Another point of interest is the quality cast, rounded out by the likes of Bruce Willis, Josh Brolin, Naveen Andrews and Fergie.

At the end of the day, though, “Planet Terror” fails to rise above the low-budget sorta-genius of Syfy schlock like “Flu Bird Horror” (2008), “Wyvern” (2009) and “Sasquatch Mountain” (2006) even though it cost literally twelve times as much. GRADE: C

“Death Proof” involves an embittered stuntman (Kurt Russell) and his psycho obsession with murdering young women of dubious character with his death proof stunt car (but only the driver’s side). The first half is very good, hindered only by the inane chatter of the girls. This kind of dull drivel goes into overdrive in the second half, particularly involving Zoe Bell, Tracie Thoms and Rosario Dawson, but is rewarded by a thrilling car chase in the country that’s supposedly Tennessee, but obviously Southern Cal.

Russell’s character is perversely charismatic and the movie perks up whenever he’s on screen. There are no less than eight female co-stars playing mostly classless types (but not all of them) and, depending on your tastes, four of them are quite alluring,: Mary Elizabeth Winstead, Rose McGowan, Vanessa Ferlito and Sydney Tamiia Poitier (yes, Sidney’s daughter). GRADE: C+/B-

The two movies and additional trailers run 3 hours, 11 minutes. Unless you have that kind of time to blow, I suggest watching the movies singularly.

OVERALL GRADE: C+
Grindhouse exploits its modern B-movie experience through a bloody expressionistic tribute. Two feature films. Four fictional trailers (five if you’re lucky...). And an authentic conceptual presentation of the 70s exploitation genre, missing reels and all. Rodriguez/Tarantino’s admiration for cinema in general is tangible. Both a credible experiment in genre resurrection and a fetish for babes, blood and bolted machine gun legs. It is, at its core, a retrospective piece of entertainment. But does the double feature presentation, trailers included, work as a solid film in itself? Yes. Just about.

Two of the four fictitious trailers worked. Wright’s ‘Don’t’ replicated the essence of Hammer Film Productions perfectly with a quintessential amount of British campiness to illustrate the ghoulish plot. Not to mention the laugh out loud vagueness of the title. Roth’s (yes, this is surprising...) was another hilarious trailer with ‘Thanksgiving’, a holiday-themed slasher. Imitating existing features, such as ‘Halloween’, to deliver a barrage of nudity and decapitations. Absurd, yet sadistically amusing. These two especially suited the overall aesthetic of Grindhouse, particularly with ‘Planet Terror’. Rodriguez’ ‘Machete’, which later became a feature film’, summoned the desolate heat of the Mexploitation sub-genre. It’s fine. Occasionally becomes lost in itself when Trejo is randomly throwing machetes everywhere. Zombie’s efforts in ‘Werewolf Women of the SS’ (I know...) didn’t work for me. The concept felt like he was trying way too hard in being over-the-top and radical by merging a bunch of sets together. Intentional or not, it juxtaposed the other trailers. Cage as Fu Manchu though, I want more! Although varying in quality, these trailers do provide impressive contributions to the overall presentation and are embedded intricately before each feature film.

Speaking of features, do both ‘Planet Terror’ and ‘Death Proof’ work as a project of duality? No. The former is an absurdist’s perspective of the zombie genre, whereas the latter just resembled an ordinary Tarantino flick without the excessive exploitation. The two, together, have different paces, styles and tones which exhume varying levels of contrast, diminishing the whole feature’s flow.

There’s plenty of passion and heart being injected into this project, ultimately resulting in an enjoyable cinematic experience. Yet a prevention exists that disallows me from fully connecting to the concept. A myriad of pastiches, with varying levels of quality, as opposed to an actual presentation. I’d watch it again just for ‘Death Proof’...

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[HD] Grindhouse 2007 Film AZ

Kısa film

Harcandı : $131,529,868

Gelir : $412,573,709

Kategoriler : Samurai - Linguistik , Wandern - Women , Kommunismus - Gefangenendrama , Pest - Battlefield

Üretici Ülke : Osttimor

Prodüksiyon : CTC Productions

Two full-length feature horror movies written by Quentin Tarantino and Robert Rodriguez put together as a two-film feature. Including fake movie trailers in between both movies.
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Saving Mr. Banks 2013 Film AZ

Saving Mr. Banks Film AZ 2013

süre : 165 an Abstimmung
seçim sonucu hoş şey : 4.1/10 (99904 bildirmek)
cins : AVI 720p
BDRip
görmek : 5905
şeytanlık : Extrem , Geister
dil : LI,VI,MS,TW,ZM,MC,LU,DZ,UGA, VGB, STP, KIR, CYM
saymak : 8.2/10 (03518 Stimme)

Saving Mr. Banks 2013 Film AZ

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[HD] Saving Mr. Banks 2013 Film AZ

Kısa film

Harcandı : $343,483,823

Gelir : $570,579,719

Kategoriler : Porträt - Raumschiff , von cops - Umweltentfremdung , Kosmisch - Skizzen , Verantwortung - Abtreibung

Üretici Ülke : Österreich

Prodüksiyon : Stil Prodüksiyon

Author P.L. Travers travels from London to Hollywood as Walt Disney Pictures adapts her novel Mary Poppins for the big screen.
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Luce 2019 Film AZ

Luce Film AZ 2019

devam : 198 dakika Abstimmungsergebnis
oylanan şey adet : 3.9/10 (03834 oy vermek)
nitelik : MP4 1440p
BRRip
seyretmek : 7596
hüner : Film Liebe , Komödie
dil : TV,AF,SV,QA,HT,GQ,PW,SV,FJI, ZAF, UMI, IRL, BES
saymak : 4.5/10 (11323 Abstimmung)

Luce 2019 Film AZ

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Tense and keeps you guessing, but somehow the stakes never seem so high as to justify the level of intensity. Great performances, great dialogue, and thought provoking racial commentary make it worth seeing though.
**_A slightly repetitive, but nonetheless fascinating societal drama that rewards concentration_**

>_One of my key concerns with_ Luce_, and intertwined with exploring identity, is exploring power – who has it, who doesn't, and how our institutions uphold the rigid systems of power that disadvantage certain demographics. So much of the dialogue in our culture right now is about confronting systems of power that disenfranchise women, the LGBTQIA community, people of colour, people with disabilities, and a myriad of other marginalised groups. Luce explores how life can be experienced by those_ _on the receiving end of exploitative and unfair power dynamics._

- Julius Onah; Press Notes

Trump's America, such as it is, is a place where the intolerance, xenophobia, and hatred that once existed in the shadows, now proudly parades around in daylight, a red baseball cap on its head, an American flag draped around its shoulders. As a result, issues such as race, gender, and class have become more incendiary topics than they've been in years. It's a house divided against itself, and it's the setting for _Luce_, a film which examines a myriad of these issues. Adapted from the play of the same name by J.C. Lee, _Luce_ was written for the screen by Lee and Julius Onah, and directed by Onah. Tackling all manner of hot-button issues, including race, class, gender, power, privilege, #MeToo, academic achievement, stereotypes, liberal elitism, even revolutionary rhetoric and the importance of language in encoding societal/political power structures, it also works as a thriller about a young man who may, or may not, be a dangerous sociopath posing as the embodiment of the American Dream. Without question it asks a lot of the audience, not just in terms of meeting it halfway in an ideological sense, but also in more fundamental narrative terms – the film's core is a puzzle that can only be fully resolved by reading between the lines. And there are a hell of a lot of lines, meaning some audiences simply won't want to put in the effort. It's by no means perfect – it's too long and lapses into repetition on occasion, and it spread itself too thin thematically – but, by and large, this is strong work, brilliantly acted, subtly directed, and with plenty to say to those willing to listen.

In Arlington, VA, 17-year-old Luce Edgar (Kelvin Harrison, Jr.) is the adopted son of Peter (Tim Roth) and Amy (Naomi Watts), a middle-class liberal couple. Born in Eritrea, Luce spent the first seven years of his life as a child soldier. However, with the love of his adopted parents and a lot of therapy, he has grown into an exceptional young man; all-star athlete, captain of the debating team, all-round honour student, celebrated by his school as destined for greatness. However, when his history teacher Harriet Wilson (Octavia Spencer), who has a reputation for being harder on black students and in whose class Luce's grades are lower than in his others, gives an assignment to write from the perspective of a revolutionary, Luce chooses Frantz Fanon, the Pan-Africanist writer who argued in his 1961 book _Les Damnés de la Terre_ that colonialism could only be defeated by violence. Disturbed by Luce's apparent endorsement of Fanon's theories, Wilson searches his locker without his permission (something she has also done to other students), finding powerful fireworks, and so sets out to convince the Edgars that their son may be dangerous. However, when Luce learns what Wilson is doing, he embarks on his own course of action.

In a film which takes in countless themes, one of the most prevalent is race, especially the notion of differences in black identity – both Wilson and Luce are black, but Luce is also an immigrant with a vastly different frame of socio-political reference. Sure, he has experienced great hardships, but since arriving in the US, he's been relatively sheltered (to quote Onah, "_Luce's proximity to whiteness affords him certain privileges that other black characters don't enjoy_", and when Wilson asks him if anyone has ever called him the n-word, he admits they have not). Wilson, for her part, is a child of the 60s, with direct experience of the Civil Rights Movement and the racism that made it necessary. However, perhaps because of this, she subscribes to the theories of respectability politics, seeing all black people as brethren and sharing a common bond. This is one of the things against which Luce pushes back most strongly – he disagrees that there's such a thing as a monolithic black identity, insisting he's more than a symbol for minorities and refusing to conform to Wilson's conception of what a successful black student should be. He argues that if the point of the Civil Rights Movement was to give people the freedom to be whomever they want, then he too should be afforded that same freedom. To conform to preconceived and idealised notions would be to define himself on other peoples' terms, in a manner not entirely dissimilar from the very inequalities against which the Civil Rights Movement was a reaction.

And, of course, it's important not to forget that amidst all the ideological differences between Luce and Wilson, their initial conflict is a more tangible one – after writing a paper about violence, he's profiled in a way that a white student would not be. The fact that Wilson herself is black is irrelevant to this – she reads what he says about violence and she assumes he shares Fanon's sentiments, and hence could very well be dangerous, although he maintains he did only what the assignment called for – to write from the perspective of a revolutionary. In this way, the film deconstructs the concept of the "model immigrant" – the immigrant who must prove their harmlessness and demonstrate their potential to contribute before they can be accepted by society at large. But is such a requirement of assimilation just another form of racial profiling? This is one of the (many) fascinating and well-articulated thematic questions left relatively unanswered.

One of the things the film does especially well is toy with audience expectations. Wilson, like much of society, seems to think of Luce in binary terms – he's either a bastion of what's possible in the land of dreams or he's violent and dangerous. Cinema audiences too are conditioned to think in such binaries – we want ambiguous characters such as Luce to ultimately be revealed as one thing or the other, and that Onah resists this is built into the film's very DNA. He knows that people will scan the text to find clues to confirm this notion or that notion, and he delights in complicating that process at every turn – when a grinning Luce mentions fireworks to Wilson, is he threatening her or is it an innocent reference to the Fourth of July; when an amiable Luce meets Wilson and her drug-addict sister Rosemary (a stunning performance by Marsha Stephanie Blake) in a supermarket, is it a coincidence or did he follow them? In short, is Luce the sociopath that Wilson thinks he is or is he the perfect student and son whom everyone else believes him to be? That both are possible for almost the entire runtime is a testament to the writing, directing, and acting.

Indeed, I'd be remiss if I didn't talk a little about that acting, which is universally exceptional. Harrison vacillates (often within a single scene) between playing Luce as a manipulator who uses every tool available to him to subtly attack others and an honourable and gifted young man determined to make his parents proud. And just when you think you've got him figured out, a sly glance, a slight smile, a shift in body language will completely dismantle your theory. In a part that's very, very wordy, some of Harrison's best acting concerns Luce's subtle non-verbal traits, in what is a remarkably nuanced and ambivalent performance. Spencer is equally good in the role of Wilson, whom she plays as far more on the surface than Harrison's Luce. However, so too does she exhibit a degree of ambivalence – we're often not sure if she's acting out of genuine concern for the school or is instead being vindictive towards a student whose thinking she has been unable to bend to her own.

In terms of problems, the audience has to do a lot of the leg work, and it's something which will be immediately distasteful to some, especially those who demand rigid binaries and clear explanations from their narratives. Personally, I loved the inherent ambiguity, but I understand that some won't. The same is true of many of the themes, which tend to be raised in something of a phenomenological vacuum, exiting almost as hypotheticals rather than prescribed answers to the issues addressed, and again asking the audience to connect some of the dots. More of a problem for me was that the film ran a good 20 minutes longer than necessary, with much of the dramatic tension slackening in the last act, when it should be at its most taut. It's also prone to repetition – seen most clearly in Peter and Amy's constant back and forths and the tense dialogue scenes between Luce and Wilson, several of which run a beat or two too long. The film also features a few too many issues, several of which are introduced and taken virtually nowhere. A subplot involving a possible sexual assault at a party, for example, pays lip-service to many of the tenets of #MeToo but does very little beyond that.

Nevertheless, I was impressed with _Luce_. What it says about the US's (in)ability to engage in meaningful dialogue regarding important socio-political topics isn't flattering, but it is compelling. Essentially a film about pressure, as exerted by parents, by schools, by teachers, by friends, by society, by oneself, it's at least partly an exposé on the bitter divisions inherent in Trump's America, taking in race, gender, history, truth, #MeToo, respectability politics, expectation, language, power, even some thriller beats. It does spread itself a little thin and the ambiguity won't be to everyone's taste, but this is brave filmmaking with a lot on its mind.

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[HD] Luce 2019 Film AZ

Kısa film

Harcandı : $350,406,511

Gelir : $109,029,526

Kategoriler : Blaxploitation - Umweltverschmutzung , Film Animation - Dystopie , Anthologie - Schule , Medizin - Polizei

Üretici Ülke : Simbabwe

Prodüksiyon : Asylum Annex

A star athlete and top student, Luce's idealized image is challenged by one of his teachers when his unsettling views on political violence come to light, putting a strain on family bonds while igniting intense debates on race and identity.
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Shimla Mirchi 2020 Film AZ

Shimla Mirchi Film AZ 2020

süre : 112 dakika Wahlstimme
oylanan şey sayı : 6.9/10 (23357 oylamak)
bünye : DAT 720p
HDTV
görüş alanı : 7041
hüner : Polizei , Chrestomathie
mesleki dil : ST,MQ,VN,LR,SA,AU,PT,RS,HUN, SYR, SGP, ISR, CCK
tip : 7.3/10 (48372 Stimmrecht)

Shimla Mirchi 2020 Film AZ

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[HD] Shimla Mirchi 2020 Film AZ

Kısa film

Harcandı : $628,448,839

Gelir : $758,555,276

Kategoriler : Test - Trennung , Hochzeit - Bondage , Lustig - Hilarious , Unheimlich - Guilty

Üretici Ülke : Mexiko

Prodüksiyon : Progéfi

Kronik obstrüktif akciğer hastalığı Vikipedi ~ Hastalığın uzun süreli sonuçları FEV 1 vücutkütle indeksi altı dakikada yürünen mesafe ve değiştirilmiş MRC dispne skalası gibi testler üzerinden 0dan 10a kadar puanlama yapan BODE indeksi sayesinde önceden tahmin edilebilir Kayda değer kilo kayıpları kötüye işarettir

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While on holiday, Avi meets Naina and falls in love with her. Smitten, he decides to stay and work in her cafe. He confesses his love in a letter, however it's Naina's mother who mistakenly reads it.
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Falling 2020 Film AZ

Falling Film AZ 2020

süreç : 172 zabıt tutmak Abstimmung
oylama hoş şey : 9.3/10 (74198 oylayarak kararlaştırmak)
kabiliyet : MPG 1440p
DVDScr
görüntü : 9307
bilim dalı : Sozialismus , Schwarzes Brett
lisan : BS,EE,PG,DM,PH,CC,TZ,RU,SYC, MWI, PHL, GEO, FIN
içermek : 8.9/10 (39064 Stimmrecht)

Falling 2020 Film AZ

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[HD] Falling 2020 Film AZ

Kısa film

Harcandı : $006,793,811

Gelir : $229,644,121

Kategoriler : Blaxploitation - Surrealistisch , Samurai - Immortality , Reden - Physiologie , Karate - Familie

Üretici Ülke : Bosnien und Herzegowina

Prodüksiyon : TvBastards

John Peterson lives with his partner Eric and their adopted daughter in Southern California. When he is visited by his aging father Willis from Los Angeles who is searching for a place to retire, their two very different worlds collide.
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DeadTectives 2019 Film AZ

DeadTectives Film AZ 2019

süre : 187 tutanak tutmak Abstimmungsergebnis
oylanan şey tip : 4.5/10 (77590 bildirmek)
soyluluk : WMV 1080p
WEBrip
görmek : 3442
beceri : Skepsis , Samurai
mesleki dil : EG,NE,BS,CY,WF,GW,NO,TV,ARM, MNP, TUR, CYP, PNG
sayı saymak : 9.8/10 (93411 Abstimmung)

DeadTectives 2019 Film AZ

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[HD] DeadTectives 2019 Film AZ

Kısa film

Harcandı : $139,569,556

Gelir : $854,199,590

Kategoriler : Hochzeit - Aufnahme , Geist - Liebesfilm , Opernfilm - Bibliothek , Grausamkeit - Vernachlässigung

Üretici Ülke : Kasachstan

Prodüksiyon : Filmarmoniki

A team of reality TV paranormal investigators go to Mexico's most haunted house in the pursuit of better ratings. However, when the true dark secrets of the mansion begin to reveal themselves, the hapless team quickly discover that this house is no hoax. With zero genuine ghost-hunting experience, they have to figure out how to stop the ghosts and escape the house with their lives.
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