Besos de gato

Besos de gato

  • Rating:
    4.00 out of 5
  • Length:82 minutes
  • Release:2003
  • Language:Spanish
  • Reference:Imdb
  • Keywords:based on novel,  

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Besos de gato torrent reviews

David H (it) wrote: Masterfully made film. One of the most powerful I've seen- I laughed, shed tears, and was inspired. If you're reading this, you need to see this film.

Murray R (ru) wrote: A story about life and our struggles in life.

Shen S (fr) wrote: Of Dondup's JourneyPerhaps we are somewhat like Dondup, the first protagonist in the film - motivated, yet trapped by our yearnings. Are we not sometimes like him, fretting for a "miracle", in his case, for a vehicle to hitchhike, while rejecting the sweetness of the moment, of being able to savour a kindly offered apple or even music. Dondup's outward journey to the land of his dreams (an illusory dreamland formed by his clouded perceptions?), turned out to be an inner journey, or rather an accidental spiritual pilgrimage of sorts, as he discovers the kindness and beauty of strangers and their companionship, and most of all, of the potential happiness that could be found where he already was.Buddhists watching the Buddhism-inspired movie made by a Buddhist master might naturally think they were all manifested Bodhisattvas on a road trip of teaching Dondup the essential lessons of life. Dondup transforms from a self-centred unappreciative seeker of the elusively sophisticated (and often complicated) "American dream" to one who learns to love a simple country girl of his homeland. He begins to generously offer what he craved to others - an available seat on rare passing vehicles, and decides to quit smoking. He learns to see precious inner beauty in the innocence and filial piety of Sonam, overriding his "classic" fantasy of wild blonde sexy rock chicks. The monk utters, "What is hoped for yesterday is dreaded today." Indeed! How fickle the unenlightened human heart can be! But as long as we change for the better, let us change.If we can only be here now, where else can the ideal place be? As Dondup feels less and less stranded as his journey progresses, it struck me that we are always "stranded", yet free, in the here and now. Why then, do we not make the best of it? Why fret the future or regret the past? Our dreamland, or Pureland is not far away - it is where you are the very moment you are free of greed, hatred and delusion.The monk tells Dondup, as he anxiously awaits for a vehicle to come by, "There is no use staring at an empty road", waiting for what you want to arrive, when your karma will take its time to ripen, after doing all you can. Hope can cause pain, even when your hope is for happiness, if it is seeked in the wrong place or way. Is our hoping realistic or in vain? Many of us define True Happiness wrongly in the first place. How then can we get what we do not know? One of the characteristics of True Happiness is contentment in the here and now; happiness is not something out there to be attained or a place to be reached. "People become edgy when waiting for something", said the monk. Hoping with anxiousness never helps - it only worsens the quality of "now", in which "we might as well relax." As Shantideva said, (also uttered at the end of Dzongsar Khyentse Rinpoche's previous movie "The Cup", "If there is nothing we can do? why worry and get upset over it? Things will not get better with anger and worry."Of Tashi's JourneyPerhaps we are somewhat like Tashi, the other protagonist. He finds himself lost in a forest, manifested from the thicket of his desires. In the middle of nowhere, in the thick of Samsara, he could not fathom a way out. He becomes lost in space and time, infatuated? forgetting he was in reality already trapped, forgetting that his real home, his true refuge is elsewhere. Seems pretty similar to many of us seemingly going somewhere, though in circles of rebirth, trapped by our own craving for sense pleasures. Giving in, he decides to make the forest home, succumbing to adultery and murder, repaying kindness with evil. He shows us how easily an unguarded mind renders us savages when intoxicated by selfish passion. In the end, it was but a dream, of a potential future, as he repents. Likewise, every moment is a chance to repent, to choose a different and better future - for the dreamlike past has already passed.Of Travellers & Magicians, Bodhisattvas & UsThe last line of the film goes, "Peach blossoms are beautiful because they are temporary." Because things change, flowers wither. But because of change, they can also blossom. Oh, is parting such sweet sorrow? Oh, of "the bitter and sweet of temporary things..." Whether the temporal tastes sweet or bitter is up to us. The temporal is sweet and only sweet if we treasure it in the moment, letting it go when it goes. The temporal turns bitter when we are attached beyond its span of sweetness. As Stonepeace put it,Because everything changes from moment to moment,we should treasure everything in this moment.Because everything changes from moment to moment,we should not be attached to anything in this moment.Since all we have is now, may we learn to stop and smell the roses, to taste life as it is. Because we all change in the moment, because our defilements are temporary, we can choose to grow more and more beautiful spiritually.Karma, Tashi's brother, wisely concocted magic to trick Tashi to awaken him from his deluded dream, just as the monk skilfully used a fable to awaken Dondup. We are Tashi and Dondup now and then. We are travellers journeying through life and death, time and again, in the hope of attaining True Happiness. And the Bodhisattvas - all the kind teachers we meet on the way, are like magicians, conjuring skilful means and tricks to "entertain" yet enlighten us. But what is the greatest magic? The Buddha says the greatest miracle is not any magical feat, but the spiritual transformation of a defiled mind to a pure one. Travel on, if you must, and may the many you encounter bring magic to your spiritual life.

James B (gb) wrote: Time travel to before I watched this would be really helpful.

Hugo G (de) wrote: This was a great movie about a very unconventional duo with excellent performances mainly from Tatum O'Neill, who was out of this world. It had a lot of depth in their characters, and the final scene was so heartwarming and just brought many emotions the characters were holding on to.

Cheryl S (jp) wrote: quirky, difficult to decide if it's good or bad, but I was mesmerized in any case! So guess it's good!

Lori M (mx) wrote: hard to believe these two gorgeous men are fighting for Reese. Tom Hardy's lips make the movie worth watching.

MeLany C (de) wrote: This movie sucks!!!!!! The beat does not go with their moves and they all can't dance. Waste of space on my harddrive. DELETED!!!!!

Daniel P (nl) wrote: Urgh. Watch the Jane Austen episode of Red Dwarf instead.

Pamela D (ru) wrote: ALYCE KILLS (2011) independentWRITTEN AND DIRECTED BY: Jay LeeFEATURING: Jade Dornfeld, Tamara Feldman, James Duval, Eddie Rouse, Larry CedarGENRE: THRILLER, NON-SUPERNATURAL HORRORTAGS: rape, dismembermentPLOT: In this pointless, yet engaging psycho-thriller, a young woman unintentionally destroys her best friend while on drugs, then spirals into anti-social behavior, dragging her acquaintances into the dark morass of her twisted psyche. COMMENTS: With a cursory acknowledgment of the Lewis Carrol tale, Alyce is as much an entry-level clerical answer to the Fortune 500 American Psycho (2000), as it is a morbid odyssey of self discov- uh, make that self-destruction. Like a high-speed bullet train to Hell, Alyce Kills is novel, slick, and exciting, but it doesn't take us where we want to go.Young, pert Alyce (Jade Dornfeld) toils away in a depressing corporate cubicle for a shrewish boss at a thankless job. After work she trudges home to her cramped apartment to freshen up before some much needed steam-venting at dingy nightclubs. It's not much of a life, but Alyce has her friend Danielle (Rena Owen), an alpha female who provides Alyce with a framework of guidance upon which follower Alyce proves to be reliant. When Alyce and Danielle take the Generation X drug "ecstasy," Danielle sexually leads on Alyce. It comes out that Alyce has a crush on Danielle who then rejects her. Is it an accident then when Alyce "accidentally" pushes her off the roof a short while later? It's not clear whether Alyce is vindictive and a little crazy, or merely reckless, and irresponsible. Danielle stands on the ledge, tempting fate, Alyce mock-pushes her. Alyce is playing a game and behaves as if she doesn't intend the result -Danielle's dive to the pavement. But Alyce definitely intends to make contact, and under the circumstances it's no surprise when Danielle plunges to her doom.Despite that it led to tragedy, Alyce decides she likes ecstasy and trades sex for the drug from a repulsive dealer. Under the influence of the psychedelic, Alyce locks herself in her apartment for marathon-length trips during which she perpetually masturbates to violent videos. Conniving to obfuscate her complicity in Danielle's misfortune leads Alyce to take increasing risks until she pulls out all the stops. Traipsing across an urban landscape of bizarre characters, settings and situations, Alyce taunts the family of her victim, and eventually conspires bloody murder against those who annoy and inconvenience her.Having now lost Danielle's boundary-defining structure, Alyce's fragile veneer of sanity falls away like an uncoupled caboose from a speeding express. Her locomotive throttle is wide open and there's no engineer in the cab. Alyce resolves to take charge of her own life, but her brand of self-assertive, feminist "empowerment" is to embark upon a self-indulgent journey of risky behavior. Yet it's more like a spree, and it degenerates into a maelstrom of self destruction, dragging those closest to her along for a hell-ride on her crazy train.The theme of women scheming against men has been around at least since ancient Greece. From Aristophanes' Lysistrata, to the Biblical Eve convincing Adam to bite the proverbial apple, we've seen versions of the femme fatale in various literary incarnations through the ages. A few include Shakespeare's Lady Macbeth, and Cleopatra, Daniel Defoe's opportunistic Moll Flanders, Oliver Goldsmith's lighthearted, scheming, Katie Hardcastle in his 1773 play, She Stoops To Conquer, the conniving Matilda in Matthew Gregory's 1796 supernatural Gothic novel The Monk: A Romance, and the malevolent man-hater, Miss Havisham in Charles Dickens' Great Expectations. Whereas these feminine plotters employed cunning and sexual manipulation to achieve their aims, their modern counterparts resort to brute force. The concept of the fairer sex outwitting men has evolved into the myth of womens' domination over men, and convoluted orchestrations have given way to the karate kicks and machine guns used by characters such as secret agent Emma Peel (Diana Rigg; Uma Thurman in the 1998 film version) in BBC's The Avengers, to Max Guevera (Jessica Alba) in TV's Dark Angel, and La Femme Nikita (Anne Parillaud; Bridget Fonda in the US remake). The latest trend has dark-psyched vixens engaging in just plain psychopathic killing sprees.Alyce's quirky, but undeveloped character may be inspired by the leads in May (2002), and Neighbor (2009), two similar stories about loner hellcats who indulge their necrophilic and cannibalistic urges through acts of violence. Yet May (Angela Bettis), the film's namesake, commits her violence via a misguided search for an similarly misfit mate. In Neighbor, "The Girl," (America Olivo) thrill-kills for the sheer sadistic pleasure of it, making a living by robbing her victims and using their homes like motels. Alyce however, lacks any sensible or even cognizant motivation at all. Her deeds defy logic, her methods are unsound, and Alyce's lack of planning is sure to bring her only more trouble. We're not sure if even she understands her actions. This makes her singularly one dimensional. It's a profound disappointment, too. What's engrossing about Alyce's sexy character is not what she does, but the wry way she does it with her distinctively iconoclastic demeanor. It's not the revulsion inherent to her wanton acts of sex and violence that catches our attention, but the manner in which her smug, witty bearing holds out the promise of a satisfying payoff. We keep waiting to tumble into an epiphany of insight into her disturbed psyche, or at least some commentary about human nature or revenge. It never happens, and we're left feeling like the lone passenger on a runaway train with no destination in sight, and no emergency pull-cord to stop the projector.