Die Sieger (1918) torrents full movies


Die Sieger


Die Sieger is a movies torrent of Felix Philippi (novel), Felix Philippi (screenplay). This movie was introduced in 1918. You can check list actors in this movies torrent, such as Arthur Bergen, Rudolf Biebrach, Paul Biensfeldt, Bruno Decarli, Henny Porten, Elsa Wagner. There are many categories, such as General. Many people rated for this movie, Rate is 10 in www.imdb.com. This is really a good movies torrent. The runtime of this movie are awesome, about 0 minutes. FangFap is crazy uploader, he is very fast. You should spend more time to watch this movie. If we must use one word to describe about this movies torrent, I think it should be 'Excited', so what is your thought. Do you know what are visitors? ChimTo is the best. I can't leave my laptop screen. Share this movies torrent to support us . You can read more in Google, Youtube, Wiki

Die Sieger torrents

Die Sieger full movie

Die Sieger1918 torrent

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Download   Die SiegerOther47294 GB

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Users reviews

Anthony T (br)

Kinda neat though. roughly. . . Frankenstein's Monster!?!Person 1: Love it! OMG! And we can just call it "I, Frankenstein" instead!Person 2: :-oPerson 1: :-OPerson 2: :-OPerson 1: :-DPerson 2: :-))I'm pretty sure that's how this movie came about. . . Person 2: I got it! How about instead of Sarah, we replace her with. Otherwise we'll never get an audience. Person 1: I don't know, I like it but "Pretty, Pretty Princesses, Gargoyles and Demons" needs a hook

Bengel W (jp)

Nibbles: Trifle. Music is emotional adding to the camera and sound enhancing the feel of the show. Cher puts in a performance that takes a laugh at her own character and it comes across well. Well scripted and acted with laughs along the way. Personalities take the high road as this film explores the complexities of being conjoined

Blake P (kr)

Watch at your own risk. Sitting through "Man Bites Dog's" accomplishments guarantees rampant uneasiness, and uneasiness, as it goes, is never an easy thing to undergo. But it also strips away the romanticized sensationalism that oft marinates onscreen violence, and that's a particularly inspiriting quality. It's nasty, monstrous, and perturbingly naturalistic. While its cultural derisions are whip-smart, it's not an experience to be pursued by the faint of heart - it's the sort of movie you want to take two steps away from rather than jump wholeheartedly into. Whether watching "Man Bites Dog" is a must, though, is arguable. They're unafraid to motivate their viewers to look at themselves rather than merely lazily escape into the diversions put in front of them. They both celebrate and damn the very nature of documentary filmmaking, proving that its generally intermittently educational guise can simultaneously make for enlightenment and subjectivity - consumers might leave the theater better informed, but directors are rarely able to live through a scenario and not come out unmoved by their experiences. They've created a protagonist who's likable, though never sympathetic, until he descends into savagery. What its makers have done here is enormously difficult. We feel dirty as we view "Man Bites Dog," but we're too magnetized by its eagerness to provoke to turn away. And such is an intriguing notion. We're unceasingly aghast, and yet that proves Belvaux, Bonzel, and Poelvoorde's ultimate point - we're willing to compromise the apparent rigidities of our moral compasses for the sake of entertainment. All in front of us is horrific carnage, stunning nihilism. But "Man Bites Dog" tantalizes fruitfully - it shocks, but it also shocks in such a way that ensures reflection. Does our fundamental fixation make us any better? As genres within the entertainment industry wouldn't exist if not for our attraction to violence, the answer's a flimsy yes, as we, of course, are not active participants in a bystander's senseless death. But we're also inclined to watch such acts. We can judge them for their willingness to excuse (and, eventually, partake in) cold-blooded murder all we want. They're looking to personally attack us, to force us to look at ourselves and inspire us to consider just how much better we are than the fictional filmmakers who chase their person of interest around like a gleeful litter of puppies. But as "Man Bites Dog" materializes is it obvious that the film's makers aren't specifically interested in such broad commentary. The documentary crew following Ben's every move is there, clearly, because there's an audience who'd undoubtedly be intrigued to take a peek inside the bloodsoaked life of a killer. Preliminarily does the movie emerge as a media satire that takes jabs at the public's unremitting obsession with violence. Fatalism is resolute. Here, death is fixed, blunt. "Man Bites Dog," irrevocably, doesn't blur out morality; it completely smudges it off every frame, casting aside basic goods and evils and portraying depravity with the same unceremoniousness of the taking of a shower. He doesn't feel like the fictional creation that he is - he lives and he breathes, burrowing under our skin with discomfiting ease. In any film would Ben make for a piquant creation, but in 1992's "Man Bites Dog," which is written, produced, and directed by Rmy Belvaux, Andr Bonzel, and Poelvoorde (who also star), is he even more provocative: the movie's photographed in the style of a mockumentary, with Ben acting as a subject uncomfortably touchable. He's put together, a psychopath we'd never suspect to be unless we somehow dive into deep conversation and come to the epiphany that something's unmistakably off. He isn't chronically foaming at the mouth and doesn't wear an insatiably murderous lust in his eyes. Because he doesn't meld with the archetypal idea of what a serial murderer is. He exemplifies the very meaning of the term "man bites dog," an aphorism used in the journalism industry to describe the phenomenon that finds more unusual, unexpected news stories being more widely reported than the mundanities of the everyday. Ben is also a serial killer, a serial killer so deliberate in his every action and so holistically ordinary in his public personality that he serves as the classic example of a criminal who, to neighbors, appears to be perfectly normal until the news spreads that he is, in fact, not so normal. And he's brilliant, an observer curious about in the inner workings of the world and how they relate to one another. He's a caring, passionate partner. He's dedicated to his family, his friends. Watch him from the corner of your eye and he's a force of nature, an animated cult of personality you'd like to get to know. A great storyteller. He's funny. Ben (Benot Poelvoorde) is charming. Meet him for the first time and you wouldn't expect him to be who he is

DragonsFoe (us)

(B+). Rating: 7. Fruitvale Station is fantastic debut for both Michael B Jordan and Ryan Coogler who are sure to both become rising stars in the near future

Entertain Me O (us)

whoa fuck, that is the lowest audience score i have ever seen

F B (jp)

Another great film in the series but not as good as the first

Janice P (it)

kip it!. The whole thing is inept and scare-free. To make matters worse, they're joined by esteemed thespians Tyra Banks and Busta Rhymes. The moment she's out of the picture, the film takes a turn for the worse as we're introduced to a forgettable group of college kids who are making a reality show at the old Myers house. Poor Jamie Lee Curtis' cameo at the start can't even save this mess. Embarrassingly bad

Lasse H (kr)

Sad but essential viewing !

Matt H (it)

Come Matthew McConaughey stop doing these type of movies

Randy C (us)

old school funny shit!