Hiroshima

Hiroshima

Hiroshima is a 1995 Japanese / Canadian film directed by Koreyoshi Kurahara and Roger Spottiswoode about the decision-making processes that led to the dropping of the atomic bombs by the United States on the Japanese cities of Hiroshima and Nagasaki toward the end of World War II. Except as actors, no Americans took part in the production. The three-hour film was made for television and evidently had no theatrical release, but is available on DVD for home viewing. A combination of dramatisation, historical footage, and eyewitness interviews, the film alternates between documentary footage and the dramatic recreations. Both the dramatisations and most of the original footage are presented as sepia-toned images, serving to blur the distinction between them. The languages are English and Japanese, with subtitles, and the actors are largely Canadian and Japanese.

The grisly events leading to the first attack with a nuclear weapon. . You can read more in Google, Youtube, Wiki

LinksNameQualitySeedersLeechersSize
Download   Hiroshima 1995 DVDRIP X264 AAC CrEwSaDeDVDRip52481.27 GB
Download   Hiroshima - 1995 Showtime DocudramaOther38372.05 GB
Download   Hiroshima (1995), DVDR(xvid), NL Subs, DMTDVDR3027699.15 MB

Hiroshima torrent reviews

Jim F (us) wrote: Contains lots of minges being touched by grubby hands

Sunil J (nl) wrote: Pretty interesting and a very casual documentary.

Henrik K (kr) wrote: Hohhoijaa,muistan ett tm oli "kohuelokuva" kun valmistui..?? Tytt kuraa sanon min.

Gianluca F (es) wrote: brasil colpisce ancora. storia vera ovviamente, una storia drammatica raccontata con simpatia.

Sarah F (au) wrote: I wonder what this is about, i think ill see it!

Elfermin M (fr) wrote: Something's lacking. But very moving.

Teresa S (jp) wrote: (Director: Bigas Luna)

Adam N (nl) wrote: A really underrated film. Based on true events. A group of POW women form a vocal orchestra. Facing torture or even death for even writing - the women continue anyway - and it helps them through the war.

NeCrO (it) wrote: Please god and friends pleaseeeee do an intervention so I do-not watch the 3rd one

Tuomas R (au) wrote: Annoin Waynelle viel yhden mahdollisuuden. Mutta ei niin ei! En yksinkertaisesti tajua mihin ijn suosio perustuu. Tss leffassa osaansa liian vanha Wayne ja tekijtiimi yritt ratsastaa kolme vuotta aikasemmin ilmestyneen Likaisen-Harryn menestyksell, todella laimein tuloksin. Ihan pilipali leffa joka on aikaansa jljess erityisesti mit tulee vkivallan kuvaukseen. Ja siin miss Harry Callahan oli antiikkisine ksityksineenkin kuitenkin kova jtk jolla oli suurimmat ongelmat lhinn poliisibyrokratian kanssa on Waynen McQ pelkk slittv (sovinisti)vanhus josta kovuus on kaukana.

Ilsa L (mx) wrote: The idea for this film was apparently originally suggested to Truffaut by Alfred Hitchcock in the 1960s. Truffaut's homage to movie making is wonderful with a great cast and script, stunning cinematography and of course, expert direction.

Erik K (au) wrote: Early Bergman indulges in neorealism in his tale of two working class people who fall in love and power through their overwhelming odds.

Regina M (nl) wrote: this first version is filled with subtle, quick humor, lacking in the remake. The characters make sense, and the camaraderie between the father and the uncle presages Charters and Caldicott of The Lady Vanishes. A number of critics have noted the fun fight scene using the church's chairs, but I especially love the hymn singing just before that. Like other great thrillers, this one moves full circle, with tantalizing hints throughout, to end in a finale that echoes an early competition. Particularly touching is the way the family members banter among themselves, but prove brave and selfless when others are in danger.

Victor N (it) wrote: The more I see it, the more grandiose it is to me. Simply unmatched.

Robert B (fr) wrote: Outcast (Colm McCarthy, 2010)There's a great, great sequence about an hour into Outcast that sums up pretty much everything I found compelling about this movie, the first feature from veteran TV director McCarthy (Murphy's Law), which he co-wrote with Tom K. McCarthy (no idea if they're any relation). Tomatsk (Josh Whitelaw in his first screen appearance), a mentally challenged boy of indeterminate age (I suspect late teens/early twenties, but it is never disclosed), goes through a series of coincidences that may, or may not, put him in harm's way. But Tomatsk is never the main player in any of these scenes, save the final one; he's on the sidelines, and we're led to believe he's a bit player, a piece of window dressing or local color, until we realize that, in fact, this entire sequence of events has led up to Tomatsk being in this alley at this particular time, and we hear one thing just as the camera pans round and we see another, and god if it isn't tempting indeed to believe the lord loves drunks and fools, but god is nowhere to be found in this tale of warring magics and forbidden love.Plot: Mary (Prometheus' Kate Dickey) and her son Fergal (Niall Bruton in his first feature appearance) are wanderers, and they've just settled into a new flat in the heart of Dublin's tenement district. Mary is a witch, and her first act after the bags are unpacked is to paint the walls with protective runes against any who would harm her or Fergal. Living next door is a Scots/Romany family, but most we see of them, save a single scene (the first scene in the sequence I described in the first paragraph, in fact) is fetching Petronella (Hanna Stanbridge, also in her feature debut) and her brother Tomatsk. Fergal and Petronella meet by chance one day outside the local grocery, and nothing is quite the same after that. But love brings vulnerability, and Mary and Fergal's settling has not gone unnoticed: a pair of magicians, Liam and is apprentice Cathal (Red Tails's Ciaran McMenamin and Millions' James Nesbitt) are tracking them, though the local Laird (Braveheart's James Cosmo) is wary of their presence, and an inhuman beast seems also to be stalking the family, striking closer to home with each kill."Urban fantasy" has been one of the great buzzwords in publishing for about a decade now, stories of faerie transplanted to New York or LA or Vegas or London, but this is the first time I've ever seen a movie that I can say with no qualms is a serious attempt as making a film that qualifies as urban fantasy. And despite McCarthy's falling to convention in the last fifteen minutes or so and filling the ending full of twists (though all of them are as carefully set up as the scene above), there's no doubt this film fills the bill. McCarthy has taken a tale of wizards and witches and set it in Dublin, plastered it over with that dark, oppressive urban-fantasy atmosphere, even thrown in the requisite romance subplot, and the entire damn thing succeeds. It succeeds, I think, because (I'm hypothesizing here, but this is how it feels to me) McCarthy, since he was working in a field very popular in literature but almost nonexistent in film, approached this as a novel. He thought a lot about setting up that sequence I talked about in the opening paragraph, and that's not an anomaly; that's the way this movie goes. The movie is slow during the first half, but that's what comes from taking your time to develop your characters; I don't think most film viewers will have a problem with that if they don't go in expecting a big action film. It helps, of course, that the McCarthys have written characters that they actually do develop. If the movie does have a flaw, it's that the main characters are so realistic that the two-dimensional minor characters (the women from the Tenement Association, Petronella's ex-boyfriend, and the Laird are all good examples) stand out maybe more than they should. But I wasn't willing to let that interfere with my enjoyment of what is otherwise an excellent piece of work. This is truly must-see TV for fans of urban fantasy. ****

Hli L (ca) wrote: Incredibly odd and very human just like most of Sorrentino's work. I would pay a fortune for a workshop on how the gravity-defying live concert scene featuring David Byrne (who also plays himself and scores the film) was shot. Not entirely sure a road movie in which the Holocaust clashes with pop culture on a quest for maturity is for everyone but there are plenty of reasons to give into it - whether it's the lush and diverse camera work or Sean Penn's magnetism. Compulsory viewing if you are a sucker for father and son stories.

Bill B (kr) wrote: Bava's classic space vampire film is crossed off the list of shame at long last, and I have to say that it's a great looking film that holds up well even after all these years.Great stuff, and well worth a look.