It Rains in My Village
A bizarre and tragic love story involving swineherd, village fool, teacher and an agricultural pilot. The story unfolds in a remote village in the communist ruled Yugoslavia at the down of Soviet occupation of Czechoslovakia in 1968.
- Stars:Annie Girardot, Ivan Palúch, Mija Aleksic, Eva Ras, Dragomir 'Gidra' Bojanic, Velimir 'Bata' Zivojinovic, Petar Banicevic, Tosa Jovanovic, Djordje Vladisavljevic, Stole Arandjelovic, Ranko Bradic, Gordana Jovanovic, Claude Laugier, Milorad Majic, Zarko Merzan,
- Country:Yugoslavia, France
- Director:Aleksandar Petrovic,
- Writer:Aleksandar Petrovic
A bizarre and tragic love story involving swineherd, village fool, teacher and an agricultural pilot. The story unfolds in a remote village in the communist ruled Yugoslavia at the down of Soviet occupation of Czechoslovakia in 1968. . You can read more in Google, Youtube, Wiki
It Rains in My Village torrent reviews
(gb) wrote: Happy People: A Year In Taiga - documentary co-produced, co-written and co-directed and narrated by Werner Herzog. It was premiered at Telluride Film Festival. Film opens in "Bakhtia" a Russian village habituated by some 300 Ket people. They are only reachable during summer-time via riverboat and helicopters when the ice has somewhat thawed. Mostly the men work in the severe cold. Yvgeny finds the summer time to be perfect for axing fine even wood for ski - the wood-plier of which should be unbendable but masterfully adjusted within the duct of the frame. Residents (including children) walk, work and talk under heaps of mosquitos (humming can be heard), as if some flies have gathered over dead animal. The remedy for putting these mosquitos away is by making tar and then applying it on their skin, as well as dogs'. They celebrate Christmas on 6th January than 25th December; another festivity they proudly celebrate is the vanquishing of Nazi. Werner Herzog then shows us how men make their canoes through hereditary skills using especially designed wood-cutters to level the surfaces. In the times during which the river runs they ferry packs of bread, catch fresh fishes bring other items until the river starts frosting. Although many of them still can drill through ice in bits, opening it up wider enough to dip in nets and catch fishes. Then comes the focal point in the documentary, when the trappers go out to apply tricks to capture sables along with their hunting-dog (a hunter is determined by the dog he owns says the trapper). These trappers build high-rise tree-storages for keeping their hunts safe from the mice and bears.Yet again Werner Herzog's obsession with ice comes in face of "Happy People: A Year In Taiga". It is perfect anthropological study of the tiny population of Bakhtia who are so happy with their struggle and survival. As Herzog says in the documentary "these people have no worries about taxes, government, radio, phone etc". Herzog's explaining of every bit of conflicting scenes always catch my attention. For example I felt quite bad when I saw a trapper driving 150km on his motor-ski while his dog is running behind - before I could have thought of something, Herzog already cleared that by saying that, the dog does not get on the ski rather runs behind (even at the nightfall). This documentary is for those who have always wondered about the life in Siberia. Since childhood I had been hearing about swarms of Siberian birds in mass-migration to our region 'Sindh' for "Indus-River (Sukkur, Sindh - 9th largest river and in Asia and largest in Pakistan)" therefore my urge has been fulfilled by watching this documentary.
(nl) wrote: The Asylum and Shane Van Dyke strike again and boy is the film mediocre. CGI is again getting better and the DYNAMITE acting by Shane Van Dyke makes this film alright but nothing more than a fun night. You get what you expect.
(it) wrote: Words can't tell how awful is this piece of horse crap. I can't even watch the whole thing. Retarded unfunny cinema.
(br) wrote: Un film theorique un peu foutraque, presque parodique, pour ne pas dire auto-parodique. To et Wai citent a tout va dans ce duel entre deux tueurs a gage, dont l'un est un cinephile compulsif (et convulsif aussi d'ailleurs) : "The Killer", "le Samourai", "Leon", "Point Break", "Crying Freeman", "Terminator" et " Desperado" passent tous a la moulinette... les deux comperes vont meme jusqu'a s'auto-citer en inserant des extraits de "The Mission". Les acteurs Andy Lau et Takashi Sorimachi incarnent deux archetypes du tueur a gage de fiction : l'un flamboyant, exuberant et bavard, l'autre discret, froid et taiseux. Tous deux se disputent les honneurs et le coeur d'une modeste cine-geek incarnee par la tres jolie Kelly Lin (Andy Lau la seduit en revetant dans un video-club des masques de presidents americains comme dans "Point Break"). Simon Yam, lui, campe un flic coriace a la poursuite des deux gus, qui se revele en fait etre le narrateur peu inspire de l'histoire (revelation appuyee par une reference astucieuse au "Shinning" de Kubrick lorsque Yam tape frenetiquement la meme phrase sur sa machine a ecrire)... car derriere ses scenes d'action ultra-spectaculaires, ses plans et son montage hallucinants, "Fulltime Killer" est surtout une reflexion au second degre sur le manque d'inspiration, sur l'usure de certains codes et de certaines conventions cinematographiques, sur la difficulte tout simplement de batir un film d'action un tant soit peu original a Hong-Kong apres une decennie flamboyante portee par les John Woo, Tsui Hark et autres Ringo Lam...
(au) wrote: Weird horror film, a kind of comedy scare fest with awkward moments, plot holes, and random gore. Never quite comes together, but certain scenes are excellent, so not a wholly wasted effort.
(fr) wrote: It's Van Damme in all his glory.
(br) wrote: Hoo Haa, thak thak.......martial arts, kung fu whatever......time pass.
(kr) wrote: Jim Jarmusch makes a film that's hypnotic and never follows a single story. I don't mean it to sound like Phantom of Liberty or Slacker, but instead he follows the same character, Willie, throughout three different segments that do not include a plot. The first segment's titled The New World. Willie comes home to a phone call from his Hungarian aunt telling him that his cousin Eva's coming to America and she needs somewhere to stay. Within this phone call the audience picks up so much about his character. We learn that he hates being Hungarian and tries really hard to rid himself of the image so that everyone sees him as an American. He constantly asks his aunt to speak English. This suspicion is confirmed when his only friend Eddie says he didn't know that Willie was Hungarian. So when Eva shows up he's not too thrilled. A part of his life that he has tried to avoid comes to live with him for 10 days. There's no escape. His place consists of two beds, a television, a bathroom, and a tiny kitchen. Nothing fancy because he doesn't work. We discover in the second segment that Willie makes money off of playing cards and cheating with Eddie. The first segment shows Willie trying to show Eva how to be American, but she doesn't seem to have the same desire to fit in as he does. In the end of the first part she tosses her "American dress" into the trash and heads up to Cleveland. We realize this won't be the last time Willie sees her because he has found an attachment with her. Eddie also seems quite interested in Eva. So when the next part's titled One Year Later we know where it's going to go. After making some money the guys hit the road and meet up with Eva in Cleveland. Here we get to meet the Hungarian aunt we heard on the phone earlier. She's a stubborn old woman who's not interested in change either. We discover there's a middle ground here: Eva's interested in becoming a part of the culture whereas Aunt Lotte wants nothing to do with it. This part shows Eddie and Willie hanging out with Eva up in Cleveland until they decide to go down to Florida. Before they left Eva told them to take her away with them if they go somewhere warm, so when they make the decision for Florida they go back and get her. This third part's titled Paradise. They always expect something better. Willie's looking for Paradise within the American culture. If only he can lose himself within it maybe he can find happiness. Eva has probably come to the States looking for her own paradise as well. Eddie seems to be in paradise wherever he is. Nothing bothers him, unless they run out of money. The group stops in some town in the middle of nowhere in Florida and, of course, Willie and Eddie lose their money betting on dog races. Eva's not happy where they stopped anyway. She wanted the beach and all of the photographs you see in the magazines. This is not the Florida she wanted, so she leaves. Before she leaves she accidentally comes across some money by wearing a hat and getting mistaken for someone else. She comes back to the hotel and leaves money on the table saying she's going back to travel to Europe. America does not have paradise. When Willie and Eddie go to the airport he buys a ticket back to Hungary to get Eva off the plane. However, Eva didn't actually go, but Willie never comes back. Perhaps Eva and Eddie will meet back up in the hotel room. But that's not the point. These people are trying to figure out why they're not happy. Willie thinks it has something to do with location, but instead realizes perhaps he might be able to find what he's looking for after he accepts where he's from. Eddie's happy with looking at photographs and feeling like he's been to that place. He's content with his life. Eva discovers that paradise might not exist in a place, but instead a state of mind, which is why she never leaves. Plus she really doesn't want to go back to Hungary. Jarmusch interweaves these three stories in a way that makes the audience hooked. Each scene pretty much consists of one shot and then it fades out. We're just so interested in the characters and their everyday lives that it never feels boring, even if we're just watching them watch television. The placement of his actors and the look on their faces tell everything we need to know. Subtle filmmaking like this is what brought Jarmusch on the map as a brilliant filmmaker.