Sophie, a young photographer, exchanges her apartment with a student from Marseille. It is February and Marseille seems harsh and closed in the bright sun. Sophie dives into the city, she is alone, she takes photographs. In an auto-repair garage, she asks a young mechanic, Pierre, if he can get her a car. Two days later they meet again and spend the evening in a bar, captivated by the lightness of not knowing anything about each other. Sophie is happy. When she returns to Berlin, she is immediately immersed again in her former life. Her love for Ivan, the husband of her best friend Hanna, remains undeclared and the relationship between Hanna and Ivan seems to dominate. Sophie remains on the outside, yearns to leave, and decides to travel to Marseille for a second time. . You can read more in Google, Youtube, Wiki

Download   Angela Schanelec - Marseille (2004)Other2738700.04 MB

Marseille torrent reviews

AndrClaude L (us) wrote: fresh and light, with a lot of heart and magic.

Yolanda C (us) wrote: My favourite film ever.. Douglas Booth is amazing, Freddie Fox is amazing, Mark Gatiss is amazing, Matthew Horne is amazing, in fact they are all amazing, Tony Basgallop's script is genius and I now love the 80's.

Amber B (au) wrote: I tried watching it but couldn't get into it. But then I came back and watched it all the way through and really enjoyed it!!

Ben L (ag) wrote: This was a miss by the critics. A rating that belongs to part 2, Madagascar is an original dreamworks production that deserves more attention.

Carlos I (de) wrote: Fairly one dimensional, and cliche, but it's message and brutal depiction of the violence and injustice is enough to give this a watch.

Weul S (au) wrote: A band of skinheads escalates their vitriol against their asian neighbors as a vagrant girl comes between the violent leader (Russell Crowe) & his slightly more stable lieutenant in this chaotic & powerful film.

Greg S (br) wrote: The granddaughter of Dr. Caligari performs neurological experiments on her asylum patients in this surreal and sexy low-budget R-rated oddity by a director better know for avant-garde hardcore porn films like CAFE FLESH and NIGHTDREAMS. The sets and costumes are cheap but very inventive, but the amateurish acting and joyless villain hold it back from being much more than an intriguing curio.

Maria A (mx) wrote: ???????????? !!!! ? ??? ???????? ?????? ??? ??? ??? ?????????, ???? ?? elephant man

Lee M (fr) wrote: Certainly has its didactic moments, but the very fact that some have read the film as a parody is evidence of its ideological complexity.

Edith N (kr) wrote: Only Important For Its Stars Once again, we are dealing with a Lost Film. However, unlike most of the ones we've dealt with, this film was found in a more or less complete state. Yes, the title cards on the print were in Dutch, but that's easy enough to fix. And by the look of it, not much effort was put into the job; I could have made more authentic-looking ones myself with the right equipment. It's also clear that this wasn't the original score. Indeed, large amounts of it remind me of the soft jazz station that I listened to off and on for several years in the late '80s and early '90s. There were only a few minutes wherein it seemed the composer was actually trying to work with the material he had. Still, this was probably one of those movies on a lot of people's dream lists of lost films to be found somewhere. It must have been very satisfying to the person who found it. Indeed, I'm grateful, too, because this held a certain place in movie history, an intersection of two of the great silent stars who were only in one movie together. The lovely but impoverished Theodora Fitzgerald (Gloria Swanson) has been raised to put her father's wishes above hers in family loyalty. Therefore, even though she meets the dashing and wealthy Lord Hector Bracondale (Rudolph Valentino) when he rescues her from being lost at sea, she is convinced that he will never marry her--because poor--and so she obeys her father's wishes and marries the wealthy but elderly Josiah Brown (Robert Bolder). Alas, she encounters Lord Bracondale again, this time by falling off a cliff and being rescued by him. (Theodora is a bit danger-prone.) They fall in love, but she believes they must be stronger than their love. She is married, remember, and leaving her husband would ruin pretty much everyone concerned one way or another. At first, they believe that they can still see one another and just imagine what can never be. However, they are unable to resist their desires. Oh, yes. This is a melodrama. In fact, I kind of feel the need to throw in some more adjectives. Most of them would relate to our two stars, Gloria Swanson and Rudolph Valentino. Now, as it happens, I don't think I've ever seen a Valentino film before, and the only Gloria Swanson film I'm certain I've seen is [i]Sunset Blvd.[/i] Which doesn't count. However, the pair of them were well known for the drama they attracted onscreen and off. Rudolph Valentino's death was one of the biggest pop culture events of the '20s, and Gloria Swanson . . . well. The Kennedys could tell you about her, though they'd really rather not. The pairing of the two of them couldn't help being a melodrama, and it was not, alas, all that likely to be good. Indeed, the only reason I'm giving the movie a positive review is that it's an interesting moment in film history. Two great stars, if not necessarily great actors, in a movie together. The movie itself, though, isn't much. I mean, with that setup, they could have gone a lot of places. However, it really strikes me that this is what Roger calls an Idiot Plot, one where everyone's issues would have been solved if two of the characters had just had a conversation. To be sure, Theodora couldn't know that. But somehow, she got it into her head that the only way to save her family from some unnamed fate, presumably bitter poverty, is to marry Josiah. I'm not inclined to believe that. I think that, if she had talked to Josiah about her feelings toward him in the first five minutes of the film, before she married him, the rest of the movie wouldn't have happened. Or maybe if she had talked to Hector after he rescued her and maybe seen if he was interested in her or not. But no, everyone assumed he couldn't be interested in a poor woman, so she married the man from a humble background. Who turns out to be a much nicer person than he could have been, had this been a different movie. The other thing which kind of got me, and this tells you a lot about me as well as about the movie, is the names. They're Victorian melodrama names. Elinor Glyn, who wrote the original novel, pioneered the field of modern erotica aimed at women, but the names remind me more of L. M. Montgomery. Inasmuch as they remind me of the names Anne, Diana, and the others come up with for their own characters when Anne and company were schoolgirls. Gertrude Astor plays a character named Morella Winmarleigh. I don't remember anything about the character--I think she's an impoverished noblewoman who hopes to ensnare Hector--but I can perfectly imagine Ruby Gillis giving a character that name. Honestly, I can picture the girls' having written the plot as well, though they would not have made Josiah Brown kindly--and he never would have had that last name, of course.

Toad K (jp) wrote: Nino Brown the villain you love to hate. Good movie

Tio B (mx) wrote: What a wacky bunch of ethnically diverse pranksters! I can't rate this film honestly, it's a plotless and predictable mishmash, but I have a soft spot in my head for this seventies-spawned urban shenanigan.

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