Ten years after Mondovino, his analysis of the increasingly standardised wine production in France, wine expert Jonathan Nossiter picks up the thread again and shows what it means to be rooted in the soil you're working on. During walks through the vineyards and relaxed gatherings with a group of alternative Italian wine growers, he trades experiences and arguments. What looks like a bucolic paradise, where intelligent people produce wine according to time-honoured and organic methods, is actually revealed to be a battleground. The DOC association, which is supposed to look after the interest of independent vintners, promotes winemakers who produce vast amounts in a standardised quality; and the agricultural industry with its hygiene regulations excludes traditional methods of production. The only thing saving the landscape from being totally destroyed is affluent foreigners using the old vineyards as summer holiday homes.
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Natural Resistance torrent reviews
(au) wrote: Visible Scars Will Not Fade Away, May 8, 2013 by Michael AllenVisible Scars is an indie thriller, which released in the middle of April. This title won "Best Picture" at the 2012 Shockfest and there is a reason why. This multi-genred film builds momentum as it moves through Acts II and III. Beginning slowly, Visible Scars draws the viewer in to a story of abuse, which later turns into murder. This title is a compelling film, with an intriguing conclusion. The story is dual in nature. The film begins with two sisters, who are kidnapped by a psychopathic man and killer. They are raised in poor conditions, until their new home is destroyed by an accidental fire. The film moves ahead several years. The second half of the story involves a new group of characters. Stacy (Jillian Murray) is a young girl who is looking for peace of mind. She has recently been abused by her boyfriend, Brad (Jonas Fisch). So, she seeks shelter in some local woods. Unfortunately for Stacy, these woods are now ruled by a bloodthirsty tour de force. Let the mayhem begin! Some of that mayhem can be found in the film's wide assortment of characters. Viewers should try and spot the protagonist. Is there one? Instead of a hero or central figure leading the story, there are numerous minor characters introduced and outroduced often and quickly. The minor cast of characters are still multiplying into the third act of the film and even ten minutes before the film ends. This is an unusual way to develop a story. Yet, the narrative works, by keeping events onscreen interesting, with all of these diverse personalities. The film also pulls off a bait and switch, in regards to genres. Visible Scars begins as a crime thriller. An early murder takes place and then a kidnapping. So, viewers might be expecting a simple detective story to take place. But, at the midpoint of the film, the genre changes to horror, unexpectedly. The criminal investigation is mostly forgotten as more and more bodies turn up in some woodland. The gore increases along with the bloodflow and a few viewers might not know who is causing all of the chaos. There are a few surprises to be found in this feature, which is one of the film's more enjoyable elements.Visible Scars is a compelling and very watchable feature. Richard Turke's first feature film is well shot. There are several great external shots involving natural scenery. The setting is a sight to see. As well, the acting in this feature is well done. Actress Jillian Murray brings a great performance with her character Stacy. Stacy has a few personalities hidden under her beautiful exterior. And, Murray hints at her character's strangeness. Other actors bring equally solid performances. Also, Visible Scars picks up speed as it moves through the film's climax and into the conclusion. Just when you expect the film to keep going, it ends too soon and the open ending might leave some wanting more. These elements and many more make this indie thriller a must-see.Visible Scars was released, in this critic's opinion, under-the-radar April 6th, 2013 on DVD. This title is available for only a few dollars ($5-6) and this horror film fanatic would recommend this film to fans of indie thrillers. Though, viewers will have to be patient as Visible Scars takes awhile to develop. But, the payoff and ensuing chaos is well worth the wait. Visible Scars is a must-see that most will not forget. And, some viewers will even be expecting a sequel.
(au) wrote: Reading the back of the case for 100 Feet gave me real hope that this movie would scare the pants off of me. Unfortunately, I was sorely disappointed. While there are definetly some moments that made me jump and/or feel on-edge, there were just too many moments that had me shaking my head. Most of them being when the actual ghost is introduced and shown. As for Famke Janssen, she held the movie together well and showed that she could carry a movie. I just wish she had more to work with.
(it) wrote: It's a Mel Gibson action/adventure. If your a fan of Gibson, it works.
(de) wrote: During the WWII, a French countryside boy, Lucien Lacombe, insouciantly gets involved and recruited by the local Gestapo, after procuring the fast-gained high-handed social position and war trophies, his life has descended into a limbo when he is enamored with a Jewish girl. Louis Malle's Oscar-nominated WII feature clings on a well-balanced pace, concocts a carefully-conducted ideological wartime mind state from assorted kinds, mainly zooming in on the conflicting counterpoise between French-born Gestapos (there are scarcely any German has been mentioned in the film) and the fretful Jews in French. Also the resistance power as the third party has never been really put a sizable weight in the narrative line (not as in Jean-Pierre Melville's ARMY OF SHADOWS, 1969, 9/10). The metaphor of the overpowering horror at then is constantly and insistently being dispersed by a motley slaying of various animals, killing birds, dead horse, hunting rabbits, catching a domestic hen and snapping its neck, even a dying dalmatian in the ominously poised supporting-characters-go-to-hell slaughter. All the shots emit a kind of unsettling cinematic impact on the viewers (animal lovers particularly), the message has been unmistakably transmitted, but still not recommendable. First-timer and amateurish leading actor Pierre Blaise (who would unfortunately die in a car accident one year later) bears a tremendous balance of ennui and restlessness, an archetype of the rebellion youth, without any stage-fright to give away his newbie tag, his taciturn image can last for ever. Another great performance is from Holger Lwenadler, the Jewish father-in-law figure for Lucien, whose dignified integrity has to miserably yield to a adrenalin-driven adolescent's advance on his daughter, an exemplified cautionary tale of the misappropriation of weaponry and power. The daughter, Lucien's love interest, played by Aurore Clment, is a more opportunist symbol, oscillating between subservient lover and vengeful daughter. Among a handful of supporting roles, most of which are abruptly dissipating in the second half when the love-pursuit dominates the film, it could have been a potpourri of bountiful individual explorations, but Malle didn't opt for that way. The bleak shots of the ghost town after curfew is an indelible testimony of the dreadful terror of the life during wartime, Malle's film outlandishly culminates in a 15 minutes bucolic spree with Lucien, the daughter and her grandmother (an almost wordless Therese Giehse, but exudes great force of hatred even for a dazed glance), living in his countryside house (bombed and deserted now), rendering the film its most telling salve to the young lost souls, one may get a belated palpitation towards our young protagonist out of detachment which for me is the pre-eminent sense through its 138 minutes running time.
(it) wrote: Never knew Jack Lemmon directed a film, makes sense that he would have Walter in it. This film was a delightful surprise, the 70s really did have some of the best films of any era in my opinion. It's sad this film is so incredibly hard to find that the only way I can see it is if I am lucky enough to get it at the library. I m probably the only one who takes it out. This has to be outside of Dennis The Menace and the 2 Grumpy Old Men movies, this is my favourite of Walter Mathau's movies.
(br) wrote: Ich glaub, als ich ihn das letzte mal gesehen hab, hab ich noch Fruchtzwerge gegessen und find ihn auch heute noch total schrg! :) Frher gabs wenigstens noch echten Trash, heute fliegen nur noch Haie durch die Luft...
(ru) wrote: I feel like this is one of those perfect films. Nothing is wrong with it, as far as I can tell.