In the aging orphanage the days pass very uneventfully, but the nights are something quite different; at least for Tim they are. The light reflected from the stars is the only cure for his fear of the dark. One night this fear leads him to the orphanage rooftop. Where he discovers that his favorite star has disappeared, and unfortunately it´s not going to be the last one. Tim also discovers...
- Stars:Imanol Arias, Joe Lewis, Molly Malcolm, Robert Paterson, Natalia Rodríguez, Lloyd F. Booth Shankley, Carlos Sobera, Joshua Zamrycki,
- Country:Spain, France
- Director:Adrià García, Víctor Maldonado,
- Writer:Adrià García (original screenplay), Víctor Maldonado (original screenplay), Teresa Vilardell (original screenplay)
An orphan boy named Tim is afraid of the dark. However when the stars start going out in the sky he finds himself exploring the world of the night his new friend, the cat Shepard, to find out why. . You can read more in Google, Youtube, Wiki
Nocturna torrent reviews
(fr) wrote: As the Founder and President of a non-profit organization which raises funds for breast cancer research I found Pink Ribbons, Inc. disturbing and unproductive. I was inclined to rattle off each offense and elaborate on why I disagree. After having settled down a bit I will, instead, express a concise reply. I fear this film stigmatizes the business of raising funds for a worthy cause into something ugly and disingenuous. I fear movie viewers will be confused and demoralized by the film's ugly message. And, I fear past supporters may feel so degraded and shamed by this film that they will choose to direct their efforts and money elsewhere. We at The Lynn Sage Foundation agree that a collaborative approach to medical research is ideal and that activism can be constructive. Transparency is essential. Research into environmental causes of cancer is also very welcome. Funding worthy projects is simply not possible without the aid of corporations and individuals. Government dollars are scarce and dwindling. While their were some useful messages within the movie, the emphasis placed on sensationalism and inaccuracies is useless. We, and we presume many of our non-profits peers, would welcome the help of corporations, individuals and associates to collaborate on finding the causes, better treatments and a eventually a cure for this terrible disease.
(ca) wrote: Can't stand it too complicated, and it's not fascinating to watch I would say so I'm not a fan
(es) wrote: Every shade of awesome. One of the best comedies I've seen.
(nl) wrote: Parece uma exibio do Telecurso 2000. Tem alguns pontos interessantes, como a cena do jantar com a Catherine Deneuve, Stefania Sandrelli, Irene Papas e John Malkovich, cada um falando na sua lngua natal e todos se entendendo. Mas esse filme tagarelado, no passa de uma encenao de um livro didtico.A morte da menininha e da me era o final mais esperado por ns que no suportavamos mais ouvir as duas e seus: "qu sria?, qu mito? qu msquita?" e blah.Eu no sei o que o diretor queria mas esse filme soa como uma piada. Principalmente a cena final e o close no Malkovich. HA
(mx) wrote: a fantastic drama about revenge amongst Gypsy people living in Andalucia. Great acting, and lots of wonderful Flamenco and Arabic music and dance! Helping me with my withdrawal, after a wonderful visit to Spain last September!
(ag) wrote: I wouldn't normally review it with a perfect score, but I stand the critic Ebert here. This film is great, and while it's plot has some weaker points, I think it's still great. Most of the complaints feel unfounded here and it's a beautiful film. To paraphrase the main character in "Life is Strange" despite what everyone says, it is one of my favorite science fiction films ever.
(de) wrote: The scenes with Paul Tefler running around all sexy with his muscled hairy chest, ripped abs and nicely chiseled arms and legs is enough for some people to put up with the fact that this film basically sucks.
(de) wrote: A very peculiar and utterly melancholic tale filled with plenty of shocking moments that are sure to leave a scar on the viewer as the subject matter is not only tragic but also relatable to the society we all live in. The imaginative tale and sad tone both help to create a story thats visually stunning and that couldnt have possibly be made in any other time or style, which truly makes it a classic that while it may be a little monotonous, it is enjoyable in all its sadness.
(fr) wrote: GOOD MOVIE WORTH WATCHING
(fr) wrote: Joan Crawford continued her winning streak with "Daisy Kenyon," following the massive successes of two delicious women's pictures, "Mildred Pierce" and "Humoresque." It's not one of her most gloriously over-the-top performances, but "Daisy Kenyon" works well because it's a low-key romance film and is much more classy than most Hollywood melodramas. Otto Preminger has made many better films than this one, but it shows a more commercial side of him that's better than most. Daisy Kenyon (Crawford) is a New York based artist that is stuck in the middle of a stressful love-triangle: she's torn between Dan (Dana Andrews), a powerful attorney that is unhappily married with two children, and Peter (Henry Fonda), a WWII veteran that is dissatisfied with life after the war. Though most would follow their moral compass and go with Peter, Daisy cannot decide easily. Even when she eventually marries one of the men. Crawford was groundbreaking for her time because she was one of the few actresses who could still be sexy and independent after 40. But even more mesmerizing was the fact that she became a draw once again AT 40, after she was labeled "box-office poison" in the late '30s. Even today this is a remarkable achievement. But during that period, Crawford starred in some of the best women's pictures and film noirs of all time, this being one of them. Daisy normally would be played by an actress in her 20s, but Crawford makes it work. You can see why men like her: she's smart, pretty, and quick-witted. Crawford manages to keep her status as Queen of the Melodramas, even though she gives up her normally sudsy acting for a more subtle performance. Her chemistry with Andrews and Fonda is magnetic, and the love-triangle is interesting and believable. The film as a whole is very ahead of its time. Having a romance with two different men was already scandalous in the '40s, but that isn't what is so modern in its thinking. Andrews' character is cheating on his wife, so in response, she takes out her sexual frustration and misery on her children. At the time, cheating husbands' wives in movies were written mean or cloying, so then it would therefore make it okay for the leading lady to have a relationship with the man in question. But here, it's a realistic characterization. In the meantime, Andrews' character is a lawyer that is defending a Japanese man who has lost his property, without racism. That in itself is a triumph, considering the racism at the time. Is "Daisy Kenyon" a film noir? It has all the right aspects. It has slithery cinematography, the characters live within a gritty world that always looks down but not up, and of course, it's directed by Preminger, one of the finest noir directors. But "Daisy Kenyon" is much to A-picture-esque and three-dimensional to be called so. It's instead a great Crawford vehicle.
(ru) wrote: One of the finest coming-of-age films I've ever seen.
(fr) wrote: Aaaaah, brainless entertainment. Good movie to watch on flight. That's about it. The kid is a great actor though!
(mx) wrote: An undercover British policeman infiltrates a group of violent hooligans by disguising himself as one of them. Eventually, he finds he fits the part all too well. A gripping British drama filled with dark violent tension and good character development.