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Pickpocket

Michel is released from jail after serving a sentence for thievery. His mother dies and he resorts to pickpocketing as a means of survival.

His mother dies and he resorts to pickpocketing as a means of survival. Michel is released from jail after serving a sentence for thievery

Pickpocket is a new movie of Robert Bresson. This movie was introduced in 1959. We can counted many actors in this movie torrents, such as Martin LaSalle, Marika Green, Jean Pélégri, Dolly Scal, Pierre Leymarie, Kassagi, Pierre Étaix, César Gattegno. There are many categories, such as Drama. Many people rated for this movie, Rate is 7.8 in www.imdb.com. This is really a good movies torrent. Share this movies torrent to support us . You can read more in Google, Youtube, Wiki

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Links Name Quality Seeders Leechers Size
Download   Pickpocket (1959) - Robert Bresson Other 60 51 702.68 MB
Download   Pickpocket.1959.FRENCH.720p.BluRay.x264-ROUGH BRRip 62 39 3.28 GB
Download   Pickpocket.1959.DVDRip.H264.AAC.Gopo DVDRip 37 31 1.27 GB
Download   Pickpocket.1959.720p.BluRay.x264-CiNEFiLE BRRip 52 32 3.28 GB
Download   Pickpocket.1959.1080p.BluRay.x264-CiNEFiLE BRRip 45 37 4 GB
Download   Pickpocket (1959) FULL DVD (ISO) Criterion Collection Other 55 52 4 GB
Download   pickpocket (bresson, 1959) Other 43 48 1.09 GB
Download   Pickpocket.[VOSE].DVDRip.CVD.[AVT-].by.tahita DVDRip 26 49 791.98 MB

Users reviews


Aj V (fr)

Overall, it's just okay. It's an interesting look at young love, but it's not funny, and the story is kind of all over the place at times. This movie was disappointing, it's not that bad, it's okay, it's just disappointing


Bill B (gb)

Recommended. Nicely sleazy and well worth your time. What feels a bit off is how the film takes the time to drag us through the dregs of LA nightlife, following Hubley around while Ramrod has time to escape police custody and go in search of revenge. Season Hubley shines as a hooker who helps the cops arrest Wings Hauser, AKA Ramrod, the cruelest pimp you could possibly imagine


Ethan P (kr)

A beautifully animated and thrilling adventure that brings the ancient tale to life with ferocity and intelligence


John A (it)

Otherwise, we get little variation from the pattern of these films, which work for what they are: enjoyable and increasingly disposable films that offer a few laughs, some intrigue, and a sweet marital relationship at the center of it all. This was a slight improvement on the previous installment, as the humor surrounding the relationship with Nick's parents is consistently enjoyable


John N (mx)

Good story, great action, and the dazzling Pam Grier. A very entertaining film by Jack Hill


Marco C (us)

Despite some great shooting locations, Indochine failed to impress me at all


Marlne W (es)

. . Sympa mais trop bavard et trop rapide sur certaines choses


Michael H (ru)

Awesome date night movie


Steve G (it)

Dave Kehr's a windbag, butthurt that it doesn't further his preferred narrative. I remember thinking it was alright


Steve P (nl)

Directed by: Gaspar No. Starring: Nathaniel Brown and Paz de la Huerta. Often maddening, sometimes meandering, but undeniably original and topical, especially as it delves into the idea of a human psyche being ravaged by prolific drug use and the carnality and temporal nature of sexual behavior, Enter the Void magnifies the tiny microcosm it fashions for itself and expands it into creating an epic film that ostensibly crafts its own universe. No makes Enter the Void operate in the strangest, most far-out category of weirdness that I can think of, and the overall effect the film merits is equal parts haunting as it is mesmerizing, and the result is anything but coherent. The film, while overlong, sometimes repetitive, and more than likely to wear on most brave souls who choose to view it, still asserts itself as a piece you cannot ignore, at least for long. Because of this film being both minimalist and particularly constructed, a particularly strange dichotomy exists where Enter the Void, in some respects, is easy to define, and in others, cruelly difficult. In terms of its narrative, the film is predicated upon impressionistic standards of interpretation, meaning that you can subscribe to its story, its characters, and its imagery whatever you perceive as being fit with its content, save for maybe the core themes of the project, such as the barbaric and often loveless representations of sex. Nonetheless, the meticulous craft pays off because Enter the Void is a mesmerizing work visually. Debie creates a film that, while at times is visually dark and dingy, still simultaneously feels bright and vibrant, and with No's limitless ambition taking over the project at every turn, Debie is tasked with doing ostensibly much more than the average cinematographer normally has to do to make a vision come to life. The inexplicable use of bright, neon colors and hallucinatory patterns that look as if they're tie-dye patterns and tessellations come to life. With that, Benot Debie's cinematography does everything to make us forget that we're currently viewing a place on Earth. If nothing else, it sure evokes the nonsense level of your average dream, as well. The variety of angles and techniques employed to give us this kind of lucid, almost transient experience since the film is captured in something resembling a vignette-style, makes the entire experience feel like a dream with its replication of the randomness of the mind at rest. Never does No rush himself; he takes time to craft and present, as he constructs other-worldly, neon-soaked landscapes that make Vegas look like it's lit by just a few neon signs, and presents them with a wide variety of intricate camera angles (particularly high-overhead shots that have the camera look as if it's positioned on the ceiling pointing directly down on the characters). Enter the Void, given how long it is, manages to be incredibly lucid and dreamlike for most of its runtime. We see Oscar and his sister recount memories from their childhood, as well as how Oscar moved out to Tokyo and got involved in the drug dealing business at the expense of himself and his sister, whom he promised he'd protect his entire life. This book carries itself throughout the film, as Oscar, and the audience as a result, plunges deep into his psyche to uncover ideas, memories, and thoughts he never knew he had. Oscar has also become fascinated with The Tibetan Book of the Dead, a Buddhist book of beliefs about the afterlife and reincarnation, thanks to his best friend Alex (Cyril Roy). We're flooded by the sounds and internalized thoughts that circulate through Oscar's head throughout the night, as he wastes away getting high and hallucinating as he roams the streets of Tokyo. The opening scenes get the audience closely involved with our lead character like few films ever do; No makes Oscar's point-of-view our point-of-view, complete with abrupt camera movements to indicate rapid head-movement and even frequent blinking to resemble even Oscar's most unconscious actions. The film follows Oscar (Nathaniel Brown), a young man who lives in Tokyo with his younger sister Linda (Paz de la Huerta) and makes ends meet by dealing drugs. In fact, it does the opposite and persists on for over two and a half hours, and by the end of it, you're left exhausted, mentally fried, and as if you just experienced a crippling drug trip like the lead character in the film. "Gaspar No's Enter the Void is an unfathomable sensory overload, and unlike most experimental works that adopt a strong visual scheme with graphic content and polarizing nudity, it doesn't feel an obligation to tell its story briefly so that you return to your former start of contentment or comfort. NOTE: This film was recommended to me by Tyler Plachy for "Steve Pulaski Sees It