Querelle

Querelle

Here is the story of a beautiful, proud and tough loner, a sailor named Querelle, whose commanding officer Seblon worships and desires him from afar. Querelle turns on his drugs-smuggling partner and murders him. He then goes to a notorious brothel run by the rapacious Lysiane, who leads Querelle into his first homosexual encounter. Then, Querelle has become vulnerable and soft, and soon the once powerful object of passion comes to belong to Seblon.

French sailor Querelle arrives in Brest and starts frequenting a strange whorehouse. He discovers that his brother Robert is the lover of the lady owner, Lysiane. Here, you can play dice ... . You can read more in Google, Youtube, Wiki

LinksNameQualitySeedersLeechersSize
Download   Querelle (1982) Brad Davis (Rainer Werner Fassbinder) EngOther6537684.5 MB
Download   Querelle.1982.720p.BluRay.x264-PublicHDBRRip57474 GB
Download   Querelle.1982.1080p.BluRay.x264-7SinS [PublicHD]BRRip52454 GB
Download   Querelle (West Germany, 1982)Other45304 GB
Download   Querelle.1982.1080p.BluRay.x264-7SinSBRRip25514 GB

Querelle torrent reviews

Tanmoy C (de) wrote: A cult film( the GOW series). Some exceptional performances especially by Nawazuddin makes this the best of the genre.

Raine L (au) wrote: these guys should have won best actor awards.

Josnick K (kr) wrote: One of my favorites movies to watch over and over.

Private U (it) wrote: This movie is hot biz

Lucas Y (jp) wrote: Arguably Robin Williams best, certainly most haunting performance ever. He elevates the film and this would have been forgettable without him. One Hour Photo is well constructed and keeps you on the edge of your seat, but the ending was quite dull. I expected a much bigger payoff.

Parker M (ru) wrote: 4 Stars out of 4 Director: Bela Tarr (Satantango) Running Time: 145 minutes Classification: PG "If you are listening to the film, and simply watching, you will find there is little reason for speculation about the film's meaning. This is why I have said: No allegories, no metaphors, no symbols, nothing..." -- Bela Tarr, director of Werckmeister Harmonies Bela Tarr's Werckmeister Harmonies is so taut, so profound, and so detailed that it should require a manual guide to watching it. Moving with a slow-yielding grace, the film is worth more than just briefly witnessing because of how it conveys its events without the flinching desperation to explain its course. The camera's movements are so intricately deconstructed of exhibition and kinetics that you wouldn't dare call its style a conceit. One must watch Werckmeister Harmonies as a demonstration of motion and set their mind to the mood of the camera. Don't get to know the characters, but react to how the camera superimposes them. For 145 minutes, Werckmeister Harmonies has to be one of the few films that actually defines itself as cinema but portrays itself as reality. Don't be surprised if you begin to forget that you are witnessing this through a camera. Werckmeister Harmonies is terrifically inventive because it tries to be slow. It's a film that curbs its succinctness to tantalize the watcher. Is it a difficult watch? Of course it is. But Bela Tarr is genius at vitalizing a film through its deadened sense of grasp. If I were to ever teach a film course one day, I would want to screen this for my students. But the occurring problem is that the film is too tormenting for vehement students to have to endure in a crusty theatre and then clasp their confused thoughts before writing a tedious test on it. Werckmeister Harmonies is just too enigmatic with its content to verbally justify it. It requires a metaphysical approach. Watch it, breathe it in, and then hopefully love it. Some may not. I do. Bela Tarr is a Hungarian director, known for his seven hour epic Satantango (of which I have not yet seen). He's got some Truffaut in him and watching his swaying camera you want to say almost a little Altman. But that would be a stretch. Altman was insistent on having his films move on a mobile wavelength. The camera never stopped. Bela Tarr stops the camera, makes it fly, emerge from a hazy fog, as if trying to capture the astonishment of cinema's capabilities. Werckmeister Harmonies plot is rather vague. It seems to pass by like an inexplicable allegory. When we are admiring the shots, we can't help but remind ourselves -- oh right, there's a plot too. But the narrative is nowhere near the definition of swift, conventional, or fast-moving. There are only 39 shots in the film's longevity, which systematically adds up to around one shot every 3.7 minutes. You can immediately tell this is not about the action, when the standard film nowadays has a shot every two seconds or so. But that's not to say the cinematography is a passive focalization. It entitles itself as slow-moving, cautious in its progression, but it is highly active in which it intensifies its images with this uncanny feeling of emotion. Why this dreaded sense of an imploding apocalypse? Why such an utter bleakness to the monochromatic style? Why such an abrasive locale? Bela Tarr refuses to admit this film is pure allegory, but his fixating narrative intensifies on its epitome of an enfeebled town degenerating into an explosion of social upheavals. Excuse my perhaps pretentious claim but the symbol of a whale (which dominates the town as some sort of demagogue) represents intelligence and social advancement. In this case, the whale is a paradox to the film's tones. But in another way it is true to the story -- the whale is dead, expressing that the town's probity is lost too. And courtesy of the camera's demonstrative focalization through Janos Valuska (the terrific Lars Rudolph), we envision this catastrophic dystopia through a, more or less, subjective lens. Oddly. Werckmeister Harmonies seemed to be layered in this existential gloom. It loomed with a cynical stirring, as if the camera provoked dark feeling for us. What a vicarious experience. But strangely enough, Tarr had a more bare-boned Nietzsche way of putting this film. For him, it was all based on austere action, not complex ideology: "We never talk about theoretical things. We never talk about Chaos or existential things. We just talk about someone coming into the room and he wants something and the other guy who is sitting there doesn't want these things. That's all." It's a tough way to look at Werckmeister Harmonies, as if all the sheer fascination reduces itself to such elementary denominators. But that's the beauty to Werckmeister Harmonies: though it has an unconventional and stretched-out display, it is undeniably equivocal. Werckmeister Harmonies, in all fairness, is not a terrific entertainment. But by all means, refrain from calling it an alluring bore. That's not the valid paradox here. I find it to be a slow flash of mesmerization. From the opening tracking shot that performs a peculiar portrayal of orbiting cosmos, we cannot help but connect these people as silly. Werckmeister Harmonies, if it's not anything, is absurd. We are not meant to find our characters imbecilic but by witnessing this film through a hypnotically slow and alienated lens, we distance our perspective and zone in on the temperament. Why does that town linger with frost, but no snow? Why is a dead whale so intriguing that it starts an uproar? Either way, it's a way for Tarr to craft a story of people moving through beautiful shots, dazzling lighting, and fastidious blocking. This is an experience. Love it, grow tired of it, there is too much to appreciate. Was I ever bored? Maybe once or twice. Is this a new favourite of mine? Not really. But Werckmeister Harmonies is extremely embraceable for its modest yet spellbinding style to tell a story through an array of long takes. The film does not excel on its characters, its spectacle, or its showmanship, but on its confidence to tell it through every sort. The saddening feeling is watching people anticipate absolutely nothing, a minor reflection on Samuel Beckett's Waiting For Godot. But in this case, they waited upon a Prince. But that's not the central focus? So what is? Well, as Tarr boldly stated in that quote to start this review: "...nothing." I SAY--See It...if you dare.

Luis O (nl) wrote: Did not know he directed himself, to tell a story about art that is not adored by the masses was a monumental task.

Yann B (nl) wrote: un thriller psychologique assez sympathique, scenario pas trop mal, enfin faut avouer que c'est Adrian Brody qui porte le film sur ses ptites epaules, il est parfait en psychopathe machiavelique, sans lui ca aurait vite pu partir en cacahuetel'actrice qui joue la flic et quelques autres acteurs sont franchement tres limite, mais bon le tout est pas trop mal meme si ca fait un peu telefilm

Alejandro E (de) wrote: The mafioso,show bussiness worlds in the eye of Woody Allen.Charming,funny performances.

Kostas T (de) wrote: mia tainia stul vasiko enstikto mono pou den exei toso ti lampsi kai tous asteres autis!

Charles G (ca) wrote: I found it a very good period piece. I think should be watched with Summer of 42.

Christopher S (ru) wrote: A surrealist work that lyrically overcomes its low budget with imagery and atmosphere that beats out countless others to be an authentic, intriguing cinematic interpretation of a dream state. Definitely not for all tastes, but for those with a taste for experimental and surrealist cinema, this is a fascinating piece of work.

Jon B (us) wrote: an angry bald man with Teddy Roosevelt glasses is a scientist that shrinks some people out of pure spite cause he's a d-bag. Theres a shrunken Mexican guy named Pedro who has to wear a giant diaper unlike the others who get to wear togas.

Guido S (mx) wrote: I really wanted to like this one. Having caught it on TV one day and for whatever reason, didn't finish it, finally got around to watching the whole thing. I'm a fan of kung fu movies and do enjoy the East meets West type films like Rush Hour, this movie wasn't that good. Chow Yun-Fat is a monk destined with the task of protecting a sacred scroll from Tibet that gives its possessor youth and immortality. The Nazis try to take it but were unable to. So naturally, the story moves into present day New York. Sean William Scott is a pickpocket thief who also works at a Chinese theater where he learns kung fu from the movies. The Nazi general who originally tried to get the scroll originally is still alive and is trying to get it from a young Chow Yun Fat. You know what's going to happen from there. Unfortunately, the story never really gels into that great comedy or great kung-fu flick, instead it straddles both lines, but does neither well.

Justin B (fr) wrote: Low key coming of age tale that strikes the perfect balance between indie and Hollywood.