Dreaming of a better life, migrants from the Northeast of Brazil speak about the city of São Paulo, and sing it in prose, songs, stories and multiple sounds. . You can read more in Google, Youtube, Wiki
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Saudate for the Future torrent reviews
Se Z (de) wrote: A heart-rending movie about a girl who seeks for redemption and a priest who couldn't help himself but become involved with his congregant and try to solve her problem. Jeremy acted well in the movie.
Chuckie Spice (nl) wrote: love Takashi Miike!!!
Jason M (nl) wrote: I dont know how I missed this one!
Todd C (kr) wrote: Stupid and contrived...not even one of those "so bad it's good" kind of bad movies
Adam H (us) wrote: Wow! THAT was...um...interesting?
Noah R (de) wrote: A strong contender for the worst film I've ever seen. Condescending, uninteresting trash.
Todd J (gb) wrote: Although the film's public reputation stems from the controversy surrounding the erotic moments and ensuing cases of censorship, the shift in sexual attitudes since the late 50's leave the film's treatment of sensuality rather tame and, therefore, more of a neat historical fulcrum than one of the film's defining traits. Instead, the enduring value of the film comes from the strength of character and the exemplification of Malle's versatility even at such a young age.Whereas Malle's debut feature, Elevator to the Gallows, had four central characters who served larger questions of political action and the primacy of the private sphere over the public in that action, The Lovers takes an intense focus on only one character and allows its political functions to rise from that characterization, rather than the other way around. The deep focus on Jeanne Moreau's character pays off most of the time. The opening act efficiently gets down to Jeanne Tournier's daily routine: her negligent husband, lackadaisical relationship with her daughter, her fun yet yawnish affair with a polo player. The narrative's placement of these things in opposition to the happiness of the vague discontent of Mrs. Tournier really enables Malle to throw the narrative over as Jean-Marc Bory's architect character comes into the picture. The ensuing affair capitalizes on that setup and follows the narrative through to its somewhat ambiguous ending.Despite the deep-focus characterizations, The Lovers ends up a mixed bag due to the rampant romanticism that persists throughout the narrative. Malle's attempt to present Bory as an intellectual counterpoint to the bourgeois surroundings come off as a very naive fantasy. The idea seems to be that Moreau, fed up with her empty lifestyle, goes off with the activist to lead a better life. Unfortunately, Bory's character's blowhard rejection of the aristocratic lifestyle never becomes a problem as he woos Moreau, and no real significant character work is done with Moreau to bridge the gap. Instead, Malle insists that the viewer accept that the two love each other at first sight and that such a notion legitimizes itself. However, it would be unfair to Malle to say that he doesn't recognize this. He includes a subplot involving the heroine's daughter that seems to sober the narrative from floating off into space. After all, if she takes off, her daughter's left alone with an inattentive father who spoils rather than parenting the child. Despite this inclusion though, the film tends to forget about this problem in favor of allowing audience sympathy to Moreau's character. Perhaps the most impressive thing about the film is that Malle pulls all of these contradictions together somehow. Sure, we know that Moreau's Tournier constantly endangers her child and, frankly, doesn't really give a lick about her, but Malle stacks the deck so much with the pace of the film that we fall for the trick too. The entire front half of the narrative keeps things relatively sober as the film sets up Moreau as the disaffected and neglected housewife who runs a passionless affair on the side. After the dinner party scene, the power of completely stopping the narrative as Moreau wanders around gardens, boats around, and makes love with Bory somehow gets the romantic material to overpower any other concerns. It's really a whirlwind of a scene with some classically and majestically filmed sequences that get so right, perhaps more than any other film, how one moment can result in the exclusion of the outside world. That Malle speeds through the setup efficiently but takes the time to linger over these moments only reemphasizes how talented he was, even in his 20's, at modulating mood. The infamous lovemaking only becomes a part of this fantasy world.Again though, the problem resurfaces near the end when Moreau and Bory have a stop to say goodbye to the daughter. Malle acknowledges what Moreau is doing but never allows the implications to play out. Instead, the film reaffirms Moreau's control of her own destiny and need to run with something so instantly satisfying. As the car drives on, the film seems to forget the victim of the situation, which I suppose might have been empowering in that historical moment but simultaneously belies a wish to forget the dark side of the situation. Instead, the film revels in its romantic vision of the relationship even while attempting to present a more modern, less frilly perspective.If the film needs to wrest the viewer from these questions by hooking attention to the plight of the story's heroine, then Jeanne Moreau greatly helps Malle in the attempt. Her acclaimed performance in Elevator in the Gallows seemed more like glamorized posturing rather than a fully realized character, but the nature of this narrative gives her a role to really bite into. Her patented seething boredom and penchant for the portrayal of denied passion makes the Mrs. Tournier part such a perfect fit that the actress and character even share a first name. While kudos should certainly go to Alain Cuny as Moreau's respectfully malevolent husband and Judith Magre as wannabe aristocrat "it" girl, Maddy, Moreau's performance glues the narrative together. Her ability to nail every emotional cue legitimizes Malle's love at first sight thread much more than the classic notion itself.All in all, The Lovers features much stronger character work than Elevator to the Gallows but never grabs onto the cohesiveness that made Gallows such an instantly powerful work. The strong acting and some smart writing allow some of the cornier notions success. Additionally, Malle's strong visual sense and some neat pacing almost give the romantic iconoclast moments some credence. Unfortunately, the fact remains that there are facets of the film (the occasionally sketched ancillary characters and failed attempts to expand the film's ideology with the child's narrative) that must be endured. Luckily, what works does so in a strong way. So much so that the lesser aspects can be happily endured rather than angrily focused upon. **** out've *****
Greg W (ag) wrote: fiest jap monster pic shot in glorious technicolor
Shaun q (au) wrote: Looks like it's really good.
Amanda H (kr) wrote: Not that I expected much, but this movie is nothing more than porn with the occasional break for footage of some horrible band playing. Seriously. That's it. There is no more. Don't bother with this.