Tharlo is an orphan. Now grown up, he makes a living as a sheep herder in the village. He has grown a ponytail, so people simply call him “Ponytail”, since nobody remembers his real name anyway. Tharlo has a remarkable memory. He remembers so many things, except his own name. He is now in his forties, and he has yet to have his first woman. Now Tharlo goes to town to take a photo for his identity card. He meets a girl in the barber’s shop who changes the course of his life. He embarks on the journey to find his true self. He sells all his sheep and those entrusted by other villagers to him for care, and decides to use the money to go out into the world with the girl, only to find himself being deceived and cheated by her. Ironically, in his journey of self-discovery, Tharlo has lost his sense of self. As he witnesses in the mirror his ponytail being cut off and leaving him bald, he can no longer see himself as a man with a history that he recognizes.
Tharlo is an orphan whom lives a simple life but could a brief encounter with a woman in his local town change his life forever? . You can read more in Google, Youtube, Wiki
Tharlo torrent reviews
(ru) wrote: Shit, den er elendig.
(nl) wrote: Documental que se centra en los dias de gloria y la tragica muerte de uno de los mayores ases del volantes del siglo xx. Fans de la F1: a tomar nota.
(ca) wrote: Maybe. His stroke near the end kinda ruins it. The daughter's story may have been a little more interesting.
(nl) wrote: An interesting if not totally fulfilling introduction to Turkish cinema.
(us) wrote: All-time Top-5 in my own ranking.
(br) wrote: Terrible but worth watching to try and figure out how anyone would find Feldman cool. His solo dance routine is truly stunning.
(mx) wrote: The acting, direction, and score are all really good, and they all really help Ms. 45 be a great revenge film.
(mx) wrote: Berry Gordy's love letter to Diana Ross is one of the funniest movies I have seen in a long time. Unfortunately, it's really not supposed to be a comedy. What little story there is is solely a lame excuse to stitch together montage after montage of Diana Ross images. In fact, I haven't seem this much unabashed admiration for a female lead since Streisand did "The Mirror Has Two Faces". Frankly, the only thing saving this flick from zero stars is Anthony Perkins's ultra-campy performance of the photographer who gives Ross her big break. While Perkins definitely was over the top, at least he was interesting. The bottom line: avoid this flick unless you have some sort of weird Diana Ross fetish.