The Highway Crossing

The Highway Crossing

Surprised by rain and sudden darkness Laura and Roland, a young couple hitch-hiking on an empty road, decide to seek shelter at a nearby country house. Osvald, the owner, seems to know the deeper meaning of their unexpected visit. His strange behaviour leads to an equally strange offer: Osvald wants to buy Roland's wife. Laura and Roland start to play along, only to discover that their host is not kidding.

  • Rating:
    4.00 out of 5
  • Length:68 minutes
  • Release:1999
  • Language:Estonian
  • Reference:Imdb
  • Keywords:based on play,  

Surprised by rain and sudden darkness Laura and Roland, a young couple hitch-hiking on an empty road, decide to seek shelter at a nearby country house. Osvald, the owner, seems to know the ... . You can read more in Google, Youtube, Wiki

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The Highway Crossing torrent reviews

Amanda Q (kr) wrote: BEST MOVIE I'VE SENN IN A LONG TIME!

June M (es) wrote: Wow! This is eye opening! Crazy!

Antonio F (br) wrote: Masterpiece of animation-- might come off in bad taste to people who haven't read the comic.

Grgory S (kr) wrote: Sans tre aussi bon que l'pisode de Alex de la Iglesia (qui est une vrai ppite), le segment de Monsieur Fragile, Rec et compagnie "Jaume Balaguero" n'est franchement pas mauvais. Il se sert d'lments connu pour foutre la trouille (immeuble abandonns, mannequin, salet, pluie et orage et j'en passe) et les utilises bien... Mais mme si le film assure au niveau ptoche, le sujet ne tient pas la longueur, on sent bien le film qui aurait gagn en intensit si il n'avait dur que 40 minutes. La a tire en longueur et les ractions des hros ou de la mchante sont trs souvent longues venir (ce qui, du coup, nous fait dcrocher). Mais l'ambiance est la et les acteurs ne sont franchement pas mauvais ! Un film donc pas assez dvelopp, trop long mais efficace pour qui s'y plonge !

Al M (ru) wrote: Despite featuring some recognizable talent, The Legend of Lucy Keyes is a truly lame piece of ghost-haunting cinema that never manages to be scary or even that entertaining. A crazy neighbor and clam-bellies is about as good as it gets...

Adrian S (us) wrote: My first Bela Tarr. It is a marvelously filmed B&W noir that has a snail-crawling plot which isn't as smart as you think it would be. Rather, Tarr seems to want you to get immersed in the monotonous life of a poor man which gets disrupted when he witnesses a murder. Surely a test if you aren't accustomed to long takes and dense symbolism.

Dave R (mx) wrote: a decent enough movie about some college kids that start their own bookmaking operation and the trouble they encounter when the mob finds out. fun just to see johnny galecki (of "big bang theory") cast against character and cussing up a storm!

Robert I (de) wrote: One of the chicks in this movie plays the psychic in "White Noise" who says "You are meddling in things you know nothing about!" Same is true about this film. The complete mishandling of Lent makes the movie feel like a movie about Hanukkah written by Stephenie Meyer. Aside from that, it isn't that funny or well constructed. One positive I'll give it is that it predicts the genre Apatow will make famous in a few more years. Minus the improv. And with an actual moving erotic scene involving flowers. Other than that though, it's been forgotten by the sands of time for a reason.

David B (it) wrote: Scarey, disturbing horror film. Peter Walker made a series of unconnected horror films in the early 70s this being arguably the best. Great atmosphere and surprisingly gory for the era. A must for horror addicts

Fabrice M (kr) wrote: Simple Story, Great Movie, won the Prix Louis Delluc. Tavernier is great (he is from Lyon !!!)

Theo W (nl) wrote: True Grit may not be the smartest or most technical film, but John Wayne and Kim Darby establish an unlikely camaraderie that makes you root for them from start to finish. The plot line starts out strong, but as the story starts to break at the seams, the main stars take over and engage the audience as only a band of misfits could.

Kenneth L (kr) wrote: This is a truly unique, odd little movie from the vaunted Orson Welles. It's somewhat difficult to review it, since it's basically impossible to compare it to anything (the closest comparison I can think of is to Banksy's Exit Through the Gift Shop, which was made much later). It's a sort of documentary/essay by Welles on the concepts of fakery and deception. Much of it is about a couple of cases of fakery (some of the most important and famous frauds of the 20th century, actually), but the movie also incorporates a good deal of Welles's personal musings on the idea, as well as some fakery of its own.The movie spends about its first two-thirds telling the story of two famous fakers, Elmyr de Hory and Clifford Irving. Elmyr de Hory was known as the greatest art forger of the 20th century; he could easily, almost effortlessly, reproduce the styles of many famous painters, and he could do it so well that museums routinely bought his works as if they were originals with no questions asked. He apparently even fooled one actual artist into believing that he himself had painted what was actually a fake. Clifford Irving, who wrote a biography of Elmry de Hory, was also a very famous fraud in his own right for producing the ostensible autobiography of famous movie producer Howard Hughes. (The story of Irving's fraud was adapted into the film The Hoax with Richard Gere, and Hughes's life was portrayed in Martin Scorsese's film The Aviator.) Welles tells the stories of both of these guys, and then (spoiler alert) does a little fraud of his own with a made-up story about Picasso and Oja Kodar (who was actually Welles's girlfriend).Welles's technique in telling these stories is so technically dazzling, so intricate and so constantly playful, that you're left wondering what precisely it is that you've seen, or if indeed you've really seen anything at all. He edits the film with the flair of a magician or a guy performing an incredibly confident shell game. Welles's famous ego is all over this movie. There are a lot of scenes of Welles himself talking directly to the camera, sometimes while sitting in the editing room, ostensibly putting together the movie as we're seeing it. It's quite an impressive cinematic performance. As long as you're willing to go along with what Welles is doing here, you'll probably enjoy it (or at least not forget it anytime soon).