Estevão , Ivan e Gilberto são companheiros desde os tempos de faculdade e sócios de uma construtora de sucesso há mais de 15 anos. O relacionamento entre eles sempre foi muito bom, até que um desentendimento na condução dos negócios faz com que eles entrem em choque, com Estevão, sócio majoritário, ameaçando abandonar a empresa. Acuados, Ivan e Gilberto decidem então contratar Anísio , um matador de aluguel, para assassinar Estevão e, assim, poderem conduzir a construtora do modo como bem entendem. Entretanto, Anísio tem seus próprios planos de ascensão social e aos poucos invade cada vez mais as vidas de Ivan e Gilberto.
Bob M (us) wrote: It was not anywhere near as good as I was expecting. Left me disappointed.
Art S (ag) wrote: A day in the life of a pizza delivery driver in Tehran which gives us (and him) a glimpse of the serious social inequity in the culture. Despite his blank passivity, these class differences affect him deeply. The movie drifts humidly from situation to situation becoming increasingly surreal (at least in the way it must feel to the protagonist). And then we are back at the moment that started the film, only slightly more capable of understanding it.
Linnea P (de) wrote: An interesting film. Hlynur's character is soooo brilliant!
Max H (ag) wrote: I can't express how lame this film is. A lowlight of my film-viewing life. Horrifically shite.
Todd W (ca) wrote: One of the funniest movies I have ever seen
David B (jp) wrote: Great film! I've seen it many times. If you relate it to Twelve Monkeys (the original French film by the same director), there are so many similarities. Sans Soleil even quotes Twelve Monkeys at one point, & it appears Chris Marker had a thing for time travel! I love the retrograde sound effects! Yes, it's challenging. Think of it like an adult - as opposed to preteen & adolescent - version of Linklater's Waking Life, but a brilliant travel film.
Private U (ca) wrote: Again... come on, it's Marlon Brando. How can you hate on that? Also, quite a good movie on the whole inter-racial marriage/relationship bit... atleast for a movie made in the '50s.
Edgar C (nl) wrote: Bresson would direct the exact equivalent of Rossellini's last neorealist war installment two decades later, but with a rural setting and a female lead, and it would be called Mouchette (1967). Powerful in its message, devastating in its implications, breathtaking in its hidden, underlying layers of controversial subject matter and undeniable poetry. Germany is in its year zero: a year of perdition, reconstruction and desperation. Rossellini, the master of immediate post-war neorealism. 99/100
Kristine H (nl) wrote: Isabelle Blais est excellente. J'm'attendais pas a autant de nudite... ce n'est jamais sans point mais quand meme un peut trop. Surtout la scene au tout debut du film. L'histoire est tres bonne et bien developpee. Ca traite d'un sujet pas mal lourd mais est tres bien realise.
Bret G (br) wrote: Carver's open-ended stories suggest that, despite everything, life goes on: a message both optimistic and melancholy in print but, overall, unsatisfying fodder for a feature film. Skip it.
Luciano G (us) wrote: A bad school play, poorly directed and acted....this tries to emulate greater movies of the past but the director is not talented enough to even come close.... avoid...
Tom S (kr) wrote: Saw this at the GSFF. Heartbreakingly sad, my friend and I were devastated afterwards. Extremely well done, cannot wait for the DVD.