The White Dove

The White Dove

A boy accidentally kills a carrier pigeon in this story told through symbolism and imagery.

A boy accidentally kills a carrier pigeon in this story told through symbolism and imagery. . You can read more in Google, Youtube, Wiki

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The White Dove torrent reviews

Paul A (ag) wrote: Great film, it was a sad movie and the acting was fantastic. Storyline went well and was better then I thought it would be, almost considered giving this a 4/5 Stars. Highly recommend watching!

Dan D (ag) wrote: HUGELY overrated and awful!

Edith N (au) wrote: Hypnotic Yet Dull It's never really explained why the two children spend their spare time playing Slave. It's just a fact of this universe, the same way there is a quartet singing American folk songs. Possibly it indicates how completely out of touch with everything the village is, that a child in the twenty-first century thinks that's a perfectly acceptable thing to do. It's also true that kids do weird things and always have. My cousins used to jump out of a second-floor window all the time. (Because one of them had fallen out, and it looked like fun.) However, it's worth noting that the adults never notice what the kids are doing. They have that peculiar belief that being the same age and in the same physical location means you must be friends. Though on the other hand, they seem to believe that will happen with them as well. Possibly this is a lesson learned all the way 'round, then, but I doubt it. Elisabeth (Maibritt Saerens) and Sigve (Henrik Rafaelsen) have come to a small Norwegian town along with their adopted Ethiopian son, Noa (Ram Shihab Ebedy). Their new neighbours are Kaja (Agnes Kittelsen) and Eirik (Joachim Rafaelsen) and their son, Theodor (Oskar Herns Brands). Kaja has been lonely, and Eirik mostly ignores her, so she latches onto Elisabeth with delight. Only Elisabeth doesn't much like Kaja and thinks she's a bit of a twit. Which, to be fair, she is. But she's eager to please. One night, the couples are playing a getting-to-know-you game. It is revealed that Elisabeth and Sigve have moved to the country to patch up their relationship after Elisabeth had an affair. Meanwhile, Kaja and Eirik haven't had sex in a year. Kaja gives Eirik oral sex in the kitchen when he goes out to comfort her. They start having a full-blown affair. And it turns out that the reason Eirik doesn't have any interest in having sex with Kaja is that, well, Sigve is really more his type. Kaja thinks that Elisabeth and Sigve are a perfect couple, but among other things, they're lousy parents. It almost seems that they adopted Noa as a fashion statement. They certainly don't notice that the neighbour kid is making him carry baskets on his head and whipping him with towels and so forth. Of course, they don't seem to notice much about each other a lot of the time, and they certainly look down on Kaja and Eirik, even though they are the way they are mostly because they haven't had any opportunities to be anyone else. Sigve believed that taking Elisabeth and Noa away into the country was the solution to their relationship problems, and he was clearly quite astoundingly wrong about that. I'd note that he was also selfish enough so that he was willing to flaunt his affair with Kaja in front of her son, or at best not notice that he was doing it. Elisabeth eventually notices what's going on and chooses to set Kaja up for humiliation. It's pure luck that it doesn't work. Kaja is one of those blind optimists, and I think that may have put her in the unfortunate position she was in. There's something to be said for not always looking at the bright side, and it's that you're more inclined to do something about problems if you'll acknowledge that they're there. It's quite obvious that her life isn't right. There's something wrong with her marriage that goes a bit beyond a yeast infection. She's a loving person, and she's trapped. And Eirik's attitude is rubbing off on Theodor, who flatly tells his mother that she's ugly. (My kid would have been punished for that, I assure you.) She doubtless thinks her marriage can be saved. She really does think that she and Eirik can and should have another child. She then probably thinks that she and Sigve can start a life together and everything will be fine. It's only at the end that she faces reality, and it's only at the end that she is able to take steps to make her new life worthwhile. The character whose eventual fate I wonder about is Noa. He's not a happy child. We see him watching Obama give a speech about our core values and the fear that they are evaporating, but I can't imagine that he understands it, given there's no indication that he speaks English. In fact, he hardly speaks at all. We don't know enough about him to know what caused it. Maybe he's just a quiet kid. Some are. But he doesn't seem able to tell his parents when he's not happy with things. He doesn't seem to really feel much of anything, I think, or at least be able to express it. I doubt his opinion was asked about this particular little move. Or the move away. Every time they showed him, which wasn't often, I was struck by how dark his skin was compared to everyone around him. How dark he was compared to the snow around him. This was a child out of place, a child disregarded by pretty much everyone around him. Even the story doesn't really seem to care much about him, not enough to bother giving him a personality.

Nick B (fr) wrote: While at times it can get a bit clich (C)d, Akeelah and the Bee shines through with good characters, good dialogue, and great performances.

Hay L (ag) wrote: Hauntingly beautiful movie.... poetically simple yet effective... with one of the most beautiful soundtrack ever...

Juan S (gb) wrote: Revealing truth of being in the front line of war being a human.

Alyssa (au) wrote: Ha ha ha! This movie was SO funny!

Brigid N (it) wrote: Just okay for John Cusack... though still includes John Cusack, which is major redemption.

Michelle F (it) wrote: Johnny Depp = amazing. Never surprising. <3

Al M (it) wrote: Dead End Drive-In is essentially a rip-off of the Mad Max films with a bit of Repo Man thrown in to turn the film into a bizarre sort of cheesy satire. The film depicts a dystopian world somewhere between the slow decay of Mad Max and the full-blown apocalyptic landscape of Road Warrior and Mad Max Beyond Thunderdome. Set against this dystopian backdrop, Dead End Drive-In follows one young man who takes his girlfriend on a date to the movies in a souped up '56 Chevy, but this drive-in movie theater proves a little bit different. As the couple are getting a bit amorous in the back of the car, some thieves steal two wheels off the car. The couple end up stranded at the drive-in theater because they cannot get new wheels and are not allowed to leave on foot. The drive-in has become a bizarre refugee zone in which various punks, lowlifes, perverts, criminals, and homeless people dwell. From this basic premise, the film progresses onwards. I would call the film absurdist or Kafkaesque, but it is simply to cheesy to warrant such terms despite its premise. Still, it is an enjoyable, humorous piece of Australian 80s cult cinema that you will not likely forget despite how terrible it is at points.

Matthew L (au) wrote: The sixth, though fifth to feature Lee in the role, of Hammers Dracula franchise and by this point you'd have assumed that they would have driven the formula and the character into the ground. Thats not the case however, as with Anthony Hinds superior script which draws more heavily upon Stoker's novel than any other film in the franchise bar Dracula (1958) and direction from an on form Baker, who sadly passed away recently. Lee is given more to do and say in the first 10 minutes than in the last four films combined and he seems to be enjoying himself immensely. A superior piece of Hammer gothic cinema and a fine example of British cinema that has rarely been bettered.

Tuomas R (gb) wrote: Auttamatta vanhentunut mutta samalla mys tytyy nostaa hattua kekseliist tehosteista ja lavasteista. Nyttelijty paikoittain tker.

Vincent H (ru) wrote: Moral to the story comes near the beginning: "You have to lose yourself sometimes to find yourself." Rest of the movie explores how the two leads go about that.