Une vie meilleure (2011) torrents full movies


Une vie meilleure

Yann (Guillaume Canet) and Nadia (Leïla Bekhti) fall in love. Nadia has acquired a crumbling building in a Paris suburb and the couple decide to renovate it to launch a restaurant. But ...

Une vie meilleure is a great movie of Catherine Paillé (scenario), Cédric Kahn (scenario). This movie was introduced in 2011. We can counted many actors in this movie torrents, for example I.S. Johar, Brahmachari, Helen, Mehar Mittal, Sunder, Guillaume Canet, Leïla Bekhti, Slimane Khettabi, Abraham Belaga, Nicolas Abraham, François Favrat, Brigitte Sy, Fayçal Safi, Annabelle Lengronne, Valérie Even, Daria Kapralska, Yann Andrieu, Atika Taoualit, Arnaud Ducret, Adou Khan. Movie' genres are General, Drama. The rating is 6.6 in www.imdb.com. This is really a good movie torrents. The runtime of this movie are awesome, about 110 minutes. KimHoaNg is interesting uploader, she is very lovely. You should spend more time to watch this movie. If we must use one word to describe about this movies torrent, I think it should be 'Awesome', so what is your opinion. Do you know what are customers? ChimTo is the best. I can't push my iPhone screen. Share this movies torrent to support us . You can read more in Google, Youtube, Wiki

. . But . Nadia has acquired a crumbling building in a Paris suburb and the couple decide to renovate it to launch a restaurant. Yann (Guillaume Canet) and Nadia (Leïla Bekhti) fall in love

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Users reviews

Aj V (nl)

Not great, but a good spy movie with romance and danger, but not enough excitement

Angelina C (de)

So easy to predict, you can do so from beginning till the end. The movie consists of one ridiculous clich (C) after another. Chemistry between Eckhart and Aniston was so fake that it was painful to watch. Hollywood doesnt seem to make good old fashioned romantic movies anymore. Extremely superficial and tepid romance going on here. This is not a romantic comedy

Art S (nl)

This doesn't work out so well, but the film is rather low on shocks (or deeper philosophical content even), opting instead for almost comical squishy gore. With the help of a young doctor convicted of a similar crime (sorcery), Frankenstein grafts parts of different patients' bodies onto one ugly ass monster (formerly human). It seems after being sent away to an asylum for the criminally insane, Frankenstein has managed to blackmail the director into letting him look after the inmates and also continue his experiments. The title is the best thing about this later entry from Hammer, even though Peter Cushing is here, reprising his role as the Baron Frankenstein

Brendon M (us)

stafari". . "Love, prosperity, unity, Jah. One song I really wanted to know more about was Redemption Song - which is probably is biggest and kinda skirted over. Know this might be hard as only Marley probably knows. I left half a star off as I would've liked more explanation where more songs came from. Wonder what he'd think nowadays with so much hate. He really was like a Rasta Gandhi - just loved life. Loved it and learnt a lot about Marley and Jamica's history that I never knew

David B (de)

Horror sequels don't get any better than this. Great film and now a big fan. But it makes up for it with a deliciously devious plot and enough gory shocks for a dozen Halloweens. This macabre follow-up to 2004's low-budget horror smash can't rival its predecessor's fiendish ingenuity. The camera work and editing is once again brilliant and it's rare to get a great follow-up. Well written by James Wan and Leigh Whannell, who both did the first Saw. The cast are great and another fantastic twist at the end. Introducing Donnie Wahlberg as Detective Eric Matthews (Great edition to the series) trying to find his son only to find he is part of Jigsaws games. We get to understand John's ways. The traps are more brutal, shocking at times and bloody, the best for me being the painful looking Needle Trap. Tobin Bell (Who is perfect and was in the first film as "A body that comes alive twist scene in the end) comes back as John/Jigsaw but is now in it for most of the film. The first film only had a low budget, and this up steps making the most of the concept

EliT3Miik3 A (br)

corney @ times but is funny

Farah R (ca)

This new "Refueled" addition has nothing new to offer other than cheap stunts and poor narrative. A dreary endeavor to revive the shabby Transporter franchise which should have ended after the first movie

Lee M (us)

At best, this aspires to the whimsical charm of Local Hero; at worst, it simply steals from it

Rachel S (ca)

could be interesting

Richard S (ru)

"All I have left to give you is my death" will linger for some time to come. All in all, it adds up to one of RWF's most penetratingly personal features. Effi used to be my favorite, but I think Voss eclipses it with the stunning high contrast shots and a real understanding of (and finally a budget for) spaces that suit the characters' lives. Further, it's one of his most stunningly composed b/w films. It's also worth noting that Fassbinder manages to make a film about addiction (on multiple levels) and codependency without pandering or forcing the audience to reflect on some silly moral or nugget of truth. Even knowing that the best days are long since past, there's the feeling that you'd like to bask in those last remaining rays of light- regardless of the cost or consequence. I'm also drawn to the way that he captures the charisma of a once stunning, now faded star. To say this is one of the best two tiered films about l'amour fou neglects his critique of the film industry and post-war culture, but for me, those issues are only gloss on an already captivating film. Fassbinder presents self-destruction with the clarity that only someone deep in its clutches could understand. It matters little what you're told and even less what the reality of the situation amounts to. For me, it's idea of unrelenting devotion to an idea or person who you know to be a lost cause. Now, despite an often convoluted plot, it's easier to brush the tangents aside and focus on the heart of it all. Too tied to a lost period of German film for me to truly appreciate. Too close to Sunset Blvd. Too indebted to Von Sternberg. Initially I found this one of the lesser bits of Fassbinder's final era. It's amazing what kind of perspective a few years can bring