Woman has to choose between being a prostitute or posing nude for a painter, in order to finance an expensive surgery for her son, his only chance to survive. . You can read more in Google, Youtube, Wiki
Volúpia de Mulher
Woman has to choose between being a prostitute or posing nude for a painter, in order to finance an expensive surgery for her son, his only chance to survive.
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Volúpia de Mulher torrent reviews
Nick (es) wrote: Interesting story, much better than the book.
Abhishek S (jp) wrote: Jeremy Irons at his best!! With a stellar cast on a topical subject!!
Jeremy G (it) wrote: Good natured fun with the raunchiness you expect from Johnny Knoxville, Patton Oswalt, and Rob Riggle.
Leif Inge R (de) wrote: 10/10Holy crap! eg har aldri brydd meg om snowboarding, men denne dokumentaren va sinnsykt r! Ufattelig sjukt se Terje Hkonsen boarda ner fra et av Alaskas hgaste fjell som fystemann i historien. De andre sto og mpte. Eg sjl fekk frysninger av se p. Fantastisk landskap, super filming, morsomme og laid back snowboardstjerner og ein heilt crazy sekvens kor han eine blir tatt og dekka av snras men kjre gjennom d uten falla og komme seg trygt ud p siden av raset. SJUKT!!
Erin C (ca) wrote: Not very good. It seemed like a jumbled mess. None of it was very believable - the acting, characters or relationships between the characters.
Armando P (fr) wrote: Charming, beautiful and epic.
Cedric L (ca) wrote: Kinda unnecessary...
Stphane G (nl) wrote: Une claque ce film,les acteurs sont fantastiques et si vrai!!!!
Marat P (fr) wrote: The concept is very interesting, but the execution is worthy of a vigorous first year film student. There is no human truth here, just half baked ideas.
Jacob M (us) wrote: In my opinion, it's pretty childish.
AM Q (br) wrote: Whenever I hear this movie I think about that Better Than Ezra song from the Empire Records soundtrack. Oh yeah, and I did like this movie.
Nube J (kr) wrote: my cat can eat a whole watermellon!
Blake P (jp) wrote: The Savages are not the family Sherwood Schwartz wanted us to see back in the 1970s. They are emotionally stunted, easily irritable, and alarmingly contemptuous; to them, a healthy human relationship is the equivalent of a Healthy Choice frozen dinner, unstable, unpredictable, and a little bit plasticky. It's not the fault of the now-grown Savage children, Wendy (Laura Linney) and Jon (Philip Seymour Hoffman), who weren't born this way but were instead made this way. The blame spotlight should be shone onto their father, Lenny (Philip Bosco), and their mother, who left the family when the kids were old enough to feel the pain of such a desertion. Though never outrightly said, it is suggested that Lenny abused his children all during the growing up process - and when we meet them for the first time, we can near instantly see the damage. Wendy, 39, has never experienced a normal relationship, and is currently dawdling in one with a married man thirteen years her senior (Peter Friedman). She pops pills, tells herself that her temp job will eventually lead to her dream as a playwright, and won't admit that, by 39, most people have figured out what they're doing with their lives. Jon, hapless and derisive, is a college professor who somewhat successfully writes on the side; his life would be more fulfilling, though, if he knew how to commit to someone. He's dated the same woman (Cara Seymour) for several years but can't seem to trust her, not because of anything she's done but because his formative years were never stable enough to ensure an enduring faith. So when Wendy and Jon receive a call that the father they thought they had cut out of their lives is in the grips of heavy dementia (his latest hobby is writing on the walls with his own shit), they hesitantly travel down to his barely there living quarters and figure out just what they're going to do with him (Wendy is leaning toward luxurious assisted living; Jon berates her for ignoring the fact that all the luxuries are there for the guilty family members). In the process of his declining health do the siblings begin to come to terms with just how unstable their lives are - and, in a twist of fate, the worse things get, the better their self-acceptance becomes. The second feature of Tamara Jenkins ("Slums of Beverly Hills"), "The Savages" is a tragicomedy of epic proportions, so exhaustively painful it's a wonder that we ever find the time to laugh. So perceptive is her writing that we can't help but look at ourselves and wonder just how much our childhood shaped us, how realistic we are at seeing ourselves in adult form. Wendy and Jon are so lost that their ability to put on a brave face is really something; as the eventual, expected death arrives at the end of the film, we smile as the loss of something scarring gives them the courage to move forward and pursue the interests they've never been able to grasp out of incessant fear. Linney and Hoffman bring a melancholy to the table that seems on the verge of picking up. Though slightly overlong and narratively aimless, "The Savages" is a dark comedy that hits us where it hurts and still sees the humor in everyday hardship. Life isn't always funny - maybe it's sadder than we'd like to admit - but when a laugh comes, it isn't hard to want to grab onto it and make it last forever. Lord knows Wendy and Jon need it.
Ben W (jp) wrote: a great deal of sermonizing, but otherwise, quite possibly some of the most solid godard ive seen. yes, its overly politicized, massively preachy, but his art is impeccable.
Kenneth L (mx) wrote: This isn't quite the perfect movie that Citizen Kane is, but then not every movie can be. It's still a dazzling, fascinating, and completely unpredictable movie evidently made by a true genius. It's a film noir, sorta, but not like any other noir I've ever seen. The story follows a young sailor (Orson Welles himself, doing a funny stage Irish accent) who is hired to work on the yacht of a very weird married couple: the seductive and mysterious Elsa (Rita Hayworth) and her husband (Everett Sloane), a wealthy, crippled lawyer. I don't want to give away any more than that, but suffice to say the movie took a bunch of twists and turns I didn't anticipate. The performances are excellent, and there's a bizarre romantic sequence in an aquarium. The house-of-mirrors sequence at the end is amazing. Welles's direction is often expressionistic, finding ways to render familiar things bizarre and uncanny. There was no one quite like Orson Welles, and it's a shame he had such a consistently difficult career. At least we can appreciate him now.
Paula L (es) wrote: Boring, with great lines in the end but not enough for me to recommend it.