Encounters film

Encounters Film Redaktionskritik

Encounter ein Film von Paul Salamoff mit Luke Hemsworth, Anna Hutchison. Inhaltsangabe: Eine Gruppe von Freunde entdeckt auf einem Feld. The Encounter ein Film von Robert Conway (II) mit Clint James, Owen Conway. Inhaltsangabe: Eigentlich sollte es ein amüsanter. Encounters - Unheimliche Begegnung - der Film - Inhalt, Bilder, Kritik, Trailer, Kinostart-Termine und Bewertung | fccafeopera.se 1 - Zugelassene Filme. Für Encounters zugelassen sind Spielfilm- und Dokumentarfilme ab 60 Minuten Laufzeit, die für eine Kinoauswertung vorgesehen sind. Grave Encounters ist ein US-amerikanisch-kanadischer Horrorfilm über das Übernatürliche, gedreht im Found-Footage-Stil.

encounters film

drei Berlinale-Plaketten – für den besten Film, die beste Regie und Die Encounters-Filme sind reizvoll und verdienen auf der Berlinale. Encounter ein Film von Paul Salamoff mit Luke Hemsworth, Anna Hutchison. Inhaltsangabe: Eine Gruppe von Freunde entdeckt auf einem Feld. Grave Encounters ist ein US-amerikanisch-kanadischer Horrorfilm über das Übernatürliche, gedreht im Found-Footage-Stil.

Encounters Film - Wo kann man diesen Film schauen?

Reformen brauchen Zeit. Malancrav, ung. FSK 16 [1]. Hauptseite Themenportale Zufälliger Artikel. Grave Encounters erhielt gemischte bis negative Kritiken. September [2] auf DVD und am Bandbreit und anspruchsvoll deckt Encounters inhaltlich wie formal tatsächlich ein weites Spektrum ab.

Encounters Film Video

The Encounter (2010) FULL MOVIE

November 18th a small Danish film crew disappeared in the woods of northern Sweden without a trace. One year later, their footage was leaked by a hacker group now known as Pandoras.

This is the crew's unsettling and disturbing footage. Yes, I admit it, I'm a sucker for found-footage, as long as it's been done well.

I had high hopes for this film and in some ways it was pretty good - it had some tension though it could have been scarier.

But what disappointed me was that it over-explained, instead of letting the viewer sort it out for him or herself.

I like having a puzzle that I need to work out from the clues. This film didn't content itself with clues - it told you explicitly what was happening - where's the fun in that?

And that also made for no surprises and no real scares. Overheard conversations and explanatory audio tapes don't leave much to the imagination.

Which made the ending credits all the more inexplicable - after being led by the nose through much of the film, I was scanning the clips between the credits trying to work out what was going on.

I think I know, but the end result was that I went from being told too much, to something that didn't make a lot of sense.

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Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Encounters - The woods have secrets. Director: Anders Johannes Bukh.

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Edit Cast Credited cast: Kristian Fjord Fjord Jacob Wagner Guldager Anders Casper Sloth Janne Claus Vedel The scene in which the two lovers are about to commit adultery is toned down: in the play it is left for the audience to decide whether they actually consummate their relationship; in the film it is intimated that they do not.

In the film, Laura has only just arrived at Dr Lynn's flat when the owner returns and is immediately led out by Dr Harvey via the kitchen service door.

Later, when Laura seems to want to throw herself in front of an express train, the film makes the intention clearer by means of voice-over narration.

Also, in the play, the characters at the Milford station — Mrs Baggot, Mr Godby, Beryl and Stanley — are very much aware of the growing relationship between Laura and Alec, and sometimes mention it in an offhand manner; whereas in the film, they barely take any notice of them or what they are doing.

The final scene of the film, showing Laura embracing her husband after he shows that he has noticed her distance in the past few weeks and perhaps even guessed the reason, is not in the original Coward play.

There are two editions of Coward's original screenplay for the film adaptation, both listed in the bibliography. Much of the film version was shot at Carnforth railway station in Lancashire, then a junction on the London, Midland and Scottish Railway.

As well as a busy station being necessary for the plot, it was located far enough away from major cities to avoid the blackout for film purposes, shooting taking place in early before the Second World War had finished.

At two points in the film, the station location is indicated by platform signs referring to local destinations including, Leeds , Bradford , Morecambe and Lancaster.

Coward makes the station announcements in the film. The station refreshment room was a studio recreation. Carnforth Station still retains many of the period features present at the time of filming and remains a place of pilgrimage for fans of the film.

The country bridge, which they go to twice in the film including on their final day , is Middle Fell Bridge at Dungeon Ghyll in Cumbria.

The quote Fred recites is "When I behold, upon the night's starr'd face, huge cloudy symbols of a high romance In addition to the verbal reference to Keats, there is a visual reference to an Arabic love poem.

When Laura enters, there is a shot of it over the dining table. Later, when Stephen confronts Alec, it is seen over Alec's left shoulder.

According to trade papers, the film was a "notable box office attraction". Brief Encounter was acclaimed upon its release, [11] although there were doubts that it would be "generally popular".

Today, the film is widely praised for its black-and-white photography and the mood created by the steam-age railway setting, both of which were particular to the original David Lean version.

In , the magazine Total Film named it the 44th greatest British film of all time. Derek Malcolm included the film in his column The Century of Films.

The British historian Thomas Dixon notes that Brief Encounter "has become a classic example of a very modern and very British phenomenon — weeping over the stiff upper lip , crying at people not crying.

The audiences for these wartime weepies could, through their own tears, provide something that was lacking in their own lives as well as those of the on-screen stoics they admired.

The British play and film The History Boys features two of the main characters reciting a passage of the film. The scene portrayed, with Posner playing Celia Johnson and Scripps as Cyril Raymond, is in the closing minutes of the film where Laura begins, "I really meant to do it.

Kathryn Altman, wife of director Robert Altman said, "One day, years and years ago, just after the war, [Altman] had nothing to do and he went to a theater in the middle of the afternoon to see a movie.

Not a Hollywood movie: a British movie. He said the main character was not glamorous, not a babe. And at first he wondered why he was even watching it.

But twenty minutes later he was in tears, and had fallen in love with her. And it made him feel that it wasn't just a movie. The Channel 4 British drama series Shameless has a plot based on Brief Encounter in its fifth series.

Similarities include the main character Frank Gallagher getting grit in his eye from a bus, being caught by a friend of his wife, and experiencing the tearful departure.

Frank's wife Monica even thanks Frank for coming back. There is a similar final scene in a railway station. The episode "Grief Encounter" of the British comedy series Goodnight Sweetheart features the Coward character and shooting a similar scene in Milford railway station.

Brief Encounter serves as a plot device in Mrs. Palfrey at the Claremont , a US-produced comedy-drama film based on the novel by Elizabeth Taylor.

The aging widow Mrs. Palfrey reminisces that Brief Encounter was her and her deceased husband's favorite film, which leads her young friend, the writer Ludovic Meyer, to meet and bond with his eventual girlfriend.

Frances Gray acknowledges a common criticism of the play: why do the characters not consummate the affair? Gray argues that their problem is class consciousness : the working classes can act in a vulgar way, and the upper class can be silly; but the middle class is, or at least considers itself, the moral backbone of society—a notion whose validity Coward did not really want to question or jeopardise, as the middle classes were Coward's principal audience.

However, Laura in her narration stresses that what holds her back is her horror at the thought of betraying her husband and her settled moral values, tempted though she is by the force of a love affair.

Indeed, it is this very tension which has made the film such an enduring favourite. The values which Laura precariously, but ultimately successfully, clings to were widely shared and respected if not always observed at the time of the film's original setting the status of a divorced woman, for example, remained sufficiently scandalous in the UK to cause Edward VIII to abdicate in Updating the story may have left those values behind and with them vanished the credibility of the plot, which may be why the remake could not compete.

The film was released amid the social and cultural context of the Second World War when 'brief encounters' were thought to be commonplace and women had far greater sexual and economic freedom than previously.

In British National Cinema , Sarah Street argues that " Brief Encounter thus articulated a range of feelings about infidelity which invited easy identification, whether it involved one's husband, lover, children or country" p.

In this context, feminist critics read the film as an attempt at stabilising relationships to return to the status quo.

Meanwhile, in his BFI book on the film, Richard Dyer notes that owing to the rise of homosexual law reform, gay men also viewed the plight of the characters as comparable to their own social constraint in the formation and maintenance of relationships.

Sean O'Connor considers the film to be an "allegorical representation of forbidden love" informed by Coward's experiences as a closeted homosexual.

The script used was a adaptation for radio by Maurice Horspool, which had been in the BBC's ownership and had never been used or performed since then.

The first adaptation of Brief Encounter which sourced both the screenplay and Coward's original stage material was adapted by Andrew Taylor and starred Hayley Mills in the lead role.

The Kneehigh Theatre production, produced by David Pugh and Dafydd Rogers , was adapted for the stage and directed by Emma Rice and is a mixture of the film and the stage play, with additional musical elements.

It premiered at Birmingham Repertory Theatre in October and the West Yorkshire Playhouse later that month before opening in February at the Haymarket Cinema in London, which was converted into a theatre for the play.

From Wikipedia, the free encyclopedia. For other uses, see Brief Encounter disambiguation. Theatrical release poster.

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British Board of Film Classification. Time Out. Retrieved 10 March Fourth Estate. Retrieved 18 November The Washington Post.

Encounters Film Mehr zum Thema

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2 Replies to “Encounters film”

  1. Ich tue Abbitte, dass sich eingemischt hat... Ich finde mich dieser Frage zurecht. Ist fertig, zu helfen.

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