A Place Called Chiapas

A Place Called Chiapas

On January 1, 1994, the Zapatista National Liberation Army--made up of impoverished Mayan Indians from the state of Chiapas--took over five towns and 500 ranches in southern Mexico. The government deployed its troops, and at least 145 people died in the ensuing battle. Fighting for indigenous Mexicans to regain control over their lives and the land, the Zapatistas and their charismatic leader, guerilla poet Subcomandante Marcos, began sending their message to the world via the Internet. The result was what THE NEW YORK TIMES called "the world’s first postmodern revolution." Years into the uprising, filmmaker Nettie Wild traveled to the jungle canyons of southern Mexico to film the elusive and fragile life of the rebellion. Her camera effectively and movingly captures the personal stories behind a very public clash of traditional culture and globalization.

On January 1, 1994, the Zapatista National Liberation Army--made up of impoverished Mayan Indians from the state of Chiapas--took over five towns and 500 ranches in southern Mexico. The government deployed its troops, and at least 145 people died in the ensuing battle. Fighting for indigenous Mexicans to regain control over their lives and the land, the Zapatistas and their charismatic leader, guerilla poet Subcomandante Marcos, began sending their message to the world via the Internet. The result was what THE NEW YORK TIMES called "the world’s first postmodern revolution." Years into the uprising, filmmaker Nettie Wild traveled to the jungle canyons of southern Mexico to film the elusive and fragile life of the rebellion. Her camera effectively and movingly captures the personal stories behind a very public clash of traditional culture and globalization. . You can read more in Google, Youtube, Wiki

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A Place Called Chiapas torrent reviews

Brittany L (es) wrote: I knew i would love this movie! and i did made me love the Obama's even more!

Perrine B (ca) wrote: Lucas travaille dans la lutte contre le trafic d'armes Marseille, tandis que Maya est dans les stups Paris. L'enqute de Lucas l'amne collaborer avec les stups, et il en profite pour tenter de renouer avec Maya, sa fille avec laquelle il n'a jamais rellement eu de contacts. Ce film traite deux aspects : des enqutes policires ralistes et un drame familial. Les deux sont bien traits et intressants, mais le scnario ne se pose jamais vraiment sur l'un ni l'autre. L'action est bien prsente, les acteurs sont bons (Roschdy Zem, Leila Bekhti, et Marc Lavoine dans un contre-emploi remarqu), les dialogues aussi. Petit bmol au niveau du rythme et fin brusque. Mais un tout agrable et dans la moyenne.

King L (it) wrote: Another movie written and directed by Woody Allen. Most of Allen's movies take place in New York City but this one takes place in London. As usual his movies are jam packed with very famous actors playing people involved in very complicated relationships. Naomi Watts is Sally, the daughter of an elderly couple who decide to divorce after years of marriage. Her mother finds comfort in advice from a fortune teller. In addition Sally's marriage is failing. Her husband leaves her for another woman. Sally's father marries a woman half his age. Things end badly for everyone except for Sally's mother who finds happiness when she meets a man who shares her belief in reincarnation. This movie leave s a lot of loose ends that makes you wonder what happened to those people but that may be the whole point. There are a lot of uncertainties in life.

Ryan T (ag) wrote: First film to make my eyes watery for a while :)

Matthew D (us) wrote: The Sweeney, what more can you say, allot of language and action, true Brit style of London.

Justin T (au) wrote: Saying this movie is strange is not enough and your body is not ready for what this film has to offer.

Neil D (us) wrote: get over the fact that Cusack cant speak with a german accent or any accent for that matter and you'll enjoy this move. Even without the accent Cusack gives a great performance along with the rest of the cast. Great ending as well!

Fekry Y (br) wrote: It is a realy nice movie

Justin O (us) wrote: A generic action flick.

Paul J (jp) wrote: Bandits is an okay crime comedy. I didn't expect a whole lot, so it was a somewhat pleasant surprise to see that it wasn't a complete waste of time. The acting was okay,for the most part and Billy Bob Thornton was really good. Bruce Willis and especially Cate Blanchett were just dull to me. For what Bandits is, it's a fun and entertaining ride.Terry and Joe break out of prison and begin a string of bank robberies to fund their paradise in Mexico. Their highly successful and soon the whole country knows who they are. A woman shows up and complicates things as they often do.

Dave S (kr) wrote: I loved the first two but this one is a complete dud, save for the great chemistry between Morita and Macchio. A rehash of the first movie. Daniel gets his butt whupped a few times, Morita steps in yet again and drops everyone before finally agreeing to train his student. As for the romantic angle, Shue and Tomita were great in the second movie but Robyn Lively is awful here. Only Thomas Ian Griffith brings something new to the table, albeit a bit over the top

Dean H (br) wrote: "It's a matter of principle"

Jack G (nl) wrote: Man of the West, the film that Jean-Luc Godard called the best one of 1958 when he was at Cashiers du cinema, is both brutal and sad in how it places its characters into states of being no one can really get out of. One may call it fate or just bad luck when Link Jones finds himself off the train taking him back to his home and finds the one place he'd rather not go to is the only one close by (and happens to have his Uncle Dock Tobin and his cousins), but much of it comes back to the domination of MEN in this world; the 'Man' of the title is meant to be Gary Cooper, and yet it could be any of the men in here. What does it mean to be a man here? For those people wanting someone with honor and integrity, one might look to Cooper's character.What's fascinating is how much of an inner struggle he is having as he comes back to his former home, where his uncle taught him to be a "man" along with his cousins and it was in the ways of being a robber and a killer. He tried to leave that life behind, but somehow, some way, he's pulled back in to it (not that his face possibly tipping off an old-time marshall won't get the old wanted posters out again). So when he happens along to his former criminal, gunslinging, bank-robbing kin when off of this train with a good woman (Julie London as Billie) and Arthur O'Connell as a man who seems like a possible annoyance at first (and who isn't so much once the drama really unfolds), it creates an instant conflict.This is Mann's territory, of the dysfunctional families out in the west (see also Winchester 73 with the brothers who have gone down very different roads of killing, or The Furies with its father-daughter power struggles), and he mines it for some rich dramatic terrain. it's amazing so much of this movie works even when knowing what isn't quite right about it - the age disparity is hard not to see, with Cooper trying to play younger (and, to be fair, not doing a terrible job), and Lee J. Cobb as his *uncle* with a gray wig and some make-up that isn't wholly convincing, certainly on first glance, not to mention his character was a "kid" with one actor half his age - because the acting sells every tension-packed moment. And few moments are more tense and sad and almost tough to watch as when the men demand that Billie take off her clothes in front of them (it takes a knife to Cooper's throat to convince her to start doing it).That, by the way, has the feel of a rape scene because it is (later, off-screen, there is another, and Mann shows us enough of the aftermath and London is heartbreaking in every moment that Billie is put through the wringer), and yet the only thing that stops that violation of her agency to go further is that "Uncle Dock" says it's time for bed. Man of the West is the kind of film that gains in uneasiness and violence, including a fight scene midway through the movie that does not look fun like many, more possible hacky directors (or just more "commercial" minded) might have done. At one point it's Cooper vs one of this gang and it goes on and on, feeling not unlike something out of the fight scene from They Live only without the sense of over the top spectacle. This is rough and ragged and there's a point where the "movie" ness of it goes away and it's just watching two bedraggled men duking it out - including, ultimately, a "humiliation" that Link does that seems to set off this guy more than a simple shot to the head might do.What on the surface may seem like a straightforward thriller turns into a moral tale about the implicit terror that masculinity brings to people in the old west - not unlike Winchester 73 a subtle commentary on the form while getting to be it, in the 1950's of course - and Cobb makes this uncle an imposing presence over everyone (how could he not, after all, he's Lee J friggin Cobb!) Cooper brings a sad dignity to the man, someone who no longer wants to kill, and at the same time can spring into action if he's pushed into a corner, which, you know, is what this movie could also be called: Cornered in the West or something like that. Mann and his writers have here less a story that's meant to arouse excitement as much as contemplating what it fully means when someone gets shot, what that violence entails, or what happens when a woman is stripped away down to what she's "made" for (when she Billie says to Link that he's the first man she can remember in a long time, if ever, to not look at her as something to be "had" or defiled, we believe it). And yet London as an actress gives her a ton of screen presence and little moments that don't make her one dimensional.It may fall short of being a "best of 1958" like Mr. Godard said, but I can see his love for the movie: it's more concerned with ideas and notions of the old west than having it be just empty action and gunfights, and exploring the psychology, to be pretentious about it, of the west itself, of what an outlaw family entails and then what it means to be a *good* person in a world where it's so easy to get a gun and go out and shoot for cash and gold.

Michael H (jp) wrote: Crude, lewd, and would still be a success if it came out today. A classic example of a film pushing limits and seeing success.