Artemisia Gentileschi (1593-1653) was one of the first well-known female painters. The movie tells the story of her youth, when she was guided and protected by her father, the painter Orazio Gentileschi. Her professional curiosity about the male anatomy, forbidden for her eyes, led her to the knowledge of sexual pleasure. But she was also well known because in 1612 she had to appear in a courtroom because her teacher, Agostino Tassi, was suspected of raping her. She tried to protect him, but was put in the thumb screws...

Artemisia Gentileschi (1593-1653) was one of the first well-known female painters. The movie tells the story of her youth, when she was guided and protected by her father, the painter ... . You can read more in Google, Youtube, Wiki


Artemisia torrent reviews

Dylan E (fr) wrote: Aside from some ammusing quotes, this was by all acounts a horrible movie....but it was great all at the same time. Strange how that happens eh?

007 W (mx) wrote: Transformers 4 was painful, but I'll give it this the action was alright, the CGI for the transformers was impressive still, but that's it everything else is shit

Asif K (ru) wrote: just superb, loved it, Priyanka is outstanding. With ANJAANA ANJAANI, director Siddharth Anand accepts a big challenge. This one's a love story, but it doesn't follow the beaten path. It doesn't follow the rules laid out by the romantics in Bollywood. And that's where its strength lies. Generally, couples in love commit to die for each other, but in this film, romance blossoms much, much after the two meet at the bridge for the first time, when they are about to commit suicide. From strangers to lovers to strangers again is how the film explores the relationship between this couple. ANJAANA ANJAANI works for two major reasons. The first being the powerhouse performances by its lead pair. Having watched their careers from the very onset, I would like to state that the two actors deliver career-best performances in ANJAANA ANJAANI. The second reason why ANJAANA ANJAANI works is due to the terrific moments in its second hour. Siddharth Anand has handled the subject with flourish. Besides, the film is not merely rich in substance, but is equally alluring when it comes to style and overall look. The DoP [Ravi K. Chandran] plays a major role here. The film bears a magnificent look all through and the panoramic and exotic locales of America only make every frame stand out. The costumes - Mamta Anand for Ranbir and Manish Malhotra for Priyanka - are trendy. Vishal-Shekhar's music has a lot of heart. Again, it won't be wrong to state that their compositions take the movie forward. The background score [Salim-Sulaiman] is top notch. In fact, the rich score compliments the mood of the characters beautifully. Dialogues are wonderful. On the whole, ANJAANA ANJAANI is an unpretentious romantic saga that revels in the exuberance of newly found love. The film has everything going for it: top notch performances by two super-stars, good music, a sensitive director with a good track record, a simple yet absorbing story and of course, terrific moments [emotional as well as humorous]. Don't miss this one! with AISHA, bollywood got its first official CHICK FLICK ..... here it goes..... now it got an official ROM-Com too.

Jason R (mx) wrote: Another feather in Mr. Cheadle's cap. Super-fun movie with a solid dose of history. Always nice to see a well-done true-story.

Faisal F (us) wrote: Wake up in a place when no one remember what happens before...

Lawrence S (it) wrote: meh. the makers obviously thought it would be the most amazing movie ever. with all the girls, cool adventures and celebrities of course?! ending guessed early on. kept me watching but i didn't lift my lips to smile once. thanks for nothing. nah, it wasn't that bad, the chick in the elevator and in the room on the bed were hot. being a girl watching the movie would suck. am i talking to myself? i think so.

Adam K (it) wrote: As usual, David Mamet's writing talents are fully on display here and the characters are more than fun to watch as performed by the cast, but its very selective in what pieces of the puzzle are entertaining and which just feel like filler for an ensemble piece. Its watchable and likable, but doesn't stand to the test of multiple viewings.

Zach M (jp) wrote: This was actually a decent murder/mystery/thriller starring Wesley Snipes and Diane Lane.A very interesting movie about a murder at the white house.A tiny bit of nudity at the start of the movie.The end was a bit predictable but still a good movie.

Stuart K (es) wrote: By the early 1990's, Pedro Almodvar had become a favourite in world cinema, making diverse yet beautifully looking and critically acclaimed films. As his follow up to High Heels (1991), he made a sort of retreat into the campy outrageousness of his early films, a satire on the intrusive nature of the media. Some of it works, some of it doesn't, but it has some good performances and some other-worldly costumes by Jean Paul Gaultier. Kika (Veronica Forqu (C)) is a make-up artist who aspires to be an actress, who ends up involved with American writer Nicholas Pierce (Peter Coyote), and his stepson Ramn (Alex Casanovas). Ramn went into a state of catatonia after his mother died, but Kika seems to have brought him out of it, and they both move in together, however Kika also ends up having an affair with Nicholas as well. This captures the attention of trashy tabloid TV presenter Andrea Caracortada (Victoria Abril), who goes around with a video camera on her head filming grieving people and aftermaths of violent encounters. After Kika has a traumatic incident, Andrea Caracortada won't leave her alone. This film has a rape scene played for laughs, it shouldn't work, but it does, sort of. But, the film on a whole if kind of like someone you found funny when you were younger, but they're trying to be funny and wacky years later, and it looks embarrassing. It does look good mind, but even Almodvar later said the film was a let down.

Chayc (ca) wrote: Not even an appearance from Phil Hartman can help.

Jon T (it) wrote: It's a cool concept sold short. I do like the film, but it's not as good as it could be and it gets weird at the end.

Lee W (jp) wrote: Still holds up as almost perfect movie!

Paul Z (br) wrote: John Cassavetes creates an eternally unique drama with his chronicle of an idealistic jazz musician played by crooner Bobby Darin, and his relationship among his fellow band members and his object of affection, a beautiful would-be singer who comes between him and his band members, played by Stella Stevens in an honest, humanly extreme performance clearly directed by Cassavetes and cementing an argument that she could have held her own as a star. Darin, as Cassavetes surely intended, brings a realistic contribution to his character from his life in the world of the era's music scene, as a dogmatically philosophical band leader who takes tremendous pride in seeing a profound, transcendental beauty in a mellow, instrumental school of jazz that he, with the exasperated tolerance of his fellow players, finds ideal to play to empty parks to communicate with nature and birds when he isn't playing gigs at old people's homes and orphanages. What is irrelevant in this film is how we feel about the music he feels most personally in tune with (no pun intended) in comparison to the commercially accessible music that would welcome him into a successful career. Like all Cassavetes films, Too Late Blues is about a character whose proclivities are beyond us, and what keeps it from being subjective or affected is that the rest of the characters share our feelings. The key to our understanding and relating ardently to Darin's character is his unrelenting obstinacy, which becomes Bobby Darin uncannily, borne by the pride that absorbs all of his perceptions into what is of use only to him. As this dooming characteristic rears its head, an internal conflict between his true passions and what will gain him the recognition that deep down he wants more than anything else, we come to dislike him and find ourselves on the side of his band members and his girl Stevens. Full of far-seeing insight and relentless individuality, it is not well-recognized film, which in itself is a testament to the artistic truth it presents. This is in some sense a shame though, because it is really a moving film in spite of all the expectations accompanied by an audience's perception of a music film. There are many great scenes where we simply hang out with the band in their regular hang-out spot with an entertaining bar owner, or we indulge in their impulsive diversions, or we react in unusual ways and we must step out of our regiments and make an endeavor out of looking further.

Chris H (jp) wrote: Dialogue and acting sucks, but this film does something so special and intelligent that it stands out from even more modern day kaiju counterparts: It treats the kaiju's attack as a natural disaster, with humans being the greatest danger. You see people trample others to death, push each other out of buildings, and leap into the flaming river. It really makes the kaiju that much more intense.

Ben H (de) wrote: Hedy Lamarr kind of wins

Brandon S (jp) wrote: A great piece of inspiring and uplifting epic filmmaking. Spielberg doesn't subject us to the horrors of the camp, but that's useful in this case. He cements into a child's perspective. All that he can see is the silver lining with brief flashes of grief and tragedy. So, that's what Spielberg shows us.

Chris Z (it) wrote: Very neat documentary. Simple portrait of a small town, done with great love and care. Fascinating.

Morgan B (jp) wrote: Surprisingly funny and the plot works rather well. Rife with misdirection. Silly and fun. Don't take it too seriously and you'll enjoy it. The zombie bugs were surprisingly funny. The dad character was hilariously awful. The main character was rather sweet.

Ed A (mx) wrote: some preditctable content but the visuals compensate the movie

Ahmed M (mx) wrote: The Expendables does a mediocre job in action scenes, and even a much worse job in storytelling. However, it is still entertaining for a mindless action movie.