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Sandeep N (ru) wrote: Thanks but no thanks, another shit movie in my bag! So you will experience this painful urge to slap each character one by one and tell them to get a life! Ok done.
Kim D (nl) wrote: Didn't think this was going to be very funny but I was rollin'!
Derek C (it) wrote: everything moves in fast forward.
Shelbi S (ca) wrote: definitely one of my all time favorites!
Deborah H (it) wrote: Great movie with a great story! A must see! Atttttttttttt
Benjamin F (jp) wrote: Dogme 95. Can you dig it?For the uninitiated, Dogme 95 is a Danish film movement that spanned 1995-2005, founded by Lars von Trier and Thomas Vinterberg, dropping much of the usual technology and artifice of the film experience for something entirely focused on the story, acting, and theme - taking indie filmmaking to the very roots of film's creation. Most viewers are so accustomed to the layers of artifice and perspective-skewing lenses that we veil our films with that Dogme 95 films may seem initially unpalatable, but if you can get past your preconceptions, there's substance to be enjoyed.I'm not quite a stranger to Danish film myself, having watched Allegro, The Boss of It All, Dancer in the Dark, and Dear Wendy in the past - three of them Trier films, and one of them a collaboration with Vinterberg that was far from Dogme 95. (Dear Wendy) All of the aforementioned were enjoyable in their own ways, but despite having learned about the Dogme 95 movement in a European film course I took in college, only now was Italian for Beginners my first personal exposure to Dogme 95.The acting is strong across the board, highlighting one of the greatest strengths of Dogme 95: its documentary-like feel. The characters disappear into the actors, and you feel as though you're watching the stories of real people unfold on screen, creating a level of immersion that otherwise typically self-aware filmmaking is less capable of. Of course, prior to Italian for Beginners, I wasn't familiar with any of the cast - that likely also contributes to the impressive melding of character and actor in my eyes.The camera work itself is all competently done - it never feels like an awkward home movie, and it's not as spontaneous as a documentary. There's clearly direction, but it doesn't interfere with the authentic feel of the story presented. That said, as there's nothing grand in what Dogme 95 seeks to capture and express, there's nothing grand in Italian for Beginners' cinematography - just well-shot images and scenes of characters as believable human beings living their lives in Denmark, and a trip to Italy late in the film.The script, in many ways, is what holds it back. There's a few too many happy coincidences and connections and a few too many relative deaths that the characters go through at every turn to completely hold onto the realism Dogme 95 seeks. These aspects of the script would likely have worked better in a more traditional modern film where you're more aware of the artifice of the world you're gazing into, but at the same time, that would come at the expense of the Dogme 95 strengths Italian for Beginners possesses.In its summation, Italian for Beginners is a good film, and a worthy introduction to Dogme 95 - a test of sorts to see whether or not you could get into and enjoy the films of the movement. But I'd also bank on Dogme 95 movies being essentially unpalatable to the average American filmgoer, and that's likely the case for most filmgoers across the globe. This is pure art house cinema at its very heart - the product of a movement with vision, seeking to capture and highlight certain things at the expense of the elements of modern and postmodern filmmaking that we so often take for granted. As such, while I can personally recommend Italian for Beginners as a good film, that recommendation comes with the caveat that most people will probably struggle with it - that's the nature of Dogme 95 filmmaking. It's hard to call it necessarily "entertaining" or "fun," but it's authentic, honest, and heartfelt in ways the cinema we're used to can't quite reach.
Matt K (au) wrote: An avante-guarde masterpiece. Should be taught in every film school.
Cameron M (fr) wrote: It has moments of genuine charm, an enjoyable score, and an acceptable debut performance from Helen Slater who does her best to interpret the cobbled script but overall Supergirl is a movie that can't quite tell what its own story is.