Kafka

Kafka

Kafka, an insurance worker gets embroiled in an underground group after a co-worker is murdered. The underground group is responsible for bombings all over town, attempting to thwart a secret organization that controls the major events in society. He eventually penetrates the secret organization and must confront them.

Writer Franz Kafka works during the day at an insurance company where events lead him to discover a mysterious underground society with strange suppressive goals. . You can read more in Google, Youtube, Wiki

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Kafka torrent reviews

Kathryn M (es) wrote: The filming style of this movie was really quite beautiful. Stripped down, using what was around to tell the story. In some ways, very limited dialogue, the story told with the actors' facial expressions, silence, and the camera shots.And the story is all about Solo deciding to take William under his wing in an attempt to keep William from committing suicide.Not a movie for those that like lighthearted, happy ending movies. But, a good movie.

Andrew S (ag) wrote: Strange film that was not all that interesting.

Lee M (us) wrote: If Spike Jonze's "Her" seeks to destigmatize and legitimize the existence of online relationships, "U Want Me 2 Kill Him?" seeks to do the opposite. But Walden's structurally elaborate script can't quite conjure the social and environmental detail necessary to make the belief-defying believable on a dramatic level.

IVRt (de) wrote: it was a decent movie.. they tried to have little cut scenes intended to scare ppl but all it did waz just annoy me .... they really didn't get into much detail about it.. .. just some very very very very very basic knowledge

Kris K (kr) wrote: Fliegauf's camera hardly ever stays still. Comparisons to his fellow countrymen, Jancso and Tarr, undoubtedly come from his impressive and very clever use of long-shots, gliding the camera around with the intent of, on the one hand, allowing the viewer to see literally everything -- things even the characters can hardly take in -- and, on the other hand, the intention of isolating the viewer despite following Brechtian aesthetics. This is a brilliant film and Fliegauf shows such a great deal of promise, vision, scope, technical skill, and a fresh aesthetic, not to mention his keen analysis of Hungary's social and cultural issues as they contribute to an almost existential erasure of individuals' subjectivities. In my opinion, I personally find Fliegauf's use of tracking shots to be more in line with Jansco's than Tarr's, although he is obviously influenced by both directors' works while pursuing an aesthetic all his own. In many ways, this aesthetic is similar -- in terms of colored filters, chiaroscuro, the use of long-shots over close-ups, not to mention shadowing and an interest in dull hues -- to many young continental European and eastern European directors working now: Sorrentino, Andersson, Ceylan, and Zvyaginstev, to mention several. Fliegauf's always-active camera, however, is much more disorienting than these other directors' films, despite narrative and cultural differences and thematic treatments, and carries Jansco's and Tarr's brilliance into a new generation of cinema with a unique vision that promises many more masterpieces to come.

Salman S (es) wrote: I appreciate what Oliveira was doing in this film, but it just simply isn't that entertaining. I guess that works out since it's very much an experimental film with an important and very intricate message told through deep sybolism and dialogue.

Ashley W (au) wrote: This is a movie that will make you rethink your views and how you behave. Loved it.

Greg W (nl) wrote: not great but solid due to the efx by ray harryhausen

Ben D (ru) wrote: A sweet and charming, albeit slow (though in a good way), romantic comedy.

Benjamin W (fr) wrote: A case of mistaken identity and coincidence, "Battling Butler" is some great irony but with not as much of the Keaton stunts that are usually in his films.

Jackie M (es) wrote: Just a tad over the top in believability but all in all was pretty good in the suspense factor.