La tarea prohibida

La tarea prohibida

Expanding on ideas from "La Tarea" (Homework), Director Jaime Humberto Hermosillo continues his story, now of a young man completing an assignment for his film/video class. The young man invites Marieda, a middle-aged woman, over to his aunt's house to rehearse for a video drama she believes they will eventually record. But she doesn't realize that she is being videotaped since her arrival. After a faux-sex scene rehearsal, they do make love, which causes an unexpected reaction within the young man. Minutes later the real horror of their true relationship is revealed!

  • Rating:
    4.00 out of 5
  • Length:80 minutes
  • Release:1992
  • Language:Spanish
  • Reference:Imdb
  • Keywords:dancer,   student,   dancing,  

A student needs to deliver a short film as a homework, which has to be shot in just one sequence. He writes an erotic scene and invites an older woman to act in his project ¿The problem? ... . You can read more in Google, Youtube, Wiki

LinksNameQualitySeedersLeechers

La tarea prohibida torrent reviews

Ramesh (de) wrote: Watched it at Charlotte film festival.One of those usual award bait films that usually go around the film circuit. This one is about the friendship between a physically challenged man and a baseball player with speak impediment. While I very much enjoyed watching the film I did find it to be very cliched in the way the story developed and how the characters were used. It was very manipulative of the viewers emotions and not a very memorable film. But the acting was top notch.

Keith A (br) wrote: An very remarkable documentary that's extremely accurate and gets everything almost right.

Kirubha K (nl) wrote: Disney Dont Disappoints...

Leif N (ag) wrote: PLUR. Good thing Digweed doesn't act for a living.

Henrik W (ca) wrote: Kolla istllet p Ghost Town. Fantastiskt roligt med killen frn the Office.

Ella R (mx) wrote: My Father the Hero. Fun fact; this was the first film I walked out of. I am now 33 years old, but I still remember vividly the climax of the movie-long comedic buildup. That scene depicts an audience booing a middle-aged man, whom they suspect to be a pedophile, as he plays the piano and sings a spirited rendition of "Thank Heaven For Little Girls." He isn't, in fact, a pedophile- his young teen daughter simply claimed that they were dating in order to impress an older teen love interest. What hijinks! Imagine the hilarity that ensues! Get it? The father is confused by everyone's booing... but it's really because his daughter told everyone that he was a pedophile! L...O...L. Oh, Depardieu- you're too much. The scene with the song is made all the more impactful by Gerard's accent. There's something even more unnerving about said situation when you're hearing, "Sank Hayven for Leetle Galez!" I can't explain why. Some things, like the song of the Nightingale or the Golden Ratio, just are. I have very little opinion regarding a singular line that filmmakers musn't cross as related to cinematic tastefulness, censorship or obscenity. However, even those who don't find the premise of this film as abhorrent as I do will still agree that it may not be the greatest idea to build your PG-rated family comedy around a single-layered incest/pedophilia gag that begs for the drummer to hit the two snares and cymbal. However, the drummer knows better. Really, the funnier movie would be a film about a studio green-lighting this atrocious offering. Kind of like a molestation-themed version of "The Producers." Or not. Anyway, thanks for reading my first review. And hats off to the "My Father the Hero" team. Well done, fellas. -E

David L (kr) wrote: For an 80's horror, this is passable. At the time, it would have added a little variation to the likes of Halloween, and Friday 13th, whereby the masked killer comes after their prey with a big knife. This time it's a pick-axe wielding maniac that tears out people's hearts. I actually watched the remake before this so I thought that would spoil the story, but to my surprise it has an alternative ending which I didn't see coming. It's very easy viewing in the sense that a legend from the past has supposedly returned to the village on the anniversary of a tragic mining event, and is keen on causing havoc at a teenage dance. It always makes me laugh how the youngsters all look about 50 years old, what with their crazy 80's hair and handle bar moustaches, but there's nothing wrong with a bit of retro. Given the generational gap, it's by no means as gory as the remake and a fair bit is left to the imagination but that doesn't necessarily detract from a horror that has got all the basics right. It lends itself to a sequel but as far as I'm aware, there still hasn't been one, so fingers crossed there may be something in the pipeline one day. It hasn't gone down as a classic but that could just be down to this lack of sequels as opposed to lack of quality, as the horror classics can tend to be associated with quantity and not necessarily quality. Definitely worth a watch, if only for the comical fashion that's on display.

Knox M (ag) wrote: Otto Preminger's ROSEBUD could have benefitted from some dialogue polishing, but it's extremely in keeping with modern events. In 1975, though, this film must have been a horrible bore.

Reece L (ca) wrote: If a human being was given the opportunity to revisit the memory they'd had in the back of their minds their entire lives, an instance of happiness or something especially formative that they'd be able to approach with a new perspective, the chances of them taking it would be almost absolute. This concept drives La Jette, an experimental science fiction film told almost entirely with still images and voice-over that plays into the idea of the human connection and the powerful effect memory has over this connection. It would be impossible to delve into the consequences of this second chance without giving anything away, but suffice to say that La Jette tells a compelling story while cutting to the heart of what it means to find purpose in this life, an unbelievable feat given that it's barely half an hour long.

DenisSteve G (ca) wrote: Le meilleur de Lars von Trier.

Charles P (kr) wrote: This waterlogged aquatic adventure can't keep its preposterous plot afloat. But it seems to know that and thus tries to compensate with boundless clips of sexy tanned girls and sexy ripped guys.

Luke G (au) wrote: Indescribably brilliant.

George D (es) wrote: Love these two actors. Thought they did well. However the storyline was week, the costume design was terrible. There was simply nothing special about this movie.

Andrew P (it) wrote: It's a shame this didn't start a franchise. Fred Ward and Joel Grey made an amusing duo.

Davey M (ag) wrote: I kept coming back to those young, young faces. My grandpa enlisted in the army when he was just seventeen and spent the next several years of his life in Europe killing and trying not to be killed. I've seen a number of war movies, but somehow this seemed to connect me with my grandpa's experiences in a way no other movie has; I just kept coming back to those young boys' faces--the hard, mostly monotonous work in which they were engaged day in and day out, and their not infrequent brushes with death. Though it was warm, entertaining, affirming, frequently funny, and deeply patriotic, it was the grueling manual labor and stays in hospitals that lingered in my mind, interrupted by gunshots and explosions (all the more brutal and jarring for their juxtaposition against such a quiet daily routine). The characters in the film felt like real people doing a real job, and, for all of John Ford's wonderful lyricism and Hollywood romanticism, I found that sense of authenticity (from actors and filmmakers who had actually served in the military themselves) very moving. Pansy pacifist that I am, it may be easier for me to see the ravages of war in something like The Hurt Locker than the real heroism Rusty displays when he offers his spot in the airplane. Both The Hurt Locker and They Were Expendable seem, at least partly, to be about men (Renner and Wayne, respectively) addicted to combat--the former demonizes the adrenal addiction, while the latter acknowledges the sacrifice and dignity of men willing to do whatever they can for an essential cause. While I do think war is too frequently justified, I can't help but feel incredibly humbled by those willing to put their life on the line for something bigger than they are, and something so incredibly necessary. The uncertainty was another element that struck me--while I've seen a lot of movies about WWII, I haven't seen any of the American war movies actually made during the war (with the exception of Capra's Why We Fight documentaries), and the possibility not only of death, but also of defeat gave greater weight not just to the battle scenes, but also to the quietest moments. The gathering clouds both contextualizes the puniness of these characters in the scheme of things, and also highlights their humanity. As is frequently the case with Ford, the emphasis is on community--not just the community of the squadron, but, by extension, the entire armed forces and everyone back home supporting them, the entire country, the Allies, maybe even the human race. The freedom of the individual life is precisely what is worth fighting for, but, in times of war, it's exactly what must be subordinated for the welfare of the community. The John Wayne and Donna Reed characters' beautifully developed romance may actually amount to a hill of beans, but that doesn't mean they'll ever be able to find each other after that phone got disconnected. Those small moments of sacrifice were telling.