Ernesto ritorna dalla prigionia in Germania, alla fine della Seconda Guerra mondiale. E' solo, la casa distrutta, la mamma morta, la sorella scomparsa. La ritrova in un bordello, durante la... . You can read more in Google, Youtube, Wiki
Among others, Ernesto returns to Turin after the war from a German POW camp; his household destroyed and family deceased, he tries making an honest living.
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The Bandit torrent reviews
Imtia R (us) wrote: Thumbs up for "Ghost Machine".... Its really good then I expected.....
Jennifer T (us) wrote: This movie was not scary at all and it was boring. It's about some guy who is in the hospital. I've seen way scarier movies about crazy things happening in hospitals than this one.
Mark G (ru) wrote: If you're like me and you're a fan of Full Moon and Charles Band then you won't be dissapointed with this entry into the killer puppets/dolls genre. While not as good as Puppetmaster or as funny as Gingerdeadman it still has some good moments and won't dissapoint. Late's face it if your a fan then you know what you're going to get from this. Fantastically daft plot/intro sequence that basically goes...Dad tells daughter "silly girl playing with dolls in the room I told you not to play in (which for some reason is the bottom of the staircase) and now you've broken a vase. As punishment you must dig a grave and bury your dolls...oops you've fallen into the grave and died (presumably a broken neck)...hmmm I guess I'll just bury you as well and hope that no one will notice." Cue doll found in garden and angry spirit of little girl. Silly but fun.
Mel V (ca) wrote: For [I]Aragami: The Raging God of Battle[/I], director Ryuhei Kitamura ([I]Versus[/I], [I]Godzilla: Final Wars[/I] limited himself to a single set, and two characters. Three additional self-imposed rules, a duel, with only one character emerging alive, plus a seven-day shooting schedule, further limited Kitamura?s flexibility. While [I]Aragami[/I] sounds like an intellectual exercise, Kitamura in fact agreed to this list of conditions as part of a friendly wager with another Japanese director, Yukihiko Tsutsumi. As a result, Tsutsumi produced [I]2LDK[/I], premised around two roommates, aspiring actresses who have auditioned for the same role, engaged in increasingly violent conflict in their apartment. Kitamura went backward in time and myth, into a feudal Japan where demons, ghosts, and other supernatural forces exist alongside humankind. [I]Aragami[/I] opens, as many ghost stories do, with two characters, badly battered in a recent battle, fleeing a lightning storm. They find sanctuary, or what appears to be sanctuary, in a temple. Greeted by a silent, smiling woman, they collapse. Only one survives, an unnamed samurai warrior (Takao Osawa). He awakens, miraculously healed of life-threatening wounds. His host, another warrior (Masaya Kato), offers the hospitality of the temple. Slowly, as the samurai regains his bearings, his host begins to reveal carefully guarded secrets, about himself, his history, and his rationale for saving the warrior from imminent death. The host talks of legends and superstitions, including a local legend about a demon, a raging god of battle, who eats the flesh of men. The demon god is nearly immortal, and can only die at the hand of another warrior. Over the centuries, other men have tried and failed. As his host concludes his story, he reveals that the demon god is incapable of sleep or dreaming. His life is a half-life, blessed with near eternal life and invincibility, cursed with the endless repetition of war, conflict, violence, and a string of unworthy opponents. As the host suggests at a pivotal point, appearances can be deceiving. As expected, [I]Aragami[/I] culminates in a duel to the death, and true to form, Kitamura inserts one last plot turn that, in essence, allows one character to step through a mirror and assume a new role. Before the swordfight, an elaborately staged battle that combines sword work and wire stunts, Kitamura takes a ?slow-burn? approach to the plot, allowing each revelation, disclosed primarily through dialogue, to work its way, from rejection, to ridicule, and ultimately, to acceptance. To maintain audience interest during the dialogue scenes, Kitamura employs every technical device available, mixing shot, reverse-shot, two-shots, low-angle and high-angle shots, and camera movement (once using a 180 degree traveling shot, then immediately repeating it, and later using a 360-degree traveling shot the circles and encircles the characters). Later, for the final clash between the characters, Kitamura uses a less-subdued approach, employing fast cuts, cuts on movement, and varying the light source (e.g., via a lightning storm and the electric flash of swords in contact). The camerawork and editing are complemented by the production design, which smartly hides the limited budget in deep shadows, the rich color scheme, and, of course, the central performances, both of which are surprisingly natural, given the demands of the dialogue and the lack of rehearsal time. Strengths aside, [I]Aragami[/I] does have its shortcomings, primarily in a premise incapable of carrying a feature-length film (it doesn?t, as [I]Aragami?s[/I] brief running time attests), and Kitamura?s decision to set up and then use a plot ?twist? that?s overly familiar and predictable. Still, for a film made under limiting conditions, including a tight budget and short production schedule, [I]Aragami: The Raging God of Battle[/I] flags only once or twice during the dialogue scenes, but otherwise entertains consistently, from the opening to the closing scenes.
Russell H (de) wrote: not that great but slightly funny as it is more vulgar this time.
Jordan A (es) wrote: Cameron Crowe tries way too hard to be an artsy fartsy film director which means he totally jacked up every great thing about the original Open Your Eyes which was a beautiful piece of filmmaking. Cameron Crowe literally makes an overly glossy version of Pi and totally butchers the psychological thriller genre. The love story was bad too, way too sappy, while the original was beautifully tragic.
Manu G (mx) wrote: Innocence isn't lost. It's taken.Good Film! This film is very well played by all actors, including the young girls, directed beautifully and using both impressive scenery and great costumes. Eva Green played a complex character, easy to sympathize with at times, easy to loathe at others. She carried this film almost to perfection. While the beginning of the film is effective due to its period authenticity and performances, the story itself is somewhat sleight. I realize that the opening hour and a half or so is needed to allow for the stellar final twenty minutes, but maybe the danger could have been alluded to earlier. Every emotion and feeling is conveyed by expert story telling, such as the mood of the scene and the body language of actresses. They draw viewers into their world, and into their feelings. One can easily tell Miss G's attraction, confusion and panic; Di's jealousy and Fiamma's emotional change throughout the film. Such an empathy inducing film is rarely seen nowadays. The cinematography by John Mathieson finds both the haunting beauty of the isolated St. Mathilde's School and the splendid panoramas of nature add immeasurably to the film as does the musical score by Javier Navarette - a score that combines Anglican hymns with gentle piano music. This is a triumph for all concerned and bodes well for the career of Jordan Scott. That being said, Jordan Scott you are a genius! Needless to say, I'm looking forward to see more of your work. Within the confines of a strict, all-girls English boarding school (circa 1930s), a clique students participate on the swim team not only to pass the time, but to be close to their swimming instructor, the enigmatic, yet charismatic, Miss G (Eva Green). While Miss G originally encourages their idolization and crack (crush) on her, the teachers attention is quickly focused on the arrival of an exotic and beautiful Spanish foreign pupil, Fiamma (Mara Valverde). As the new girl rebuffs her classmates, and further rejects Miss Gs interest, her teammates begin to grow jealous of Miss Gs fascination with Fiamma, and resent the latters distain of their instructor, accumulating in the inexplicable disappearance of Fiamma.
Tom M (ag) wrote: Cute romantic comedy.