Filmska brbljaonica

[ironman]

I bila si u pravu.
Cim puste na HBO max,ide na online u roku par sati.

Ja sam uvijek u pravu

Eto sad,da kazem bilo sta drugo pocece psovat

[Shadow]

Ja sam uvijek u pravu

Eto sad,da kazem bilo sta drugo pocece psovat

A necu sinko. Ne boj se.

[ironman]

Eto sad,da kazem bilo sta drugo pocece psovat

A necu sinko. Ne boj se.

Ma ja se s tobom slozim i kad nisi u pravu,za svaki slucaj

[Shadow]

Da ne opsujem kojim slucajem?

Hajd dobro.

[Masamune]

Ja sam uvijek u pravu

Nisi. Ja sam

[Shadow]

Ja sam uvijek u pravu

Nisi. Ja sam

Nemoj da ti noge polomim

[Masamune]

Nisi. Ja sam

Nemoj da ti noge polomim

moRe tamam da odem na bolovanje da malo odmorim

[Shadow]

Nemoj da ti noge polomim

moRe tamam da odem na bolovanje da malo odmorim

Hajd, dok nisu pocele tekme

[Beni]

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Pobijedio si

Fali jos Disney+ al i on ce sad nekad

[ironman]

Pobijedio si

Fali jos Disney+ al i on ce sad nekad

Evo ga u maju.Prvi dan cu se pretplatit, Lovrenu unatoc

[Matan]

Znaci pogrijesio sam ,bio.sam rekao da nece prije juna..
Cekam
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I ja Imam sve, ko Pentagon sam..

[Zanki]

Fali jos Disney+ al i on ce sad nekad

Evo ga u maju.Prvi dan cu se pretplatit, Lovrenu unatoc

[bagra]

dali su oni normalni uopste

ovo "dali" te nespremnog doceka i malo
ko pripremi za ostatak ove lude bujice

i svesni sta uradise od ovog filma,bolje da ga nikada nisu snimili,Robert Pattinson je kao Baba ,kostim kao da su ga pritegli unazad i kad god okrece glavu cuje se kako kostim zulja hahaha stravaaa!!!

ja budale
bas me sad zanima jel tako
can't hardly wait
a mozda je i namjerno tako...
dramatika

A kada je Bruce Wayne nit lici na njega nit se ponasa ko on nego je ko mrtav konj koji govori kao Betmen i onda kad to nije,nema razlike uopste izmedju Brusa i Betmena ima jedna linija ravna i on je uvek isti lik bio u kostimu ili ne bio

eee bogami ovo ako je ovo tacno...
nece bit dobro.
nadam se da je precero s epitetima
da ga ponelo malo

[Rum]

Uobičajena je zabuna što ljudi misle da palac gore znači da gladijator bude pošteđen, dok palac dole znači da se ubije. Zapravo je u Rimskom carstvu bilo obrnuto, palac gore je značio podignuti mač i simbol da se poraženi borac ubije, a palac dole je značio da se mač vrati u korice i gubitnik poštedi. Filmska ekipa "Gladijatora" (2000) je znala za ovo, ali zbog današnjeg značenja podignutog palca kao odobravanja i nečeg pozitivnog, nije želela da unosi dodatnu zabunu među publikom koja će gledati film.

[Zanki]

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When the extraordinary new film You Won’t Be Alone (in theaters April 1) first premiered at this year’s virtual Sundance Film Festival, I saw some scattered complaints that it was too slavishly trying to mimic the work of Terrence Malick. The comparison certainly makes sense: Goran Stolevski’s film, like those of the auteur of Austin, features dreamy visuals scored by perhaps even dreamier narration from a character questioning the big matters of life. You Won’t Be Alone lilts and wanders the way Malick’s films do, trying to conjure up the metaphysical through lushly rendered, but decidedly terrestrial, words and images.

But I don’t see the negative in the comparison. Rather than weak imitation, You Won’t Be Alone is a bold and compelling—and reverent—repurposing of Malick’s technique, turning its gaze on matters more squishy, profane, and fallibly human than Malick’s high-minded considerations of the divine. You Won’t Be Alone leaves God to its elders, and instead makes harsh poetry of us.

The film is set, press notes tell us, in the 1800s in rural Macedonia, where impoverished villagers work the mountainous land and tightly adhere to prescribed social codes—particularly those concerning gender roles. The people are fearful of many things, but perhaps most potently the “wolf-eateresses” they know are stalking the hills, vampire-witch women who snatch babies and drink the blood of livestock. These legends are born of these communities’ innate distrust, and worse, of women. They are also, in You Won’t Be Alone’s fantasy, entirely real.

A desperate mother promises her infant daughter, Nevena, to Maria (Anamaria Marinca)—a particularly menacing wolf-eateress who was grievously wronged in her mortal life—if only the witch will let the child stay with her mother until she turns 16. Hoping to shield her daughter from her grim fate, the mother secrets Nevena away to a holy-site cave, visiting her on occasion but otherwise letting the girl grow near feral from isolation. The child’s tongue has been cut out by the witch; she’s a wordless naif who, upon finally leaving the cave, has a vastness to discover.

Eventually the witch comes calling. She turns Nevena, now an adolescent (and played by the remarkably expressive Sara Klimoska), into a wolf-eateress herself. Her long black fingernails, sharp as talons, give her away as something other, but she can also shape shift, taking on the form of people and animals she’s just disemboweled by shoving their guts into a cavity in her chest. That is certainly a gruesome aspect of You Won’t Be Alone, but Stolevski has not made a horror film. Instead, Nevena’s hideous new ability becomes the vehicle for heady, humanist rumination.

The film glides between chapters as Nevena wanders the countryside, inserting herself into various villages in the forms of others. Her curiosity is first sated by violence, yes, but then softened by all that she learns and experiences. She first assumes the body of an abused villager and new mother, Bosilka, played by Noomi Rapace. She begins to suss out the fraught dynamics between men and women and the hardships of subsistence living. But there is also the joy of laughter, the warmth of private understanding passing between people.

And, of course, there is sex, which hangs heavy over these communities as both rough carnal release and sacred, life-giving necessity. You Won’t Be Alone examines that dichotomy through Nevena’s curious, dispassionate eyes, as she moves from one form to the next. She becomes a dog and observes the private world of men, their relative freedom so alien to her time spent as Bosilka. Then she becomes a man, taking on the body of a strapping field worker, Boris (Carloto Cotta), and marveling at the difference in how this male disguise is treated by those around him. As she narrates in jumbled, lyrical prose, Nevena begins to draw some conclusions about life as it is ordered for so many, the inequities and the sensual pleasures, the pain of being alive somehow so closely nestled alongside the sublime.

Stolevski, an Australian making his feature film debut, strikes a delicate balance between the grit of Nevena’s circumstances and the grace of her enlightenment. While certainly a treatise on a long and horrible history of the mistreatment of women, You Won’t Be Alone is also about a fundamental constant shared by all people. It’s not just gender, not just sex, not just spiritual hunger, but all that is contained and grasped within the gift (and curse) of bodily consciousness, our awareness of self and others that can be—and so often is—utilized for terrible harm. It can also be the engine of deepest empathy, of vital connection. Of feeling, prickling all around us, the peculiarly comforting sentiment of the film’s title.

In setting the film in this remote place, at a time now so remote to us, Stolevski is honoring his own ancestral heritage. But he is also incisively illustrating how little has changed since then, in all corners of the globe, despite human civilization taking on so many new shapes and timbres as it tumbles and expands through the centuries. At its most dizzyingly enveloping, You Won’t Be Alone seems to flatten the distance between past and present, binding us in the audience to the countless lives that came before us, and the countless more that will stagger and reach and wonder long after we’re gone.

You Won’t Be Alone is a mighty technical achievement, from the bucolic beauty of its misty mountain vistas and humble shacks to the sharp adjustments in physicality made by the actors playing various versions of Nevena. Mark Bradshaw’s plaintive and murmuring score gorgeously complements Klimoska’s hushed narration, creating both a keen sense of intimacy and a zoomed-out omniscience. In a recurring motif, we hear Nevena describe the bite and ache of her travels through human experience, always followed by a hopeful, weary, determined, “And yet . . .” It’s there that You Won’t Be Alone gently issues its instructive message. Amidst all the woe both inevitable and avoidable, there is the pressing on, the want and wish for—held in the more to come, we have to believe—the potential for better.

[bagra]

eh dje je pašo sad da prevede

[Zanki]

ma to san stavila jer je ispa clanak o makedonskom filmu u Vanity Fair i eto Noomi Rapace ima jednu od glavnih uloga, zanimljiv je i baca na Malikov senzibilitet... nista speSl samo ako se kome da citat eto

[ironman]

Gdje Shade,evo ga

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[Shadow]

Gdje Shade,evo ga
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Hehe.
Hvala

Nisam iscekala, ali cu ponovit.

[bagra]

uvjek je morala imat sve i sad
dzaba je vikad sacekaj, vrijedi
a-a
ne slusa to, jok



kad pocinjemo nocas

*nije to sto mislite

**znam sta mislite