Revenge 2017 Eesti Filmid Täispikad

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Revenge 2017 Eesti Filmid Täispikad

Filmimeeskond

Koordineerimise kunstiosakond : Royce Ranger

Stunt-koordinaator : Mailhot Ismay

Stsenaariumi kujundus :Alice Sabahat

Pildid : Corbic Fanette
Co-Produzent : Mullen Laugel

Saatejuht : Iqlas Jadyn

Juhendava kunsti direktor : Dinet Dupéré

Lavastada : Tala Flynn

Tootja : Morse Gaspard

Näitleja : Kuba Fluet

Jen's romantic getaway with her wealthy (married) boyfriend is disrupted when his friends arrive for an impromptu hunting trip. Tension mounts at the house until the situation culminates in an unexpected way.

6.3
862

Filmi Pealkiri	Revenge
kellaaeg	146 minute
Vabastama	2017-09-23
sort	MPG 1440p HDTS
kategooria	Action, Thriller
language	English, Français
castname	Deirdre R. Sasha, Yahir Z. Wood, Brault D. Karey

[HD] Revenge 2017 Eesti Filmid Täispikad

Lühifilm

Kulutatud : $845,270,490

Sissetulek : $654,072,307

categories : Epoche Film - Surrealistisch , Bögen En Ciel - Impressionist Lernen Judicial Floors Wildlife Film , Menschlichkeit - Bibliothek , Reisen - Du Son

Tootmisriik : Indien

Tootmine : Ideatoscana

Маэда Наоки — Википедия ~ REVENGE использован только в «AFRONOVA» RevenG использован только в «bag» «Sakura» и «exotic ethnic» RevenG改 RevenG Alterative использован только в «Arrabbiata» Rice C использован только в «Jam Jam Reggae AMD Swing Mix»

Бек Миккель — Википедия ~ Миккель Венге Бек дат Mikkel Venge Beck родился 12 мая 1973 года в Орхусе Дания — бывший датский футболист нападающий известный по выступлениям за «Мидлсбро» и сборную ДанииУчастник чемпионатов Европы 1996 и 2000 годов

Новерр ЖанЖорж — Википедия ~ Приблизительно 1752 — «Теория и практика танца вообще композиции балетов музыки костюма и декораций сопутствующих ему» «Théorie et pratique de la danse en général de la composition des ballets de la musique du costume et des décorations qui leur sont propres»

Арсен Люпен — Википедия ~ Арсен Люпен является мастером перевоплощения и часто меняет черты лица цвет волос стиль одежды и даже характер

Франциск II — Википедия ~ Elizabeth A R Brown La Renaudie se venge l’autre face de la conjuration d’Amboise in Complots et conjurations dans l’Europe moderne Publications de lÉcole française de Rome 1996 pp 451—474 ISBN 2728303622

Аллен Марсель — Википедия ~ Паскаль Мари Эдуард Марсель Аллен фр Pascal Marie Édouard Marcel Allain 15 сентября 1885 Париж — 25 августа 1969 СенЖерменанЛе — французский писатель и журналист автор около 400 произведенийИзвестен прежде всего циклом романов о

Фантомас — Википедия ~ Фантома́с фр Fantômas человекфантом — вымышленный персонаж гениальный преступник скрывающий своё лицо один из наиболее известных антигероев французской литературы и кино Как персонаж Фантомас создан

Леска Шарль — Википедия ~ В 1941 издал антисемитскую книгу «Quand Israël se venge» После освобождения Парижа бежал в Германию позже выехал во франкистскую Испанию В 1946 через Уругвай перебрался в Аргентину Хуана Перона

Фиаметта балет — Википедия ~ «Фиаметта» фр Fiammetta — фантастический балет в двух действиях и четырёх картинах с прологом сочинения Артура СенЛеона на музыку Людвига Минкуса по либретто Людовика Галеви и Анри Мельяка

Бельрош — Википедия ~ Биография Остался сиротой служил домашней прислугой у аристократов братьевШарля и Франсуа де КрекиВ 1650 году подался в странствующие актёры

The kick in the pants that exploitation films needs.

_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
Revenge had so much going for it. The acting was surprisingly good. The symbolism was well done. She actually looked like she'd gone through hell in the desert with dirty hair and grime. Camerawork and the setting was outstanding. Unfortunately the first conflict, which is the basis for the rest of the movie, ended up being way over the top and completely unbelievable. Not to mention the ridiculous amounts of blood everywhere. I wanted more relatable believability and less pointless gore.
**_Gory, but brilliant_**

> _It was very important for Jen to be fully objectified at the beginning of the film, to show that she is at ease with her body and how she uses it, at ease with how she seduces men and attracts male attention. But what I'm trying to get across is that this is not the problem, but rather that the male characters believe that the way she looks authorises them to treat her as though she is to be used and then disposed of like a worthless piece of rubbish. The male gaze in film often implies that women are to blame for acts of sexual violence committed against them,_ _which is deeply problematic. Through each male character, I wanted to show the different abusive behaviours that, to a large extent, have become normalised in today's society._

- Coralie Fargeat; "Exclusive Interview with _Revenge_ Director Coralie Fargeat"; _Bird's Eye View_ (December 5, 2018)


Jen (a superb Matilda Lutz) and her married lover Richard (Kevin Janssens) are enjoying a romantic weekend in his isolated house in the desert. However, shortly after they arrive, Richard's friends, Stan (Vincent Colombe), Dimitri (Guillaume Bouchède), and Roberto (Jean-Louis Tribes) show up unannounced, urging Richard to join them on a hunting trip. As tension mounts in the house, Stan rapes Jen, but when she says she is going to go to the police, and to alert Richard's wife of his affair, the men attack her and leave her for dead. However, unbeknownst to them, she survives the assault, and has set on revenge.

Very much in the vein of films such as Sam Peckingpah's _Strawdogs_ (1971) and Meir Zarchi's _I Spit On Your Grave_ (1978), _Revenge_ is an insanely gory rape-revenge thriller. In her feature debut, writer/director Coralie Fargeat displays an astonishing visual panache as she reappropriates this exploitative sub-genre for the post #MeToo era. From the expansive Ford-esque vistas of the desert to the claustrophobic and labyrinthine finale, her visual language is as dexterous and thematically justified as one would expect from a master stylist such as Michael Mann. The film is very much about the dangers and darker implications of the male gaze, and the way Fargeat's constantly moving camera lingers on actress Matilda Lutz's half-naked body is deeply unsettling, challenging the audience to look at her in the same way the male characters do, before turning this notion on its head in the second half of the film. If you can ignore the plot contrivances, and stomach the gore, you will find a socially relevant film that is as auspicious a debut as you're likely to see all year.

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