Luka Šulić

Luka Šulić
Luka Šulić. Photo by Simone Di Luca

Friday, January 12, 2018

mother! (2017) – A film by Darren Aronofsky – Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer (Download the movie)

Make no mistake, Darren Aronofsky's "mother!" is the most shocking film you'll see this year.

Feverish, intense and surreal, it's a film that burrows deep into your subconscious, like a nightmare you can't escape.

It is also, quite simply, unmissable.

Lawrence plays an unnamed young woman (listed as "mother" in the credits) who spends her days restoring the spacious, fire-damaged home she shares with her famous, but creatively blocked poet husband (Bardem, listed only as "Him") in the middle of nowhere.

One day, a mysterious stranger (Ed Harris, the "man") arrives on their doorstep, and to the woman's horror, her husband welcomes the man with open arms, inviting him to stay.

Things quickly get worse when his boozy, condescending wife (Michelle Pfeiffer, the "woman") arrives, followed by their two bickering sons (Domhnall and Brian Gleeson).

Tragedy ensues, but the nightmarish ordeal is only just beginning for the woman, as the poet begins to write again and the house is soon filled with waves of adoring fans and hangers-on.

A surreal descent

At first, the film unfolds like a Pinter play – mysterious, vaguely threatening strangers – mixed with Bunuel's The Exterminating Angel – in which guests find themselves unable to leave a party – mixing unsettling surrealism with intense, oppressive paranoia.

However, the film quickly builds momentum and soon, both "mother" – who is, by this time, pregnant – and the audience are plunged into a swirling vortex of anger, resentment and the worst of human behaviour as the various guests callously destroy the house, every breakage reflected in mother's horrified and powerless reactions.

The technical achievement of the film is flawless: Aronofsky and cinematographer Matthew Libatique use tight, hand-held close-ups that force us to share mother's subjective point-of-view, while accentuating the sense of spiralling chaos around her. If nothing else, the film is sure to strike a chord with anyone who's ever hosted a party that got out of hand.

Aronofsky's orchestration of the mayhem is extremely impressive, creating an effect that's simultaneously dizzying, bewildering and stomach-lurchingly sickening.

The film has already drawn multiple comparisons to Rosemary's Baby, but there are elements of Polanski's Repulsion here too, as mother descends ever further into insanity and the imagery (bleeding floorboards and so on) begins to reflect her state of mind.

Lawrence and Bardem captivating

Lawrence, for her part, is mesmerising throughout, effortlessly carrying the film and conveying intense, wrenching emotion that leaves you breathless. Bardem is brilliantly cast too, playing the part on a knife-edge between tender and sinister – on the one hand he's the ostensible villain, but his behaviour is all too recognisably human. Ultimately, the genius of the film lies in the fact that it is open to multiple interpretations – it's likely that no two people will come away with the same reaction.

To that end, the film is about many things: the creative process, the price of fame, rampant egomania and narcissism, the plight of modern civilisation, the circle of life, power dynamics in relationships, and, most obviously, what it's like to live with a driven artistic talent who prioritises work over a relationship. At the very least, it's difficult to come away from the film without feeling a measure of sympathy for Aronofsky's previous partners – the writer-director's current girlfriend is, of course, Lawrence herself. By turns terrifying, heart-breaking and profoundly shocking, this is an intense, nightmarish experience that will stay with you a long, long time.

Source: Matthew Turner, September 2017 (

mother! (2017)

A film by Darren Aronofsky

Directed by Darren Aronofsky
Written by Darren Aronofsky
Cinematography by Matthew Libatique
Edited by Andrew Weisblum
Produced by Darren Aronofsky, Scott Franklin, Ari Handel

Jennifer Lawrence as mother
Javier Bardem as Him
Ed Harris as man
Michelle Pfeiffer as woman
Brian Gleeson as younger brother
Domhnall Gleeson as oldest son
Stephen McHattie as zealot
Kristen Wiig as herald
Jovan Adepo as cupbearer
Amanda Warren as healer
Laurence Leboeuf as maiden

Running time: 121 minutes
Language: English
Country: United States
Production companies: Paramount Pictures, Protozoa Pictures
Distributed by Paramount Pictures
Release date: September 5, 2017 (Venice), September 15, 2017 (United States)

Music: "mother!" is the first Aronofsky film without composer Clint Mansell's involvement. The film originally had a score composed by Jóhann Jóhannsson, but after seeing the 90 minute score synced up with a rough cut of the film, Aronofsky and Jóhannsson agreed not to use the original score. They experimented with using the score at only a few moments, or instead using a new minimal score focused on sound-design that incorporated noises into the soundscape of the house. Ultimately, they went with the second choice, and Jóhannsson's work merged with the sound design of Craig Henighan. Over its closing credits, the film features a Patti Smith cover of Skeeter Davis's "The End of the World".


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Download English & Greek subtitles

Darren Aronofsky's "mother!" is an explosive retelling of creation in fire and blood

Theologies and mythologies twist and burn in a horror story about making and unmaking.

After an early screening of his 2014 film "Noah", Darren Aronofsky and his co-writer Ari Handel talked about their deep dive into Jewish tradition to find new color for telling a story that in the Bible is only about 40 verses long. One story they recounted was an old account of the creation and the flood that suggested God created and recreated the world, over and over again, wiping it away in an apocalypse every time until finally he decided he'd gotten it right. This, they said, was the basis for their movie having a God (reflected in Noah himself) who repents of his anger and pledges to never destroy the world again with a flood.

This story seems to have taken root in Aronofsky's psyche, along with all his other obsessions – the horror of being trapped in a female body under the thumb of domineering men, the duality of light and darkness, the explosive relationship between mankind and the planet, and the mystical, cyclical nature of being. He dredged it all up and plunged it into his latest movie's bleeding heart: "mother!" is a mad fantasia of fire and water and insanity, a spinning, flaming plume that is not here to make you like it, though it wouldn't mind if you decided to just bow down in worship.

"mother!" has a clear central metaphor drawn partly from the Bible.

(Note: Some spoilers for "mother!" follow. Read on at your own risk.)

The central metaphor is hardly hidden in "mother!". An old house with a round layout lies in a field, surrounded by trees, no roads leading up to it: a tranquil Eden. Inside lives a woman (Jennifer Lawrence) and her much older husband (Javier Bardem), a famous poet who can't shake his writers' block. While he paces and agonizes, she painstakingly restores the old house, to which she has a sort of biological connection.

"I want to make a paradise", she says.

Then one day a man (Ed Harris) shows up on the doorstep and stays the night, despite the woman's hesitance to let the stranger in. The next day the man's wife (Michelle Pfeiffer) shows up. The couple are intrusive, inserting themselves into the placid life of the poet and his wife, asking invasive questions and making themselves entirely too much at home. Eventually their two grown and feuding sons (real-life brothers Brian and Domhnall Gleeson) show up and start fighting in the house. The woman is horrified by the intrusion.

To go on in detail would be to spoil the fun. But in case you haven't caught on, this is imagery drawn directly from the Bible, and it requires a certain watery apocalypse to get things back on track – not, however, before the seeds for a new life and the poet's newest work are planted.

"mother!" pings back and forth between the placid perfection of the peaceful house and all-out destruction while treading the whole history of the world inside of a couple of hours. In this telling, though, God – or the god figure, anyhow – is a dual-natured being, light and darkness, youth and maturity, fertility and blocked creativity. And just because God the father is willing to give up his son for the warring, lusting, violent beings who crave to touch him doesn't mean the mother is quite as willing.

"mother!" is about the primal link between creativity and the world's creation – and destruction.

For "Noah", Aronofsky played with Jewish mythology, but in "mother!" he retwists the Christian version of the world's history, suggesting that it's always been told from the point of view of God's dominant masculine nature – and without much thought to what the feminine side might think. (For centuries, God has taken masculine pronouns in most translations of the Bible, but most Christian theology still maintains that he does not have a gender, and that male and female are both created in his image.)

This is not orthodox, to put it mildly, but it makes for a completely fascinating new mythology. The woman is rendered in this film with imagery that evokes both Mary and Gaia, the Greek ancestral mother of life, but as not merely a willing vessel but a very put-upon woman who's reaching her absolute breaking point. There are plenty of shades of gnosticism, beings that seem greater and lesser, physical ascents and descents in the house that mirror heaven and hell, bleeding floors, shattering glass, even a frog; the Egyptian goddess of fertility, Heqet, was rendered as a frog.

And leaning on the re-creation myth, Aronofsky makes one more leap: God's cruelty – and his genius – is for his masculine nature to keep wiping things out and starting over, sucking every ounce of life and energy and creative force from the woman, who just gives and gives and gives.

That's not new ground for horror; you can't miss the Rosemary's Baby overtones here. In that film, Rosemary is also stuck servicing the whims of her artist husband, who can't imagine why she doesn't want visitors invading her house. Aronofsky tells his version of this story on grainy stock, with muted colors and little to no music for much of the film, and casts it beautifully; Michelle Pfeiffer in particular, as a figure that's equal parts Eve and the serpent, is the magnet for every scene she's in.

But there's so much pulsing beneath this film that it's hard to grab onto just one theme as what it "means". It's full-on apocalyptic fiction, and like all stories of apocalypse, it's intended to draw back the veil on reality and show us what's really beneath. On one level, "mother!" is also about what partners of artists have to deal with (that Aronofsky and Lawrence met while shooting this film and started dating is... confusing). And, like "Noah", it's about humans' proclivity to wreck anything good with their own unfettered desires and selfishness. It evokes "The Fountain" in its view of history; it evokes "Black Swan" in its uncanny ability to get into the relationship between women's physical pain and the soul.

And in case it's not clear, this movie gets wild. If its gleeful cracking apart of traditional theologies doesn't get you (there's a lot of folk Catholic imagery here, complete with an Ash Wednesday-like mud smearing on the foreheads of the faithful), its bonkers scenes of chaos probably will. "mother!" is a movie designed to provoke fury, ecstasy, madness, and catharsis, and more than a little awe.

But if he's directing with abandon, Aronofsky is also entirely in control. Nothing happens in "mother!" he doesn't intend. The apocalypse works just as expected. Bits of his earlier creations are present everywhere, but this seems like it could be in its perfected state. The world he's created feels practiced and familiar and yet entirely new. But by the end, he burns it all down. Time to start again.

Source: Alissa Wilkinson, September 2017 (

Αn allegory about God and the Earth

Darren Aronofsky's "mother!" is bound to be one of the most divisive films of the year. Eschewing traditional narratives and character is just the tip of the iceberg for the aesthetically aggressive movie that isn't quite the psychological horror it's billed as and certainly not in the vein of Rosemary's Baby beyond featuring a stressed out pregnant woman. But because "mother!" operates along the lines of dream logic and because the film is so steeped in symbolism and tone rather than character and plot, it can be a bit confusing to say the least. The film invites conversation, and the best thing I can say about "mother!" is that it's the kind of film that will have you talking with your friends afterwards.

But if you're still a little confused or just want another take to engage with, here's mine (seriously, we're going total spoilers ahead, so stop reading now if you haven't seen the movie).

"mother!" is an allegory about God and the Earth. Javier Bardem's character, whom I'll refer to as The Poet, is God, and Jennifer Lawrence's character, whom I'll refer to as The Mother, is Mother Earth with the house standing in for the environment. From there, the story attempts to be a biblical allegory of both the Old and New Testament as well as a brief, deeply misanthropic view of human history.

Ed Harris' man represents Adam. When he's puking in the bathroom, we quickly see an injury right where his rib would be. In the next scene, his wife (Michelle Pfeiffer), representing Eve shows up. They're allowed to wander the house, but are told specifically not to go the poet's office, but they do so anyway where Eve accidentally breaks the fire crystal. They're then exiled and soon begin having sex elsewhere in the house, thus representing original sin and man's fall from grace after eating the forbidden fruit from the tree of knowledge in the Garden of Eden.

Then the couple's sons (Brian and Domhnall Gleeson) come along arguing about their dying father's will. In their argument, one brother kills the other (Cain and Abel). The parents and the poet carry the dead brother out of the house and the surviving brother runs away. The poet and the parents then return later that night for a wake, and more and more guests come to grieve, but the wake then becomes a chaotic party where, after numerous protestations to not sit on an un-braced sink, the sink becomes unmoored from the wall and water pours into the house. Thus we have humanity's downfall following the slaying of Abel and eventually the flood.

After the water pours into the house and the guests leave, the mother admonishes the poet, saying that he won't even have sex with her. They then proceed to have sex, and the following morning, she announces she's pregnant. He's then struck with a flash of inspiration and goes downstairs naked to write. When he shows her the finished product, she sees a vision of the world rejuvenated and says that it's beautiful. However, once again people start flooding into their home and although she's prepared a nice, quiet meal for her and the poet, the fully pregnant mother is overwhelmed by a throng of people.

At this point, the story is kind of leaving the biblical text behind and moving more into historical record. The New Testament element is that the mother's child is a Christ figure, but before he's born, the mother goes through a hellish experience surrounded by war, human trafficking, and other nightmarish visuals before the Poet finally reappears and brings her to his private office where she can give birth to their son. The allegory here seems to be that God abandoned the Earth for stretches at a time before the messiah figure was born.

But then mankind screws it all up again and snatches away the baby, kills it, and eats its flesh as they worship at an altar to the Poet. They then assault the mother, ripping at her clothes and beating her senseless before she's finally able to escape, go down to the basement, smash open an oil drum, and set the entire place on fire. So even when presented with a savior and total innocent, mankind only kills, eats the flesh of the Messiah (i.e. communion), then proceeds to assault Mother Earth with God absent yet again, and Mother Earth finally uses oil (i.e. fossil fuels) to destroy herself along with humanity with God powerless to stop it.

The Poet then takes the mother's charred body and takes out her beating heart with his hands. She turns to ash and the burned heart becomes a new fire crystal. He places the new fire crystal in its holder and we're brought back to the beginning of the film where placing the fire crystal in the holder undoes the fire damage and a woman wakes up in their bed. The only thing that's different this time is a different young woman wakes up in the bed. So basically the Earth and humanity will die and at best God will simply do everything all over again because he needs to create and desires love from his creations.

Source: Matt Goldberg, September 2017 (

Το «mother!» είναι μια απολαυστικά χαοτική σύλληψη καταδικασμένη να διχάσει με πάθος

Ποιος είναι ο λόγος που βλέπεις σινεμά; Είναι για να περάσεις ευχάριστα με καλή παρέα και ποπ κορν στα μούλτιπλεξ; Είναι για να ζήσεις διαφορετικές ζωές και να ταξιδέψεις σε άλλους κόσμους, ξεφεύγοντας έτσι για λίγο από τη ρουτίνα της καθημερινότητας; Είναι για να σκεφτείς και να προβληματιστείς; Και ποια μέθοδο προτιμάς για να δεις αυτό που θέλεις; Είναι πιο επιθυμητή μια ρεαλιστική προσέγγιση που να λειτουργεί ως καθρέφτης της πραγματικότητας, μια εξωπραγματικά φανταχτερή που να αψηφά τους νόμους της λογικής αλλά να διασκεδάζει ή μια καθαρά συμβολική στην οποία το κάθε τι μπορεί να ερμηνευτεί ποικιλοτρόπως και που δε σημαίνει ακριβώς αυτό που βλέπουμε; Όλες οι παραπάνω απορίες θα σας δημιουργηθούν παρακολουθώντας το "mother!" του Darren Aronofsky, μια ταινία τόσο πολυσυζητημένη ήδη πριν από την πρεμιέρα της στο Φεστιβάλ της Βενετίας και η οποία μοιάζει φτιαγμένη ώστε να εγείρει κουβέντες και ερωτήματα γύρω από τη φύση του σινεμά και των λόγων που πολύς κόσμος ελκύεται από αυτόν.

Δεν βλέπεις κάθε μέρα μια ταινία που να βρίσκεται στη σφαίρα του mainstream και να διαθέτει τέτοια φιλοδοξία, δοκιμάζοντας να απλώσει πρωτότυπες ιδέες με έναν σχεδόν ρηξικέλευθο τρόπο που μεγάλη μερίδα του κοινού δεν έχει συνηθίσει να ακολουθεί. Σίγουρα ο Aronofsky είναι ένας δημιουργός που χαίρει μεγάλης εκτίμησης από μεγάλη μερίδα του κοινού και ο οποίος έχει κερδίσει την θέση του στην ελίτ των σκηνοθετών του 21ου αιώνα. Αυτό πραγματοποιήθηκε αρχικά μέσα από το πόσο αγαπήθηκαν μεταγενέστερα ταινίες όπως το "Requiem for a Dream" και το "The Fountain" και ολοκληρώθηκε μετά και από την οσκαρική επιτυχία του "Black Swan". Ωστόσο, ο Aronofsky παραμένει και ο δημιουργός του "Pi", μιας αυθεντικά mindfuck ταινίας, ενώ πάντα είχε τον τρόπο να γίνεται «παράξενος», αφού ακόμη και οι πιο θεωρητικά απλοϊκές ταινίες του διαθέτουν ενδιαφέρουσες γωνίες. Το "mother!" είναι η πιο παρανοϊκή του ταινία, αλλά αυτό δεν θα έπρεπε να συνιστά έκπληξη, αφού ουδέποτε επεδίωξε ο ίδιος να γίνει εμπορικός από μόνος του.

Εκτός από το ότι είναι πραγματικά δύσκολο να εξηγήσει κάποιος τι ακριβώς είναι το "mother!" σε κάποιον που δεν το έχει δει, είναι και ανούσιο υπό τη λογική ότι είναι μια ταινία που όσο λιγότερα ξέρεις τη στιγμή που θα την παρακολουθήσεις, τόσο το καλύτερο για την εμπειρία που θα αποκομίσεις στην αίθουσα. Όχι ότι υπάρχει βέβαια κάποιος τρόπος να είσαι έτοιμος ή να ξέρεις τι ακριβώς θα δεις, όσα και να διαβάζεις γύρω από το φιλμ. Γιατί τόσο ιδιαίτερο είναι το συγκεκριμένο δημιούργημα του Aronofsky. Αρκεί να γνωρίζετε ότι παρακολουθεί την ιστορία μιας νεαρής γυναίκας (Jennifer Lawrence) που μένει σε ένα σπίτι στην εξοχή μαζί με τον ποιητή σύζυγό της (Javier Bardem) και που βλέπουν την ήσυχη ζωή τους να διαταράσσεται με κάθε πιθανό τρόπο.

Θεωρούμε το "Noah" την πιο εύκολη και επίπεδη ταινία του Aronofsky, στο βαθμό που όσο και αν προσπαθήσαμε, δεν καταφέραμε να ανακαλύψουμε κάποια επίπεδα ανάγνωσης που να δικαιολογούν την ύπαρξή της πέρα από ένα ακόμη blockbuster που εμπνέεται από τη βιβλική θεματολογία. Βλέποντας όμως το "mother!", μπορούμε να πούμε ότι εκτιμούμε πολύ περισσότερο αυτό που έκανε με το "Noah", ως απαρχή της ενασχόλησής του με πρόσωπα και καταστάσεις της Βίβλου, η οποία εδώ κορυφώνεται με εντελώς απρόσμενο τρόπο. Το "mother!" είναι πολλά πράγματα, αλλά πρώτα απ' όλα είναι μια παραβολή για τη Φύση και πόσο επεμβαίνουμε καταστροφικά στη λειτουργία της, για την Κοσμογονία, τον Αδάμ και την Εύα, τον Κάιν και τον Άβελ, αλλά και για την ίδια την δημιουργία ως μια επίπονη διαδικασία, με τη Μούσα να εξαντλείται και με το δημιούργημα στο τέλος να μην ανήκει πια στον δημιουργό του, να τίθεται ελεύθερο προς κανιβαλισμό από το κοινό και η ίδια η ροή να ξεκινά μετά πάλι από την αρχή.

Το σπίτι του ζευγαριού εξελίσσεται και μεταλλάσσεται διαρκώς μέσα στην ταινία και εν τέλει αποτελεί μια ξενάγηση σε ένα μουσείο διαφορετικών και ετερόκλητων genre του σινεμά. Σε ένα πρώτο στάδιο, το φιλμ καταφέρνει να είναι διασκεδαστικό και να διατηρεί το σασπένς παρά τις ιδιαιτερότητές του. Από εκεί και έπειτα, όλα ανάγονται σε ένα συμβολικό επίπεδο και αποκτούν αυτόματα πολλαπλά νοήματα και το χάος που εξαπολύει ο Aronofsky κλιμακώνεται μαεστρικά μέχρι το φινάλε, ενώ σου δίνει την εντύπωση ότι η οθόνη πρόκειται να εκραγεί ανά πάσα ώρα και στιγμή. Από τον πρώιμο Polanski μέχρι τον Bunuel και από το ωμό horror των 70s στα ψυχολογικά θρίλερ των 90s, ο Aronofsky αφήνει τη φαντασία του να τον καθοδηγήσει, δίνοντας στον Bardem τόσο την υπόσταση του Θεού/Δημιουργού, αλλά και του ίδιου του του εαυτού (ίσως να μην είναι τυχαίο ότι επέλεξε έναν ηθοποιό γεννημένο την ίδια ακριβώς χρονιά με αυτόν) και η παρουσία της συντρόφου του στην πραγματική ζωή Jennifer Lawrence στο ρόλο της Μητέρας και της Μούσας, περιπλέκει ακόμη περισσότερο τα πράγματα σε ένα σημείο που ίσως να έχει μεγαλύτερη αξία να απολαύσεις το σκηνικό ως έχει από το να βυθιστείς σε μια δαιδαλώδη υπερανάλυση του φιλμ.

Μιας και το "mother!" αναδεικνύει και ισχυροποιεί με κάθε τρόπο το θηλυκό στοιχείο, δίνει μια πρώτης τάξεως ευκαιρία στις Jennifer Lawrence και Michelle Pfeiffer να βγουν μπροστά και να ξεχωρίσουν με τις ερμηνείες τους. Και αν η Lawrence φλερτάρει πολύ συχνά με το στα όρια της υπερβολής παίξιμο και την «πολλή υποκριτική» (αν και δεν μπορούμε να φανταστούμε κάποια άλλη στο ρόλο της), η Pfeiffer με διακριτικότητα, έμφαση στη λεπτομέρεια και κομψότητα, παραδίδει μια χαμηλόφωνα και βραδυφλεγώς σπουδαία ερμηνεία όσο βρίσκεται στην οθόνη, χωρίς ποτέ να αποβάλλει το μυστήριο από πάνω της, σίγουρα από τις πιο ενδιαφέρουσες που έχουμε δει μέσα στο 2017.

Δεν βλέπεις συχνά ταινίες με την τιτάνια φιλοδοξία και την έλλειψη ορίων στο ταβάνι της φαντασίας τους σαν το "mother!". Σίγουρα δε θα έχει ευρεία αποδοχή από το κοινό που θα το παρακολουθήσει και είναι απολύτως λογικό. Δεν προσφέρει κάτι έτοιμο ούτε ευχάριστο και έρχεται σε ευθεία αντιπαράθεση με τη στρωτή αφήγηση και θεματολογία των ταινιών που παρακολουθεί ο κόσμος που αγάπησε μια διαφορετική πλευρά του Aronofsky από αυτήν που παρουσιάζει ο ίδιος εδώ. Η συμβουλή μας είναι ακόμη και αν δεν θελήσετε να μπείτε σε διαδικασία αναλύσεων, να προσπαθήσετε να διασκεδάσετε με την έλλειψη ορίων του φιλμ, αφού κάτι τέτοιο είναι πραγματικά εφικτό και θεωρούμε πως είναι μια από τις πιο ζωντανές κινηματογραφικές εμπειρίες εδώ και καιρό. Το σίγουρο είναι πως όποια και αν είναι η γνώμη σας για το "mother!", όταν τελειώσει θα έχετε καταλάβει ακριβώς τον λόγο ύπαρξης του θαυμαστικού στον τίτλο του.

Πηγή: Γιάννης Μόσχος, Οκτώβριος 2017 (

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Out in the Dark (2012) – A film by Michael Mayer – Nicholas Jacob, Michael Aloni, Jamil Khoury, Alon Pdut, Loai Nofi, Khawlah Hag-Debsy, Maysa Daw, Shimon Mimran (Download the movie)

Call Me by Your Name (2017) – A film by Luca Guadagnino – Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Amira Casar, Esther Garrel, Victoire Du Bois – James Ivory, Sayombhu Mukdeeprom (Download the movie)

Seashore (Beira-Mar), 2015 – A film by Filipe Matzembacher and Marcio Reolon – Mateus Almada, Maurício Barcellos, Elisa Brittes, Fernando Hart, Ariel Artur, Francisco Gick (Download the movie)

Okja (2017) – A film by Bong Joon-ho – Ahn Seo-hyun, Tilda Swinton, Paul Dano, Steven Yeun, Jake Gyllenhaal, Giancarlo Esposito, Lily Collins, Shirley Henderson (Download the movie)

Im Keller / In the Basement (2014) – A film by Ulrich Seidl (Download the movie)

Maurice (1987) – A film by James Ivory – James Wilby, Hugh Grant, Rupert Graves (HD 1080p)

Shostakovich Against Stalin: The War Symphonies – A Documentary by Larry Weinstein – Netherland Radio Philharmonic, Kirov Orchestra, Valery Gergiev (HD 1080p)

Florence Foster Jenkins (2016) – A film by Stephen Frears – Meryl Streep, Hugh Grant, Simon Helberg (Download the movie)

Son of Saul (2015) – A film by László Nemes – Géza Röhrig, Levente Molnár, Urs Rechn (Download the movie)

Amour (2012) – A film by Michael Haneke – Emmanuelle Riva, Jean-Louis Trintignant, Isabelle Huppert, Alexandre Tharaud (Download the movie)

Dmitri Shostakovich: Katerina Izmailova (Lady Macbeth of Mtsensk), 1966 – A film by Mikhail Shapiro – Galina Vishnevskaya, Konstantin Simeonov

The New Babylon (Novyy Vavilon), 1929 – A film by Grigori Kozintsev & Leonid Trauberg – Music by Dmitri Shostakovich (HD 1080p)

Farinelli (1994) – A film by Gérard Corbiau – Stefano Dionisi, Enrico Lo Verso, Elsa Zylberstein (Download the movie)

Eroica (The Movie, BBC 2003) by Simon Cellan Jones – Ian Hart, Leo Bill, Claire Skinner, Frank Finlay – John Eliot Gardiner (HD 1080p)

Tous les Matins du Monde / All the Mornings of the World / Όλα τα Πρωινά του Κόσμου (1991) – A film by Alain Corneau (Download the movie)

Death in Venice (1971) – A film by Luchino Visconti – Dirk Bogarde, Björn Andrésen, Silvana Mangano – Music by Gustav Mahler (Download the movie)

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