FORMED IN 1986 IS A GREAT BANDA DE THRASH METAL IN THE COUNTRY OF PORTUGAL .... NOS
Bequeathed to 2 SUPER RECORDS IN THE YEAR OF 1988, LA BANDA only offer UNFORTUNATELY NO GRAB FOR THE NEXT 2 YEARS, IS A REAL PITY THAT WE DO NOT HAVE ANY LEFT IN THESE GLORIOUS YEARS LP, The band broke up in 1990 by musical differences, TIME AFTER would return BUT ONLY FOR GOOD AND NICE screw up as it would leave ORIGINAL STYLE TO THROW IN THE GENRES PUTI-SHIT BAND LIKE THE RED-HOT-culi-PEPERONIS, BUT ..... as always, those are HISTORY AND PASSED unnoticed,
Director: Darren Aronofsky Year: 2008 Country: U.S. Gender: Drama / Sport Rating: 9.5/10 Cast: Mickey Rourke, Marisa Tomei, Evan Rachel Wood, Judah Friedlander and Ajay Naidu
Randy "The Ram" Robinson (Mickey Rourke) is a retired professional wrestler wrestling. Having been a star in the eighties, he tries to continue his career in the independent circuit, fighting in squares of third category. His life came into conflict when she realizes that the brutal blows he has received throughout his career he began to take its toll (a heart) is in this situation that Randy decides to put some order in his life; attempts to get to the daughter he left, Stephanie (Evan Rachel Wood), while trying to overcome his loneliness with love for Cassidy (Marisa Tomei), a Streaper also marked for life. We all wonder what happens when the stage lights off when leaving fans to cheer their idols, when everyone returns to their homes and the magic of the show still. Then back to reality, we left the catharsis that eludes us in our daily lives and the stars shed their costumes and ornaments, making people of flesh and blood, with its joys and sorrows, as any of us. And many are the stars off, buried under the weight of age or physical and psychological consequences of decades of commitment to a human pack that always asks for more. In the midst of a harvest in Hollywood which airs too many interesting proposals, "Cinderella Man" tries to convince because they go through what is not. Aronofsky is set to the simplicity of the story, leaving aside the visual tricks and rapid assembly characteristic of almost all his films to adopt a forthright, at times almost documentary, which enhances the human truth of his characters and enhances the authenticity painting environments.
"The Wrestler" by Darren Aronofsky is shown in a very simple, something that draws attention given the director's previous films, in which his films needed a greater involvement by the viewer to surrender, or not, to a certain density cinematic language. In "The Wrestler" completely changed the tide in particular as regards the approach to his characters. Aronofsky stick your camera (always shaky, as the central character) to the nape of Rourke, and follows him everywhere he goes, by striking sequence shots so insignificant. Thus, we are witnesses of Randy's life, whether his battles with little groups, their work in a butcher shop, dabbling to see his favorite dancer, the overtures to his daughter and others. The director of "Requiem for a Dream " (2000) uses the coarse-grained picture camera in hand to collect realistically the cold, squalor and confusion of the fighter that is in the twilight of his career and is starting to realize they are alone in the world. Their work may represent the world of illusion and falsehood, where everything is for sale, but also where it is hidden because personal life blows hurt more than it did in the ring, because it is very difficult to change course when no there is someone to wait. It is a life trapped in the loneliness and family breakdown, but inside is dignity and a spark of humanity, need to love and have someone tell you things ... It is however, a spark threatened by the sleaze and excess, surrounded by the deafening screaming neon lights from hearing and seeing what happens inside. Therefore, the dark (in black level is very illustrative and appropriate climax) is always at the end of that tunnel, dimly lit by the fighter enters the ring (excellent parallelism in the sequence of the aisles, with a good job sound).
But "Cinderella Man" would not be as good as if not also for the work of interpreters, especially Mickey Rourke. Aronofsky always knew that Rourke was the perfect actor for the role, and had to impose its approach to the producers, who wanted to Nicolas Cage to play the movie (God, I come only imagine cold sweats). Formerly one of the best players in the 80 is just perfect in her role and to connect with the viewer getting to the heart of it with unusual ease. The sincerity of their interpretation connects directly to the more obvious parallels with the actor's personal life. Both in reality and in fiction, Rourke was a star of the 80 that fell into oblivion by destroying his own life path. Beside him, an awesome (in all aspects) Marisa Tomei, giving life to a mature stripper, friend Randy, a survivor who is close to his personal decline because of his age. The actress proves to have learned over time, and its interpretation given is far from the days of "My Cousin Vinny" (1992). The third wheel, giving life to the daughter of Randy is Evan Rachel Wood, who also falls short of its peers, offering a sensitive character in their simplicity, conveying the same painful truth that flows from his personal disappointment with regard to father. I think "The Wrestler" is above all a fable about life, about the divine and human is present in all of us. This harrowing tale, far from providing a moral, plunges us into melancholy producing a being who feels abandoned and helpless and that despite the opportunities you get in the way, is simply "unable" to perceive the signs of his fate and understandable instinct and innocence acts, hurting, loving and leaving .
"The Wrestler" is an accurate reflection of the duality of a man who is a hero to his fans and a whole anti-hero in his personal life, someone who faces physical struggle with determination and courage, but it is a coward at heart, so there could be another final destination. And although this character does not enjoy the film with the way that one might wish, for despite its cumulative list of errors, one thinks and feels empathy for this man, transcends the barrier satisfaction from fiction to know who plays him, if he has and uses the most powerful forces that golden opportunity. The sordid passages of Randy's life are portrayed with a raw image and away from styling. The printed realism to the situations that sink slowly, deliberately contrasts powerfully with the grotesque events that we attend to the canvas, where the farce comes to include as instruments a fighter with stapler or a fan who proudly gives her prosthetic leg towards show. With this dichotomy, "The Wrestler" is capable to produce feelings and combine well the enormous complexity of its protagonist, old deity, desperately trying to cling to any professional or emotional grip that will provide. Thus, the collapse and the passage of time are spelled out in an old-fashioned game that is star (and reveals the lost innocence of his playmate), in a phone list and crossed out her daughter his own body as defined in its own words as a pile of rotting flesh. Bukowski-style, "Cinderella Man" is simply heartbreaking film, complex, fragile, adorable and deeply reflective. Is to make a film that presents the misery human, which still have their real meaning in the history of this troubled fighter.
The aim attached to shoulder "The Ram" and its emergence into a colossal stage show that praises cutrez a physicist and a haggard life, leave no doubt of the intentions of Aronofsky, the man who shows no underlines, for example, Clint Eastwood, and highlighting changes of revealing scenes alone, like the signing session for fans or routine work behind the counter of the carnage. Compassionate but realistic, "The Wrestler" is saved from hell and lead to canonize the story with useless tears and closing, subtle and powerful, as a souvenir bruise mark without bad milk. Investigator on human misery, the soul outstripped declining inspector, relentless psychologist of his characters ... movie after movie, Darren Aronofsky is ratified as one of the most qualified filmmakers to enter the pain and loneliness of human beings, too well trained to provide dramatic nudity hurt and uncomfortable, which has a devastating impact, and ultimately makes each of his works an essential and unpredictable small wonder. Few filmmakers achieve this size dramatically, and fewer achieved without the return by the same constant or gender. And Aronofsky, is far from the pigeonhole of a repetition of themes of fleeing like the plague. Significantly, the film won the Venice Film Festival in 2008 and had two 2008 Oscar nominations, for Best Supporting Actress and Best Actor, which in my humble opinion was unjustly taken away from Mickey Rourke.
The soundtrack also is a marvel, full of themes of the eighties as it could be otherwise, symbolizing the success of past splendor and because, at times, is the music itself which serves Randy as a safety valve that this bleak in which they live. And the main theme, "The Wrestler " by Bruce Springsteen is beautiful and gives an end to such a masterful film, also gives harmony to the rest of the tape. Many charged that the plot was very predictable, but predictability in this case is a further advantage that grips the public's feelings, unable to prevent the knowledge and security of an impending tragedy leaves your mind at any time, keeping tension as effective as shock over a plot, not at all heavy or excessive, despite the terrible day to day living the protagonist, present in each and every one of the sequences (almost every shot) of this seamless film that succeeds in its field risking the figure of the appellant as a loser is so topical in cinema, but Rourke and Tomei are able to under the incessant rain of topics offer an unforgettable characters recital, full of nuances, on the unshakable dignity of the losers. Once again the wise hand of Aronofsky reconstructs the ritual of the loss until turning dirt into gold and Rourke merely magnify his tortured body to transform it into pure fantasy. Rarely fiction and what is not come together in such an extreme and visceral agony. And, even shaken, we can only surrender and praise as devastating proposal.
"A splendid film, a penetrating portrait of failure"
THIS MAGNIFCA band recorded demos and a EP from 1988 to 1990, is a real shame that will not leave us SOME GOOD LP,
THEM BUT LET THIS GEM TODAY AS EP Remaster
Whiplash IS A REAL GOOD THRASH METAL WITH PLENTY OF QUALITY, TECHNICAL, crushing and stomping beat AGGRESSIVE VOICE YOU SPIT EACH ITEM BY ITEM SO GREAT, CHANGES EVERY MOMENT WITH RHYTHM ENFRENONES, and accelerating With riffs and blasts DRY, VERY DIRTY AND DIRECT ......
INTRO SOUND EFFECTS A CONCERT, YOU CAN DESTANTEAR ......
BUT FOR ANYTHING, IS A VERY ORIGINAL STUDY HARD ....
be heard THE TRUTH IS A HIGH VOLUME ... will not be disappointed .....
thousands (no exaggeration) of recordings hovering around the planet there.
bands that went by without anything more merit to have belonged to the world subterraeno of the 80's, often because of lack of support or a budget could not stand or do anything more than the odd demo ... ... often of high quality, sometimes (like this is the case), very poor manufacturing, but the years makes a big sound that old jewelry today to enjoy when all was passion, not necessarily just the monetary benefits ......
so that we remember today is a Japanese band
they recorded 3 demos from 1987 to 1989.,
this
demo thrash world today as remastered by ep,
is a jewel of brutal-Deathcon thrashcore their respective dose.
gozenlo and remember when the passion for the metal was pure desire to do what you sound crazy ..... rage and more noise, the technique? so .... if the mere fact that drums and riff shred the strings like we're hanging a cat, we were more than satisfied ......
4 songs that are amazed on a tape that the passage of time is forgotten and dusty in a corner of time in japan.
Let me cry . Let me show you, through the power and elegance of Italian chamber music and pianoforte orchestrated key, how my parents made essential negligence, trapped by the copula, and damn endless mirrors and stays infinitely evil breed of men where they believed their secundogénito conceive, but it was not because the wind broke the close of my room and made me discover the slippery snow and gentle. And what sadness on his background passionate union, what need of bodies are mechanically fit and managed briefly to the world, if perfection is impossible and everything is synchronized chaos and ephemeral white wonder, if, as I was saying, I beheld the wonder befell first and then last time, snow is slippery and gentle metaphor for life. I said goodbye to them, I saw enmadejados, trementes and sweaty in his inevitable attraction, but no, I still did not understand that life began in this union, that union is the trap also because self-absorbed lovers, there is no world establishing their erogenous points and their endings genitals.
No, I only understood the inherent friction and adequate cold and extremely fleeting this life is treacherous white, which makes slipping from severe sills and makes us stop, endless and incomprehensible falling in snowy bloody bed now, yes, blood and snow (in the background, fire and water), why not give beautiful if you understand the latest death in my body and the first to be given after the other, in my parents, who will rub the soft, padded madness, you will wonder why their selfishness would not let them hear the attempts and snares of the Gray Lady, which entered in my room with the treacherous wind, that they were arrogant and believed that the world was beating in rhythmic pulsations, if the world is always out, as this is not comfortable, warm home of London's West End, if the world is filmed in black and white, but in the color of the wind and the fragile record of the snow.
And I fall, I keep falling over the seconds, minutes and hours throughout the excruciating and agonizing eternity psychic destruction bodily and unaware they are still there, trapped in that black and postmodern black, and I, in those brief seconds, I had the world in my hands: the pulse of the wind and the purity of untouched snow, the memory of unconsciousness and misery of bodies. I knew what was the world of betrayal, knew what it was life with only a year and a half of existence.
ANATHEMA, A MISSING YA BANDA, SOLO RECORD 2 DEMOS, exude a THRASH WITH A LITTLE CROSOVERS CUTS, THE VERY GUARRO SOUND OF THIS BAND, TOO DIRTY, BUT AT THE END AND THE CAPE TO OUR EARS very succulent, HERE NO WAIT JUST A LOT OF TECHNICAL THRASH ..... VERY CRUDE AND DRY
his second and final will record THE DEMO IN 1990.
THERE FOR SURE ... SEVERAL BANDS WITH THE SAME NAME ...
THIS BAND IS ORIGINAL OF COLORADO, USA FORMED IN 1987
AND THIS IS YOUR FIRST JOB WORLD TODAY Remastered by THRASH EP are succulent, three themes that will leave you wanting more ..... DIRT
LAST DANCER OF MAO (MAO LAST DANCER, 2,009) Bruce Beresford
The Australian Bruce Beresford has filmed a great movie. " Mao's Last Dancer" is a film not only entertaining but, indeed, excited. Desfascinados as we are by the apathy and trash film that bombards us daily in our poor theater, " Mao's Last Dancer " presents a different film that focuses on stories with a little more soul. Humanity, love and politics are the fundamental issues that the director plays with harmony. Here is the story of a man struggling to be free. A man who arises in a context where they charge its social role, its internal unrest and loving horizon. Because one day Cunchín Li, a leading dancer of the China Maoist decided to take charge of your own life, himself congujarse first person, saying "I'm , and face the situation that presents its government. Cunchín Li traveled to Texas following an exchange program with the Chinese dancers. During his brief stay he meets a girl and falls in love. When the term loop decides to stay in the United States and in this way not only contravenes the party's decision to bring him back but, to make matters worse, causing a diplomatic and media of a certain intensity. A decision that turned out quite expensive but that is the price and the taste of freedom.
The bill of the film is successful but nonetheless engages in acts of dishonor. She lies somewhat less natural development of the scenes and human conflict. Actors sketch their sorrows with too much rigidity. The emotional trances are rather sketchy. In two or three traces taken for suficente. I believe more time is needed to develop and deepen the emotional relationships that form the narrative texture. In addition, the emotion that manages to convey, especially in the final scenes, is an emotion as canned, artificial, rebuilt. It is as if the director had decided to move us and it always used techniques. The problem is not availing itself of these techniques, which is very legitimate. The problem is that the viewer perceives the use of these techniques and to be so obvious force unravels the naturalness and spontaneity of the evolution of the film. We see the dancer Li Cunchín long after he is reunited with her parents, her former dance teacher, and the city of his birth. They are very sudden encounters that resulted in a couple of minutes. The reunions have always been the capital prism of emotion. How many TV shows have been filmed on Aug. sentimental reunions and reconciliations?. We like excitement and director Bruce Beresford that we are subjected to the influence of final reunion and reconciliation. The plot unfolds in a circular order.
Another wake-up call should be made on the specific issue involved and the solutions within the logic of the drama, the director offers us. The solutions are somewhat predictable. And there is a feeling of having seen the movie a thousand times. The theme of freedom and individual rights is well trodden. The theme of the struggle for an everlasting love we have seen in hundreds of romantic comedies. And the theme of a story of personal growth is given here without distinction of so many films that have addressed these issues and have blazed a trail unavoidable in the history of modern cinema. Perhaps the most commendable of the film is the treatment of these issues with an interlocking securely locked.
"Mao's Last Dancer" thrills and the excitement is at the same time, his virtue and defect. A strange mix do not often see nowadays. But nevertheless we can tolerate slightly. Especially in view of the vast array of tapes garbage that comes across the Atlantic.
The film begins with a call for help and ends with the sound to communicate telephone or finishing a conversation: the sound of forgetfulness. Filmmaker Juan Avellan seems to say with his main character, Albert, who is asked to life, it can not give it to us.
This work stands an excellent use of narrative by the continued use of flashbacks and flash forwards . Its writer and director does not make a speech, therefore, linear, nor need to. Thanks to this film achieves more original and complex, making it more interesting, and deconstructing the narrative time to master, gentleness and wisdom.
But not only is good speech, but the short film is full of great phrases. Expose the most significant example, expressed by Alberto (actor José Fopiani), in a culmination of disenchantment vital and alcoholism: " on with your life, buy the soul, we scored the way ... Do not ask ."
Alberto is a victim of his time, a disenchanted life imposed by the postmodern society, the mechanics of a life that seems to lead nowhere: shower, car, without realizing age ... It seems to tell us what Juan Avellan with this film, halfway between existentialism Bergman and Rohmer films prose. We hope you enjoy it.
Director: Clint Eastwood Year: 1999 Country: U.S. Gender: Drama / Thriller Rating: 7.5/10 Cast: Clint Eastwood, Isaiah Washington, James Woods, Denis Leary, Lisa Gay Hamilton, Diane Venora, Bernard Hill, Michael McKean, Michael Jeter and Mary McCormack
Steve Everett (Clint Eastwood) is an investigative journalist who has serious problems: it is an alcoholic who has only two months without drinking, but is, above all, an unrepentant womanizer. This type of life has discredited not only professionally, but has also ruined his marriage. Find an unexpected opportunity for rehabilitation when he was commissioned an interview with a condemned man on the eve of his execution. Despite this, decides to investigate on their own and some evidence lead you to suspect that the man will be executed is innocent. However, it has very little time to get the necessary information to make possible the pardon and prevent the execution of the sentence. Clint Eastwood, which for me has always been such violent, rude and nasty filthy associated with the character of Harry, was revealed to me ike a great director in a film often underestimated and forgotten as in "White Hunter , Heart N egro " (1990). After a strange magnetism driven attended review their films and I found " Unforgiven" (1992), a film that is today considered a classic, and was a result of that work, that I became a him unconditionally, even at the beginning having to defend this masterpiece among my friends, even in the head with the stereotype that I shared months earlier.
Eastwood's films since then and like that of Scorsese and Tarantino, it has become for me a landscape known and loved, and indeed the film and formal coherence of the work of this man has put me through such moments do not always like this masterful western, but very noticeable. For me, watching films of Eastwood is like coming home and relaxing after a hard day's work. You know what you see and what you'll encounter and simply and without further complications, you just go with the cliches of his films. And is that Eastwood has built a character to suit himself and in his last ten films, simply perpetuates making variations of it all rather different and nuanced, but with a single source. The old Steppenwolf representing representing this time in this single which extends only to the apartment at night after a hard day of work, and the first thing is to put a jazz album, then approaches the cart of drinks is served whiskey, was barefoot, to feel relaxed and begins to think about the article of the day, in the case of murder or some old love. That lone wolf, still retains a high power of seduction, and an intuition that goes beyond professionalism. His misogyny and machismo is just self-defensive front and more sarcastic than anything else, and above all, a good soldier, tired, worn out and disillusioned from all causes, but is always willing to submit a final battle.
In "True Crime" is the tape in question, and that fits perfectly in this chain of movie series directed and performed or interpreted only in recent years, would be a much more complex film the rest (although not without some of these traits), we find a journalist and a death penalty case. Eastwood is a man who has never finished politically located, to the extent that you do not know if it is liberal, conservative, Democrat or conservative Democrat, what is clear is that in his defense of Savannah gay character in "Midnight in the Garden of Good and Ma l "(1997) and in this argument against the death penalty is "True Crime", demonstrates a commitment to social, friendly though, and only moderately critical. Eastwood in this film we are introduced to a protagonist libertarian and sixties, broad moral (he has an affair with his boss's wife), of course steppe, and unwilling to follow the rules. Steve Everett is a man who bases his nose for news in their intuition, experience, and uses these weapons to autorevindicarse in a world of young sharks who seek a termination of obsessive jealousy and because they know they are with a man superior. The test he needs to prove he still is ahead of them is the resolution of a death penalty case, a black man, wrongfully accused of murder was unclear, in which a rack of chips and racial prejudice are the keys to the enigma.
The film, admittedly is somewhat irregular and missed by his epilogue added, but contains some images of the best Eastwood in recent years, and moments of great cinema: He may not adequately appreciated James Woods (another old school) plays here also another wolf, and the dialogues that intersects with Eastwood in delusional and counter-charged replicas affection and sarcasm seem drawn from the best scripts of Wilder's films or Hawks. These two characters are really two journalists "hawksianos" in a world of sugar and butter "yuppie" that tends to devour them, and they laugh in their faces. On the other hand, we have the research that is the most topical and predictable (except the initial accident and the registration of Eastwood's house the girl, of course regret that skewed young) and we also sentenced to life in this death, and his last moments with his family. Eastwood wheel this time of the condemned, with coldness and hardness without falling into sentimentality, and achieving the critical pass in humanity detached and small details like the picture of the daughter of the offender or in the embrace of husbands. Eastwood is among the few that has addressed the issue of the death penalty through the thriller and yet neither trivialized nor has used it for a political pamphlet. In fact, the most interesting of this fine thriller is the approach to a topic as thorny as the death penalty through a few but expressive scenes.
However, the film has a plane that lingers in the viewer's memory above all. A plane, which in the case of a more committed European director would have been the last of the film, and here gives an epilogue pattern unnecessary. The plane in question is the fist woman convicted of hitting the glass with chilling desperation, trying to stop an inevitable death, which at first seems now irreversible and that his five fingers on the pulse of the American justice and current mindless subject now rules the destinies of half the world (which by then was in Texas only). But rather by the imperatives of study, or by its own conviction, after that brutal and hard level, it produces a fade and we see a Christmas picture in which the protagonist once redeemed and demonstrated their superiority over their young heads, intersects with the offender in the distance and returned a look of mutual appreciation, as both have helped (to escape a death, and prove that it still serves for journalism, the other). Epilogue, which weakens the speech and the film of a severe and notorious, but that does not lose the values \u200b\u200bthat underlie all these films by Eastwood that lately we have come, beloved and pleasing, with an unmistakable aroma classic and to confirm as a major or at least most important filmmakers of our time.
"True Crime" is surrounded by an atmosphere powerfully intense, exciting, charming addition and soulful music by Lennie Niehaus, who accompanies all the action subtly triggers the end a melancholy score own film city black background Christmas dress. Undoubtedly Eastwood film shows with each one of the great and, well, I acknowledge that I have "hypnotized." Because Clint is smell, and that's a fact, Eastwood is a director / actor worthy of praise is all sorts of issues and not leave anyone indifferent. Without being one of the best works of this great director and actor, "True Crime" is an intriguing film while a strong argument against the death penalty. Maybe this time Eastwood wanted to show the world that after the tough guy that has always embodied in the film hides a person with deep thoughts. The good character of Steve Everett is that from the outset clear that Eastwood is not the archetypal saint who can save the condemned. His extramarital affairs, his past alcohol and other defects contribute to the dehumanization of the hero, although it also remains something of effectiveness to the plot, gives a different perspective. The story does not deceive: the system is corrupted by politicians, journalists and viewers, bloodthirsty lawyers and morbidity of death. And Clint hits hard, and boy does it hit!
Ordet, The Word (Ordet, 1955) by Carl Theodor Dreyer
Apart from blockbusters like Ben-Hur (1959, William Wyler), The Robe (1953, Henry Koster), King of Kings (1961, Nicholas Ray), The Greatest Story Ever Told (1965, George Stevens) and other religious-themed films that are exhibited each year on television during Semana Santa (and do not say pejoratively but rather the opposite), there are also the same genus with fewer claims and less well known outside the circles moviegoers. However, they are of lesser quality. An example is Ordet, one of the great films of Carl Theodor Dreyer .
Ordet is not a film about the life of Christ or on a passage or fragment of the Bible, is not a blockbuster, so it is far from the aforementioned. However, there are few examples of family dramas and as usual with a strong role of religion, as in the case of this work. Dreyer
uses a great sobriety, especially in the scenery, to tell a story that could carry the subtitle: "Faith can move mountains." The film revolves around the members of a farming family. The daily life of these humble people is shown by Dreyer's camera without artifice or special effects, only with a great mise en scène composed almost entirely by long shots that hit the whole film a theatrical aspect. The script is signed by Dreyer himself, which adapts the homonymous work of pastor Kaj Munk.
protagonist's family is composed of the patriarch, Morten Borgen, and their three sons, Mikkel, Johannes and Anders. The first expecting her third child with his wife, Inger, and not just to reach God because he lacks faith. For its part, Johannes is a former theology student who both read the thinker Søren Kierkegaard identifies with the figure of Christ and all of them taken by a madman. And third, Anders, is in love with the daughter of a tailor, who belongs to a religious rival clan and therefore opposed to the loving communion between Anders and her daughter.
Ordet is a film about a miracle, and how from the power of faith and Christian values \u200b\u200bcan face adversity and live a life of communion and tolerance with our neighbors and our rivals. The first half of the film contains a more hopeful tone. The misfortune is weighing gradually until it explodes in the middle of the tape. Even the lighting changes, giving the film a less dreamlike and more austere than the first half.
The credibility of the master Carl Theodor Dreyer and what he is telling us is amazing. By the time the miracle happens we are so identified with the family and get thrilled to see religion from a different perspective. The values \u200b\u200bderived from this work off a smell of sincerity and beauty that obtained the result that the world changes before our eyes, does the optimism in the valley of tears. In some ways makes the viewer becomes a believer, word agnostic. Is one of those movies that leave us with good taste, highly recommended for Easter (hence my recommendation to leave the television, naive of me) or to any point in our lives that we need a dose of spirituality ... or movies with capital letters, no more.
