Jumat, 30 Juni 2017

Pride and Prejudice and Zombies 2016 Eesti Subtiitrid

Pride and Prejudice and Zombies 2016 Eesti Subtiitrid









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Pride and Prejudice and Zombies 2016 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Dacia Welch

Stunt-koordinaator : Ayan Elisei

Stsenaariumi kujundus :Gallego Yusupha

Pildid : Sarika Dantay
Co-Produzent : Omar Edith

Saatejuht : Tamblyn Mavrick

Juhendava kunsti direktor : Samrath Hadley

Lavastada : Coudert Luken

Tootja : Maci Marco

Näitleja : Carn Gros



A zombie outbreak has fallen upon the land in this reimagining of Jane Austen’s classic tale of the tangled relationships between lovers from different social classes in 19th century England. Feisty heroine Elizabeth Bennet (Lily James) is a master of martial arts and weaponry and the handsome Mr. Darcy (Sam Riley) is a fierce zombie killer, yet the epitome of upper class prejudice. As the zombie outbreak intensifies, they must swallow their pride and join forces on the blood-soaked battlefield in order to conquer the undead once and for all.

5.8
1317






Filmi Pealkiri

Pride and Prejudice and Zombies

Time

196 seconds

Vabastama

2016-02-04

sort

MPG 1080p
BDRip

klass

Romance, Horror, Comedy, Thriller

language

English

castname

Mesum
Y.
Shumon, Surabhi Z. Xanthe, Glenn B. Jourdan





[HD] Pride and Prejudice and Zombies 2016 Eesti Subtiitrid



Lühifilm

Kulutatud : $631,466,483

Sissetulek : $703,198,576

Categorie : Apathie - Terrorismus , Lustig - Einfachheit , Wissen - Guilty , Kommunismus - Einfachheit

Tootmisriik : Philippinen

Tootmine : Wimbledoni stuudiod



One thing is for certain: no one can accuse director Burr Steers’s off-kilter version of novelist Jane Austen’s lyrical literary landscape **Pride and Prejudice** as being deemed solely melancholy and manipulative. The challenge of presenting a sophisticated and sudsy exposition while incorporating the ghoulish gimmicky of zombies to elevate the surrealism and cynicism of the British-based costume drama is an ambitious taking to say the least. Thankfully, Steers delivers a halfway decent piercing period piece that accentuates both the elegance and eeriness of Austen’s blossomed universe of early 19th century English femininity dripping with refined defiance and desire. Hence, Steers’s somewhat choppy but inspired **Pride and Prejudice and Zombies** provides an imaginative and slightly insane spin on the austere exuberance of Austen’s classic romancer highlighted with the butt-kicking antics of the bombastic Bennett sisters.

There is no doubt that movie and television audiences throughout the years have been subjected to the omnipresence of the Jane Austen Experience through countless interpretations of her treasured **Pride and Prejudice** artistic works. For the most part, the radiance of Pride and Prejudice has always maintained its ravishing romanticism in the various incarnations showcased. However, Steers looks to promote a bloody-thirsty blueprint and enhance the urgent sense of Austen’s femme fatale movement–in this case unite the Bennett brood and arm them with the alertness of sinister-made sisterhood. Instinctively, the premise for **Pride and Prejudice and Zombies** gives off a bizarre but refreshing vibe when distributing its wacky brand of subversive feminine liberation.

Austen heroine Elizabeth Bennett has always been possessed in her personalized convictions especially when it came to love and stability. Nevertheless, **Zombies’** Liz (Lily James) has a mission in mind that does not necessarily involve finding that ideal suitor of choice. In this case, Elizabeth and her sisters Jane, Mary, Kitty and Lydia (Bella Heathcoate, Mille Brasy, Suki Waterhouse and Ellie Bamber) are the sisterly slayers trained to eradicate the unwanted walking dead. The Bennett beauties, all skilled at exceptional swordplay courtesy of intensified training in China, are looked down upon within their elite social circles. Furthermore, the concern over the feisty Elizabeth and her siblings finding their soulmates rests on the shoulders of their worrisome parents Mr. and Mrs. Bennett (Charles Dance and Sally Phillips). What is to become of the vast Bennett estate should their offspring not find the eligible companions to continue the bloodline? The question remains: will the bashing Bennett babes go down in family history as courageous zombie huntresses or suffer the societal humiliation as available spinsters untouched?

Elizabeth’s preference is to be vigilant in her quest to zap out the zombie presence whenever possible as opposed to obsessing over whether she will hook the grand love of her life. Still, the very idea of meeting Colonel Darcy (Sam Riley) at one of the festive balls may have at least humbled the combative Elizabeth a bit and had her entertain the notion of embracing a romantic feeling. Unfortunately duty calls and the agenda for terminating the pesky zombies as they invade the region is the top priority for Bennett brigade.

Actually, **Pride and Prejudice and Zombies** is a frenetic fable that solidly works because it is able to competently marry two ubiquitous genres–zombie B-movies with prim and proper Austen period piece adaptations–and come up with a quirky and contentious commentary on female-oriented resistance and rage. Steers rips into the convention of womanhood wonderment with a horror flick romancer that has its sheer of nuanced nerve and chilly-minded charm. The gory shenanigans and showy execution of Zombies’ cinematic makeup from Remy Adefarasin’s luscious cinematography to David Warren’s production design and Julian Day’s costume designs all mesh with noted symmetry. The balance of wit, suspense, terror and tirade as the Bennett bunch and their suitors engage in swagger as they eliminate the detestable zombies feels delectable in manufactured naughtiness.

The performances are steady and give substance to the welcomed wackiness that uncannily defines this effectively compelling but twisted treat to Austen’s pretty protagonists dressed up in gorgeous gowns that conceal their blood-laced daggers. As the lead Bennett sister, James is rather engrossing as the impulsive sword-swinging sass as her unique spin on Austen’s curly-haired creation is as credible and creative as say Keira Knightley’s stamp on the Elizabeth Bennett role. Although rollicking in a zombie B-movie without relying too much on the crutch of high stakes camp, James and her supporting players are quite poised to go with the flow based on what the unpredictable material hands them.

The bottom line is that **Pride and Prejudice and Zombies** is a serviceable spectacle that dares to weave a Victorian-cultured social class romance yarn with an undead creepfest while finding a common ground in the hidden psyche of the young woman’s destined determination for self-discovery. Perhaps introducing the less literate crowd to Jane Austen’s brand of high class sensibilities through the battling Bennetts during the onslaught of an English countryside zombie invasion would make other future **Pride and Prejudice** installments feel more renewed and receptive.

**Pride and Prejudice and Zombies** (2016)

1 hr, 49 mins.

Starring: Lily James, Sam Riley, Jack Huston, Bella Heathcoate, Douglas Booth, Matt Smith, Charles Dance, Sally Phillips, Suki Waterhouse, Ellie Bamber, Millie Brady

Directed by: Burr Steers

MPAA Rating: PG-13

Genre: Horror and Fantasy’Romance and Suspense

Critic’s rating: ** 1/2 stars (out of 4 stars)

(c) Frank Ochieng 2016
Better than it had any right being, but still not very good.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._
**From loathing to romance and zombie hunting!**

I did not know there was a parody novel of Jane Austen's 200 years old classic. This was based on that, a multi-starrer film, but the lack of star value let down the film. This is the film with a familiar plot, in addition to that zombies were there, but that was not enough. The big names from the cast would have pulled the film out of the box office disaster if it had one or two. But still I think this film was okay, an acceptable with awesome production and performances.

It ended like there will be a sequel, but now I don't think there's going to be one. The story was kind of predictable. Well, I did predict, particularly the character Wickham. Though I was more curious about the Zombies, like how it was going to be used in the narration. I must say, they were excellent. I mean they were not given any big preference, but theirs part indeed helped to build a nice plot. Pretty well composed stunts. I mean carefully, without strong blood and gore, so they got PG13 and warning for the violences.

I think the film critics overreacted like usual. They're like the sheep herds, they follow one another and given verdict for this as a bad flick. But as a film fanatic, I don't think it is worth neglecting, especially if you are a fan of the original story. In the todays world, the critics are a bunch of circus clowns. So I hope you make a right choice on this, not because of me or the critics, if you haven't seen it yet.

_6.5/10_

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Kamis, 29 Juni 2017

Suspiria 2018 Eesti Subtiitrid

Suspiria 2018 Eesti Subtiitrid









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Suspiria 2018 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Rishav Kaylin

Stunt-koordinaator : Nesrine Turcat

Stsenaariumi kujundus :Shain Sela

Pildid : Cosima Sofija
Co-Produzent : Sophie Leonie

Saatejuht : Sven Droz

Juhendava kunsti direktor : Ylan Beth

Lavastada : Ishfaq Moore

Tootja : Eleniak Alfred

Näitleja : Jesusa Zarader



A darkness swirls at the center of a world-renowned dance company, one that will engulf the troupe's artistic director, an ambitious young dancer and a grieving psychotherapist. Some will succumb to the nightmare, others will finally wake up.

6.9
1128






Filmi Pealkiri

Suspiria

Duration

173 minute

Vabastama

2018-10-11

sort

MPEG 720p
VHSRip

Categories

Horror, Fantasy

language

English, Français, Deutsch

castname

Deklan
A.
Medi, Miraj R. Hector, Simpson T. Inari





[HD] Suspiria 2018 Eesti Subtiitrid



Lühifilm

Kulutatud : $529,017,799

Sissetulek : $727,743,501

Categorie : Cartoon - Schreiben , Kannibale - Neid , Gesundheit und medizinische Forschung - Demut , Porträt - Linguistik

Tootmisriik : Dominikanische Republik

Tootmine : RWP Productions



Luca's "Suspiria" brought me no words.

The horror in this movie is not like anything else I've ever heard or seen. The sheer film in Luca's "Suspiria" is not like anything that is made by major movie studios such as Columbia, Paramount, 20th Century Fox, Disney, and the like. Director Luca Guadagnino transitioning from the LGBTQ+ drama adaptation "Call Me By Your Name" — transitioning to the avant-garde, psychological study in his version of famed director Dario Argento's 1977 "Suspiria".

Horror movies today don't scare me. Horror movies of the 21st century seem to be involved in so much gratuitous gore, typical plotlines, a roulette set of actors playing quasi-characterization, varying degress of quality. Luca's "Suspiria" — a horror movie from 2018 — did not scare me. Luca's "Suspiria" unnerved me. Luca's "Suspiria" built slowly in tension, but also captivated me with raw interest — "Suspiria" dealt its final blow, finishing with a nightmarish sixth act and an epilogue.

Argento's "Suspiria" is a movie out of time in its own way. Argento's "Suspiria", a film released in 1977, looks fresh and modern — Argento's "Suspiria"'s fixation on primary neon colors and gore — Argento's "Suspiria" with prog-rock, percussion score by the band Goblin. Director Dario Argento, however, does not like Luca's "Suspiria". Director Dario Argento claims it is without spirit, fear and music — Argento thinks the design is beautiful, so Guadagnino must have done something right.

Luca's "Suspiria" is a movie unlike anything out of sheer audacity to become its own. Luca's "Suspiria" in the way it handles narrative into six different, self-contained "acts" ending with an epilogue — Luca's "Suspiria" in its washed-out, bleak setting complementing queer, disenfranchised coloring and nonconforming visual narrative — Luca's "Suspiria" with its brooding realism, mysterious witchcraft and black magic — Luca's "Suspiria" with mesmerizing visuals; unexplained syntax; self-contained exposure; restraint. Horror in Luca's "Suspiria" is much more than simple disgusting imagery — Gore in Luca's "Suspiria" is far and in between, but is visceral and disgusting all the same — Nudity in Luca's "Suspiria" is all female, except one male.

Politics and dance in Luca's "Suspiria" are vital to understanding 2018 "Suspiria". Dance carries witchcraft and spells, and with it — uncompromising emotion, femininity, power, and rawness. The German Autumn of 1977, in which Luca's "Suspiria" is set in a time where Berlin is divided into East and West (and when Argento's "Suspiria" was released). The Lufthansa hijacking and the RAF faction. The mention of the Third Reich by Dr. Klemperer as a religion, and a delusion. What is and is not a delusion.

There's something dramatic about Luca's "Suspiria" itself. Dr. Lutz Klemperer in losing his beloved wife, Anke, in the Holocaust. Sara in losing her beloved friend, Patricia. Madame Blanc in beginning to love her newfound daughter, only to regret what she has done to her. The three girls in the ritual wishing for death, to be given a motherly kiss and then die. Klemperer's meek inability to stop what he has witnessed through psychotherapy; his helpless stature in the finale. His erased memory to absolve him of his guilt, and of what he had to witness.

Dakota Johnson; the one actress from the terrible, mainstream "Fifty Shades" film trilogy. Dakota Johnson becomes remarkably unnerving, feminine, sexual, motherly, and incomprehensible. Tilda Swinton — her counterpart, Lutz Ebersdorf. Tilda Swinton's role as a matriarch and founding mother of a coven; Lutz Ebersdorf's role as a skeptical psychotherapist; a grieving widow. Chloe Grace Moretz as a politically-troubled woman; unstable woman; paranoid woman. Everyone's performance as their roles felt utterly average — Everyone's average performance as their roles grounded reality to the movie.

Thom Yorke in the music department did a nice job. Thom Yorke's score for Luca's "Suspiria" evoked the mood of a 70s prog-rock band with a niche for ambient synthscapes, musique concrete moods and piano experimentation; if we're judging Thom Yorke's soundtrack, its a nice collection of songs that should have been a Radiohead double album than a soundtrack. Of course, Thom Yorke's score did not always fit Luca's "Suspiria"; Some scenes with Thom Yorke's pieces grated the scenes' moods to pieces, yet in a similar manner as Goblin's score for Argento's "Suspiria".
* A movie that left me deeply unsettled, and scared in my subconscious. A movie that made me depressed when it was depressed. A multi-faceted piece, Luca's "Suspiria" is a rooted testament in femininity and matriarchy. Luca's "Suspiria" is a movie without words.
**_Politically juvenile, with a troubling approach to the Feminine, but it's certainly convinced of its own profundity_**

> _It did not excite me, it betrayed the spirit of the original film: there is no fear, there is no music. The film has not satisfied me so much._

- Dario Argento's assessment of _Suspiria_; _Un Giorno da Pecora_ (January 18, 2019)

Released in 1977, Dario Argento's giallo classic _Suspiria_ (the first part of his _Tre madri_ [_Three Mothers_] trilogy) has a plot you could fit on a stamp – a young American dancer goes to the famous Tanz Dance Academy in Freiburg im Breisgau, Germany, only to find it's a front for a witches coven. That's it, and as the film barely leaves the confines of the Academy, there is no contextualising of the plot against any kind of socio-political background. By no means is it a good film, with terrible acting, a dire script, and laughable effects, but it's immensely enjoyable, partly because it's genuinely creepy in places, but mainly because it doesn't take itself too seriously; the filmmakers know it's nothing more than a surreal, gaudy, style-over-substance, shock-for-shock's sake, Grand Guignol head-trip, and they lean into that identity rather than trying to transcend it. Luca Guadagnino's remake (yes folks, it's a remake) is the polar opposite – it has an intricate plot covering all manner of themes and topics, featuring several new characters, and setting everything against a complex socio-political background; the acting and effects are excellent; it takes itself very, very seriously; and it continually tries to prove to the viewer that it is much more than a piece of kitsch horror. According to Guadagnino, his version of _Suspiria_ is a "_homage_" to the "_powerful emotions_" of the original (it's a remake), whilst actress Tilda Swinton calls it "_a cover version_" (it's a remake). The real question, however, is not how similar or dissimilar it is to Argento. The real question is whether the film is a beautifully mounted insightful exploration of female sexuality, a celebration of a self-contained matriarchy set against the destructive chaos of a failing patriarchy, and a psychoanalytical investigation of national trauma and World War II guilt, or is it an overlong, dull, self-important, incoherent mess, that in trying to be both feminist and feminine somehow ends up being both misogynist and misandrist? Working kind of like a hybrid of Nicholas Winding Refn's _The Neon Demon_ (2016) and Darren Aronofsky's _mother!_ (2017), the film is as far as you can get from Guadagnino's more recent work, specifically _A Bigger Splash_ (2015), and _Call Me By Your Name_ (2017); one can only imagine what people who expected more of the warm sun and delicate eroticism seen in those films must have felt after spending 152 minutes in an arid Berlin winter, witnessing bones pushing through skin, decapitations, night terrors, meat hooks being used in ways meat hooks were not intended to be used, Holocaust survivors, political terrorism, and witches trying to organise an election.

Set in "Divided Berlin" in October 1977, the film is divided into six acts ("1977", "Palaces of Tears", "Borrowing", "Taking", "In the Mütterhaus (All the Floors are Darkness)", and "Suspiriorum") and an epilogue ("A Sliced-Up Pear"). It begins with Patricia Hingle (Chloë Grace Moretz, who appears to be cornering the market in rubbish Hollywood remakes), a student at the prestigious Helena Markos Tanzgruppe [Helena Markos Dance Academy] arriving at the home of her psychoanalyst, the Carl Jung-in-all-but-name Dr. Josef Klemperer (Tilda Swinton, credited as Lutz Ebersdorf). Terrified and not making much sense, Hingle tells Klemperer she has discovered something sinister about the Academy and is now in fear for her life. Although Klemperer believes she is delusional, he is concerned for her well-being, but she flees, leaving behind her diary. Meanwhile, Susie Bannion (Dakota Johnson), a Mennonite from Ohio, arrives at the Academy hoping to audition. Impressed with her abilities, lead choreographer Madame Blanc (also Tilda Swinton, channelling Pina Bausch), admits her to the Academy. Becoming close with her roommate, Sara Simms (an excellent Mia Goth), Susie quickly finds herself dancing the lead in the Academy's upcoming piece, _Volk_. Meanwhile, in Hingle's diary, Klemperer reads that the academy is a front for a witches' coven, and learns of the "Three Mothers", a triumvirate of powerful witches who predate Christianity – Suspiriorum (Sighs), Tenebrarum (Darkness), and Lachrymarum (Tears). At the same time, he is trying to find out what happened to his wife, Anke (Jessica Harper, who played Susie in the original), who disappeared in 1944 after he tried to convince her it was safe to remain in Berlin. Meanwhile, the Academy's matrons hold an election to choose the coven's leader, with Blanc running against Helena Markos (also Tilda Swinton!), a vote which Markos narrowly wins. Unaware of any of this, as Susie becomes increasingly close to Blanc, Sara grows suspicious of the matrons and begins to investigate on Klemperer's behalf.

Guadagnino has been obsessed with Argento's original since he first saw it in 1984, and in 2007, he optioned the rights and hired David Gordon Green to write and direct a remake (there's that word again), something with which Argento himself was not especially pleased, believing the film didn't need to be remade. In 2013, Green revealed that legal issues had prevented the film from being made, and in 2014, he also cited the escalating budget. However, in 2015, Guadagnino announced that he himself was now directing a "_homage_" (it's a remake), from a script by David Kajganich (_The Invasion_; _True Story_) which focused on "_the uncompromising force of motherhood._" Guadagnino's _Suspiria_ is the kind of horror movie that goes for slow-burning psychological dread (there is literally not a single jump-scare), and from the time the project was announced, it has divided opinion, something which continued when it was released; it's that rarest of films whose Metacritic scores range from 0 (for example, Mike LaSalle's review for the _San Francisco Chronicle_) to 100 (for example, Joshua Rothkopf's review for _Time Out_).

As the plot outline should make clear, the film deals with a variety of weighty themes, one of which is the political turmoil of the era. Set in October 1977, the events of the _Deutscher Herbst_ [German Autumn] are constantly on the fringes of the narrative – the film opens with a street demo; radio reports speak of Ulrike Meinhof's death in police custody in May 1976, the imprisonment of Andreas Baader and Gudrun Ensslin, the activities of the far-left, anti-imperialistic terrorist group _Rote Armee Fraktion_ [Red Army Faction - RAF], the hijacking of _Lufthansa Flight 181_ by the Popular Front for the Liberation of Palestine, and the kidnapping of Hanns Martin Schleyer; the story the academy put out to explain Hingle's departure is that she has joined the RAF; a bomb explodes off-camera.

And it is in relation to politics where we encounter the first, and most certainly not the last, of the film's problems. Arguing that Germany's failure to process their Nazi past and confront their national shame is manifesting as political disenfranchisement, Guadagnino employs a pseudo-Jungian approach to show that the country's political turmoil runs parallel to the struggle for control of the coven. Emphasising that the world of witches was once harmonious under the rule of the Three Mothers, just like Germany, it has now devolved into factionalism, complete with backroom political manoeuvring, subterfuge within the ranks, and animosity bordering on aggression. Within this dynamic, the matrons are the privileged ruling elite, and the students are the uneducated and disenfranchised "_volk_".

But to what end does Guadagnino make this parallel? What is he trying to say? Rarely have I encountered a narrative which employs such blatant yet inconclusive and vague political contextualisation. Take the Berlin Wall as an example, which is literally right outside the Academy's door. Why is it there? Why are there so many shots of it? What purpose does it serve in the narrative? The answer is, none. It's purely ornamental, with Guadagnino seemingly hoping for meaning by association – people see the Wall, and immediately begin to attribute to it all manner of allegorical significance, when in fact the film itself suggests nothing of the kind. And none of the other political symbols amount to much more; they certainly don't inform any grand thematic statement or political thesis. Guadagnino bombards the viewer with empty historical and political themes which do nothing for the central storyline, functioning instead as decoration, utterly trivialising and completely disconnected.

Also important in relation to the film's politics is _Vergangenheitsbewältigung_ ["Overcoming the past"] – essentially, post-1945 Germany's attempt to come to terms with World War II and the Holocaust. This is primarily seen in Klemperer's search for his wife, which throws up another problem. Klemperer, who is not in Argento's original, is a surrogate for the audience. Nothing wrong with that, it's a standard screenwriting technique used to facilitate more organic exposition. However, Klemperer is an extremely distracting and painfully on-the-nose device to afford Guadagnino a vehicle for a political subplot, which is completely superfluous to what is happening in the coven. Every single reference to Anke could be removed from the film, leaving Klemperer as simply an amateur detective trying to find out what happened to Hingle, and the film would work just as well. In fact, it would work better. As his search for his wife becomes more prominent, and he becomes more central, all that is achieved is the waning of the central plot. In a story ostensibly about the Feminine, it's rather troubling that the emotional core of the film is male. The film's preferred point of view is his, with even the epilogue focusing on him. Klemperer is quite literally a man in a woman's world, but exactly why Guadagnino felt the need to shoehorn a man into a story about women is anybody's guess.

Which brings us to another theme; femininity (if not necessarily feminism). That the film is deeply interested in this is shown in a number of ways. For example, Susie is told by head matron Tanner (Angela Winkler) that the academy ensures the "_financial autonomy of our girls_"; speaking of Nazi Germany, Blanc says the regime wanted women to "_close their minds and keep their uteruses open_"; Susie is reminded that "_before the war, Germany had the strongest women_". Additionally, Klemperer is played by Swinton, meaning the film effectively has an all-female cast (the only other men with any lines are Glockner and Albrecht (played by Mikael Olsson and Fred Kelemen, respectively), two completely useless policemen whose main scene involves the witches hypnotising them and mocking the size of their genitalia). However, the film isn't interested in idealising female empowerment. Instead, it depicts a matriarchy beset by disruption and the chaos of a struggle for power. As Guadagnino tells Jezebel,

> _if we talk about the Great Mother, we cannot deny the terrible mother. True feminism is something that doesn't shy away from the complexity of the female identity._

But does the film imply that a powerful group of women is something to be inherently feared? Partly. Indeed, the very theme of witchcraft itself (perhaps the purest historical manifestation of the patriarchy's fear of female agency) carries an undercurrent of misogyny, which is not helped by the nudity and repeated violent objectification of the female body. There's a very thin line between condemning the male gaze, which is what Guadagnino claims to be doing, and recreating it, and it's a line which _Suspiria_ frequently crosses (for an excellent example of a film which recreates the male gaze for the purpose of satirising and ridiculing it, see Coralie Fargeat's superb _Revenge_). Maybe the problem here is simply that a story inherently about matriarchy, female empowerment, and the importance of motherhood, is a story a man can't tell very well. I'm reminded of Sofia Coppola's remake of _The Beguiled_ (2017), of which she argued,

> _this story had to be directed by a woman. The essence of it is feminine, it's seen from a female point of view._

_Suspiria_ also has a feminine essence, but it doesn't have a female point of view, and one can't help but wonder what a talented female director like Coppola, Mary Harron, Patty Jenkins, or the genius that is Lynne Ramsay would have made of this material.

However, even aside from these problems, there are a plethora of other issues. The character of Blanc, for example, is poorly written, and is stripped of agency towards the end of the film, so by the time of the _dénouement_, she anti-climatically does little in the direction of either outright evil or redemptive good; instead, she just kind of hangs around. As for the matrons, apart from Tanner, none receive an iota of characterisation; they are simply a jumble of non-individualised background extras. The same is true of the dancers. Indeed, there's an absolute dearth of subjectivity or interiority for anyone beyond Susie, Blanc, Klemperer, and, to a lesser extent, Sara and Tanner. There's a cliché-riddled scene showing Blanc telepathically channelling nightmares to Susie, full of images of skulls, worms, rotting flesh, etc. Nothing we haven't seen a hundred times before. Finally, the film is immensely silly in places. For example, the much-talked-about climax is presided over by what can only be described as a female Jabba the Hut wearing sunglasses. Another example is after Susie first dances at the academy, she confides to Blanc, "_it felt like what I think it must feel like to fuck._" "_Do you mean fuck a man?_" asks Blanc. "_No_," replies Susie, "_I was thinking of an animal._" Of course you were.

From an aesthetic point of view, however, there's a great deal to admire, as one would expect from Guadagnino, who is working with much of the same crew as from his last couple of films. Walter Fasano's editing is wonderfully disjointed, often cutting maniacally between inserts, barely affording the viewer time to register the images. The compositions and camera placement of cinematographer Sayombhu Mukdeeprom (_Uncle Boonmee Who Can Recall His Past Lives_) are also fascinating, often putting the camera in such a position as to purposely give a less than perfect view of a particular space. Combined, these two techniques are disorientating and frequently defamiliarising, rendering mundane geographical spaces such as offices, dorm rooms, and rehearsal studios as foreboding and unknowable, almost protean, never allowing the viewer to forget that something is not quite right in this _milieu_. Contributing to this sense is the blocking, particularly the recurring motif of staging conversations so that one character is off-screen, only visible to the audience via reflection. Especially noticeable is the film's colour, or lack thereof. Whereas Argento's original was awash in garish and exaggerated reds, purples, blues, greens, and yellows, Guadagnino's remake was conceived as "_winterish_", with as limited a use of primary colours as possible; grey, beige, and brown predominate. Giulia Piersanti's costumes are also superb, with Susie's wardrobe noticeably changing from conservative dresses and sweatpants to more revealing tank tops and shorts as she gains in confidence. Thom Yorke's Krautrock-style score is also excellent, as different from Goblin's prog-rock music from the original as you could possibly imagine.

The cumulative tension and dread are also reasonably well managed in the first half of the film, and there are individual scenes of great brilliance. At one point, Sara goes snooping around the Academy, finding something genuinely shocking, the reveal of which is masterfully staged by Guadagnino and Mukdeeprom. Easily the best scene in the film is the one that so traumatised audiences at CinemaCon 2018. As Susie performs an especially energetic dance for Blanc in one room, unbeknownst to her, she is psychically linked to a dancer in another, and every movement of her body is manifested violently in the other room, with the other dancer being flung about like a rag doll. The scene is horrifically gruesome, with bones piercing through flesh, blood and urine flowing copiously, and limbs contorting into truly disturbing positions. What really sells the scene, however, is the combination of Fasano's brilliant intercutting (maintaining continuity of movement from room to room cannot have been easy), Damien Jalet's superb choreography, and the disturbing sound design by Frank Kruse and Markus Stemler (_Cloud Atlas_; _In the Heart of the Sea_; _Assassin's Creed_) contrasting the sharp snapping of breaking bones with the wetter sounds of those bones penetrating flesh.

Self-indulgent like little else I can think of, _Suspiria_ is absolutely convinced of its own profundity. Far, far too long and far too self-serious, its themes and messages are poorly iterated, it's insanely dull for long periods, and it's badly unfocused. It's almost an hour longer than the original, and, honestly, it uses that hour to say precisely nothing of interest. The simple fact is that the slight story at the film's core (a coven of witches using a dance academy as a front) is unable to bear the massive weight of themes and narrative diversions heaped upon it; the vehicle just can't carry the message. Its politics are no more insightful than tabloid headlines, and serve only to detract from what is supposed to be the narrative's focus. Ultimately, it has little to say about femininity, feminism, political protest, the Holocaust, Cold War Germany, or World War II guilt, but it damn sure works hard to convince us it has a great deal to say about such topics. As cold as the Berlin winter it depicts, _Suspiria_ is equal parts emotionless, mechanical, and dull.
I have never seen original Suspiria, but saw this remake and all I can say - it had very unique atmosphere. It was different from a mainstream horror movies. It's not for everyone. If you're fan of SAW with lots of gore or even Conjuring series with lots of makeup and effects, you might not like this movie. Here most important part plays music, dance, places & characters involved in witchcraft that together creates creepy atmosphere. Movie is quite long and if you watch it at night and especially alone, it will give you effect of a nightmare dream. It's one of those weird movies that only few people understand and love.

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The Boy 2015 Eesti Subtiitrid

The Boy 2015 Eesti Subtiitrid









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The Boy 2015 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Eissa Carly

Stunt-koordinaator : Lindley Rajmina

Stsenaariumi kujundus :Ritika Aldrich

Pildid : Grant Abelia
Co-Produzent : Maiya Salois

Saatejuht : Madden Annette

Juhendava kunsti direktor : Ayna Samia

Lavastada : Aloka Eliyah

Tootja : Thandie Marthe

Näitleja : Tasnime Archie



An intimate portrait of a 9 year old sociopath as he discovers his taste for killing.

5.6
84






Filmi Pealkiri

The Boy

Time

146 minutes

Vabastama

2015-08-14

sordilisus

SDDS 720p
VHSRip

sort

Drama, Horror, Thriller

speech

English

castname

Banita
V.
Troy, Camryn D. Antony, Yoan F. Zarader





[HD] The Boy 2015 Eesti Subtiitrid



Lühifilm

Kulutatud : $215,639,301

Sissetulek : $561,162,082

Group : Isolation - Neuseeland , Test - Tapferkeit , Zynisch - Vertrauen , Kind - Military

Tootmisriik : Tonga

Tootmine : Hoiatatud filmid


Boy альбом — Википедия ~ «Boy» был выпущен 20 октября 1980 года На обложке альбома изображён Питер Роуэн 11 брат друга Боно Гуджи Питер также появлялся на обложке EP « Three » альбомов « War » « The Best of 1980–1990 » и на сборнике Early Demos

Америкэн бой — Википедия ~ История создания Исполнитель главной роли Александр Песков вспоминает что сценарий фильма первоначально назывался «Возвращение» и получил название «Америкэн бой» лишь на выходе

Johnyboy — Википедия ~ Johnyboy Джонибой настоящее имя Денис Олегович Василенко род30 ноября 1991 Латвия Саласпилс — латвийский русскоязычный рэписполнительВыпустил четыре студийных альбома «Холод» «Мимо теней» «Моя книга грехов

Masterboy — Википедия ~ «Masterboy» — немецкая евродэнсгруппа одна из наиболее успешных коллективов данного направления Наиболее известные композиции «Feel the Heat of the Night» «I Got to Give It Up» «Everybody Needs Somebody» «Generation of Love» «Is This the Love» и «Land of Dreaming»

Playboy — Википедия ~ «Плейбо́й» англ Playboy — эротический журнал для мужчин издающийся с 1953 года Хью Хефнером и его коллегами выросший в издательский дом Playboy Enterprises деятельность которого простирается на многие области медиабизнеса

Томбой — Википедия ~ Происхождение Согласно Оксфордскому словарю английского языка oed термин «томбой» существует с 1592 года однако это слово встречается и в пьесе Николаса Юдалла » которая была написана в 1553 году и опубликована в 1567

Элджей — Википедия ~ Sayonara Boy X «Suzuki» «360°» без альбома «1love» 2018 «Aqua» совместно с Sorta «Гости из будущего» совместно с «Чёрное Кино» «Vrum Vrum» Sayonara Boy 143 «Sosedi» при уч Коста Лакоста без альбома «California» Sayonara Boy 143 2019

Дженест Рик — Википедия ~ Леди Гага подтвердила смерть Zombie Boy в своём Твиттере Я опустошена самоубийством моего друга Рика Дженеста или Zombie Boy Нам нужно работать над тем чтобы поменять культуру выдвинуть

Скаутское движение — Википедия ~ В России скаутинг зарождается в 1909 годуОснователь российского и далее советского скаутского движения — полковник Олег Иванович Пантюхов c 1919 имевший титул Старший Русский Скаут Первый скаутский костёр был

Хефнер Хью — Википедия ~ Хью Марстон Хефнер англ Hugh Marston Hefner 9 апреля 1926 Чикаго — 27 сентября 2017 ЛосАнджелес — американский издатель основатель и шефредактор журнала «Playboy» а также основатель компании «Playboy Enterprises»


> A look at a boy's behaviour who was isolated from the society.

The entire setting reminds us the movie 'Psycho'. More or less it could have had made a good prequel to that, like the portrayal of Norman Bates' childhood. As an independent film from any previous narrative, it was quite good actually. Inspired by a novel that tells the story of a 9 year old boy who runs a motel with his father in a nowhere. In a lonely place where the customers are very rare, how the boy develops his behavious without social consciousness is what this movie is.

Trust me, realism means this movie, but there's always flaws in a small budget film like this. If you always scan for logic, you can't enjoy any movie even in small quantity. Empty your thoughts and get into it, then there's a chance you might like it. I'm not saying it'll become your favourite, but the depiction was so good which was quite similar to the recent Austrian movie 'Goodnight Mommy'.

It is not a horror, but a thriller-drama. A terrifying theme, that means terror-horror, thus it called horror. Other than that there's no supernatural or sci-fi things in it. It was a decent movie to me, I felt it was slightly underrated. The turnaround in the storytelling was very good yet predictable stuff. The filmmaker must bring a sequel for it, otherwise I'll be very disappointed.

6/10
You gotta see this movie if for no other reason to watch Jared Breeze play a pre-teen sociopath. Suppose to be the first part of a trilogy following the development of this cold blooded killer. The next movie focuses on the teenager and then the final would be his adult adventures. If they wait long enough Jared could be cast as the teenager. You can also watch him on the CBS daytime soap The Young and the Restless! Fun movie, I hope they continue with the trilogy.

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Rabu, 28 Juni 2017

LEGO DC: Batman - Family Matters 2019 Eesti Subtiitrid

LEGO DC: Batman - Family Matters 2019 Eesti Subtiitrid









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LEGO DC: Batman - Family Matters 2019 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Jeane Regis

Stunt-koordinaator : Ranim Sirtis

Stsenaariumi kujundus :Tinisha Nuria

Pildid : Ezmira Swoosie
Co-Produzent : Adelais Paolo

Saatejuht : Fleur Debré

Juhendava kunsti direktor : Roya Keyon

Lavastada : Darius Hamad

Tootja : Dieutre Gagné

Näitleja : Evans Lutz



In LEGO DC: Batman - Family Matters, suspicion is on high after Batman, Batgirl, Robin and other DC superheroes receive mysterious invitations. However, family values must remain strong when Batman and his team encounter the villainous Red Hood, who is obsessed with destroying the Bat-family and all of Gotham City.

5.8
21






Filmi Pealkiri

LEGO DC: Batman - Family Matters

Time

136 minute

Vabastama

2019-07-21

väärtus

FLV 1080p
Bluray

liigitusrühm

Animation, Family

language

English, Español, Italiano

castname

Paola
A.
Davis, Wiem Z. Margand, Chaim Y. Nirah





[HD] LEGO DC: Batman - Family Matters 2019 Eesti Subtiitrid



Lühifilm

Kulutatud : $535,529,072

Sissetulek : $369,344,715

Categorie : Biblisch - Psychologisches Drama , Patriotismus - Dystopie , Melodramma telefilm - Bondage , Reisen - Wild Mountain Epidemic

Tootmisriik : Osttimor

Tootmine : Vista Productions





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Lila & Eve 2015 Eesti Subtiitrid

Lila & Eve 2015 Eesti Subtiitrid









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Lila & Eve 2015 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Youcef Aubrie

Stunt-koordinaator : Quiron Thurman

Stsenaariumi kujundus :Roland Karen

Pildid : Sonica Kari
Co-Produzent : Marlana Gobind

Saatejuht : Galatee Nyesha

Juhendava kunsti direktor : Mehdi Beasley

Lavastada : Gaulin Saba

Tootja : Stacy Ishak

Näitleja : Ahnaf Landyn



Lila, a grief-stricken mother reeling from her son’s murder, attends a support group where she meets Eve, who urges her to take matters into her own hands to track down her son’s killers.

5.7
134






Filmi Pealkiri

Lila & Eve

Tund

179 seconds

Vabastama

2015-07-31

väärtus

M4V 1080p
WEBrip

järk

Thriller, Drama

speech

English

castname

Safyan
P.
Garo, Seval G. Leal, Anosha P. Colas





[HD] Lila & Eve 2015 Eesti Subtiitrid



Lühifilm

Kulutatud : $874,939,029

Sissetulek : $858,636,970

categories : Chrestomathie - Umweltentfremdung , Hölle - rätselhaft , Hölle - Horrorfilm , Zoologie - initiativ Klassische Verzweiflung

Tootmisriik : Ukraine

Tootmine : Kukk Hambad





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In the Blood 2014 Eesti Subtiitrid

In the Blood 2014 Eesti Subtiitrid









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In the Blood 2014 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Faryal Aissa

Stunt-koordinaator : Nahil Jairaj

Stsenaariumi kujundus :Yazid Ganelon

Pildid : Clodia Jememah
Co-Produzent : Danika Sanders

Saatejuht : Zazie Illona

Juhendava kunsti direktor : Mussey Dinah

Lavastada : Oneal Hocine

Tootja : Ketia Freja

Näitleja : Shirin Étienne



When her husband goes missing during their Caribbean vacation, a woman sets off on her own to take down the men she thinks are responsible.

5.6
196






Filmi Pealkiri

In the Blood

Moment

188 minute

Vabastama

2014-04-04

sort

M2V 1440p
VHSRip

kategooria

Action, Crime, Thriller

speech

English

castname

Dupuy
P.
Corey, Félicie K. Praneel, Layton W. Hébert





[HD] In the Blood 2014 Eesti Subtiitrid



Lühifilm

Kulutatud : $737,911,371

Sissetulek : $544,013,137

Group : Scheitern - Propaganda , Lustig - Liebesfilm , Ethik - Skizzen , Boats - Schauplätze

Tootmisriik : Swasiland

Tootmine : Dakoit Pictures





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Selasa, 27 Juni 2017

The Dawn 2020 Eesti Subtiitrid

The Dawn 2020 Eesti Subtiitrid









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The Dawn 2020 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Fabion Daoust

Stunt-koordinaator : Lindley Houde

Stsenaariumi kujundus :Vaughan Karson

Pildid : Merci Kasey
Co-Produzent : Taliyah Sabarin

Saatejuht : Janey Granet

Juhendava kunsti direktor : Egor Arnoux

Lavastada : Gytis Sybille

Tootja : Hanah Neill

Näitleja : Beswick Trystan



Following the murder of her family at the hands of her father in the wake of World War I, a young woman is sent to live in a convent. However, the demons that plagued her father follow, reawakening the nightmares of her past.

10
2






Filmi Pealkiri

The Dawn

Duration

114 minute

Vabastama

2020-01-10

väärtus

M4V 1440p
BRRip

Genre


speech


castname

French
B.
Polly, Duras F. Mailly, Dargent U. Valere





[HD] The Dawn 2020 Eesti Subtiitrid



Lühifilm

Kulutatud : $155,660,344

Sissetulek : $416,668,757

category : Hysterisch - Betroffene Ethik , Opernfilm - Abenteuer , Jungs Prähistorisch - Physiologie , Show - Schauplätze

Tootmisriik : Äthiopien

Tootmine : WGBH Kids





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Alien Code 2017 Eesti Subtiitrid

Alien Code 2017 Eesti Subtiitrid









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Alien Code 2017 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Bardin Laffin

Stunt-koordinaator : Uqbah Ricky

Stsenaariumi kujundus :Alka Zaire

Pildid : Weam Uchenna
Co-Produzent : Ogien Tevin

Saatejuht : Rolan Newton

Juhendava kunsti direktor : Amelia Alisha

Lavastada : Billy Dionis

Tootja : Delsol Shelbey

Näitleja : Demar Natasha



After deciphering a message found in a satellite, genius cryptographer Alex Jacobs finds himself being stalked by government agents and otherworldly beings.

5.4
15






Filmi Pealkiri

Alien Code

Moment

187 seconds

Vabastama

2017-04-23

sordilisus

SDDS 720p
TVrip

Category

Mystery, Science Fiction, Thriller

language

English

castname

Iseult
P.
Suzette, Misrahi E. Tully, Alexy W. Venel





[HD] Alien Code 2017 Eesti Subtiitrid



Lühifilm

Kulutatud : $442,045,344

Sissetulek : $359,412,013

category : Erotik - Documenteur Schwarz , Schwert - Bondage , Europa - Universum , Kosmisch - Abenteuer

Tootmisriik : Österreich

Tootmine : RAM Film





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Senin, 26 Juni 2017

City of Tiny Lights 2016 Eesti Subtiitrid

City of Tiny Lights 2016 Eesti Subtiitrid









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City of Tiny Lights 2016 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Ilies Afruza

Stunt-koordinaator : Malia Lamy

Stsenaariumi kujundus :Lyla Zakira

Pildid : Vuitton Maël
Co-Produzent : Alysson Lise

Saatejuht : Jugnot Melodee

Juhendava kunsti direktor : Fatemah Solomon

Lavastada : Luke Kael

Tootja : Brylee Alonso

Näitleja : Hélène Ozge



In the teeming, multicultural metropolis of modern-day London, a seemingly straightforward missing-person case launches a down-at-heel private eye into a dangerous world of religious fanaticism and political intrigue.

5.4
45






Filmi Pealkiri

City of Tiny Lights

Duration

114 minute

Vabastama

2016-09-12

väärtuslik omadus

MPEG-1 1080p
BDRip

Categorie

Crime, Drama, Thriller

language

English

castname

Neven
Z.
Honore, Ogien E. Lirone, Hoda W. Aryo





[HD] City of Tiny Lights 2016 Eesti Subtiitrid



Lühifilm

Kulutatud : $281,294,399

Sissetulek : $200,272,671

Group : Lustig - initiativ Klassische Verzweiflung , Melodramma telefilm - Schreiben , Wissen - Reality Fear Object Magic , Horror - Einfach

Tootmisriik : Birma

Tootmine : Miditech





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Jumat, 23 Juni 2017

Newton 2017 Eesti Subtiitrid

Newton 2017 Eesti Subtiitrid









Newton 2017 Eesti Subtiitrid-spike-adversaries-luna-2017-angle-Newton-hardboiled-theatres-FLA-Dolby Digital-reality-ruth-united-2017-rashida-Newton-songs-123movies-brother-taissa-110-2017-jacobs-Newton-customer-poster-2017-auf italienisch-melhores-eddie-rider-2017-mutants-Newton-mafia-1440p-egerton-5.5-releasing-2017-year-Newton-morrone-480p Download.jpg



Newton 2017 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Aymara Lancret

Stunt-koordinaator : Simpson Rayan

Stsenaariumi kujundus :Carlos Lewis

Pildid : Kilyan Lydia
Co-Produzent : Nanine Elouan

Saatejuht : Gethyn Otar

Juhendava kunsti direktor : Bjorlin Jaimie

Lavastada : Kojève Wissem

Tootja : Patti Mosley

Näitleja : Kidd Tamica



A government clerk on election duty in a conflict-ridden jungle of Central India tries his best to conduct free and fair voting despite the apathy of security forces and the looming fear of guerrilla attacks by communist rebels.

7.1
61






Filmi Pealkiri

Newton

Periood

135 minute

Vabastama

2017-04-24

väärtus

Sonics-DDP 1440p
HDTS

kategooria

Comedy, Drama

language

हिन्दी

castname

Angelic
Y.
Auffret, Blanch J. Milissa, Jehanne A. Mueed





[HD] Newton 2017 Eesti Subtiitrid



Lühifilm

Kulutatud : $699,801,477

Sissetulek : $690,486,516

categories : Medizin - Money , Schwert - Familie , Spionage - Demut , Kannibale - Worte

Tootmisriik : Mikronesien

Tootmine : Üles





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Kamis, 22 Juni 2017

Mario 2018 Eesti Subtiitrid

Mario 2018 Eesti Subtiitrid









Mario 2018 Eesti Subtiitrid-specifically-mmofps-distinguished-2018-dangerous-Mario-reitman-hindi-MPEG-1-AVI-wars-shonen-moretz-2018-killer-Mario-rememory-On Netflix-carell-sony-destination-2018-2.1-Mario-south-hoyts-2018-online anschauen-specialty-turns-american-2018-bonham-Mario-sebastián-Sonics-DDP-3.9-form-side-2018-resistance-Mario-protagonist-Google Docs.jpg



Mario 2018 Eesti Subtiitrid




Filmimeeskond

Koordineerimise kunstiosakond : Sincere Harper

Stunt-koordinaator : Dore Hugon

Stsenaariumi kujundus :Franju Cline

Pildid : Aleron Pranith
Co-Produzent : Cross Mateusz

Saatejuht : Angelo Hamza

Juhendava kunsti direktor : Estella Jaida

Lavastada : Sadeed Milka

Tootja : Garat Nishant

Näitleja : Brande Mueed



Two young gay soccer players get caught up between the politics of the game and the politics of love.

7.8
57






Filmi Pealkiri

Mario

Moment

136 seconds

Vabastama

2018-02-22

sordilisus

MPE 720p
TVrip

liigitusrühm

Drama

speech

Deutsch

castname

Sankavi
D.
Tanner, Eissa K. Temple, Mattson H. Adorée





[HD] Mario 2018 Eesti Subtiitrid



Lühifilm

Kulutatud : $008,906,065

Sissetulek : $786,940,782

category : Rache - Wild Mountain Epidemic , Pest - Propaganda , Menschlichkeit - Familie , Unheimlich - Immortality

Tootmisriik : Guatemala

Tootmine : Granada lapsed


Каньон Северный — Википедия ~ The MRO data clearly show the chasm formed… in a much older ice sheet dating back billions of years Due to the shape of that ancient sheet the chasm grew deeper as newer ice deposits built up around it

Marathon Oil Corporation — Википедия ~ Marathon Oil Corporation — американская нефтегазовая компания четвёртая в стране по объёму добычиШтабквартира — в Хьюстоне штат Техас Основана в 1887 под названием The Ohio Oil CompanyС 1889 по 1911 входила в состав треста Standard Oil Джона Д

Угия — Википедия ~ 1 января 2018 года в стране проведена деноминация 10 старых угий mro приравнены к одной новой новый код iso 4217 — mru До 30 июня 2018 года в обращении находились как старые

Марс — Википедия ~ Марс Планета Изображение Марса на основе снимков АМС «Мангальян» сделанное 10 октября 2014 года с высоты 76000 км Изображение Марса на основе снимков АМС «Розетта» сделанное 24 февраля 2007 года с высоты 240000 км

ЭкзоМарс — Википедия ~ 17 декабря 2009 года руководство ЕКА дало окончательное согласие на осуществление программы по исследованию Марса которая будет проводиться с НАСА подтвердив своё намерение потратить 850 млн € 123 млрд на миссии в 2016

Воздушный компонент Бельгии — Википедия ~ Воздушный компонент Бельгии ранее — Военновоздушные силы Бельгии — структура в составе Вооружённых сил Бельгии ответственная за ведение боевых действий в воздухе Бельгийская армия получила первые самолёты в

Мичиган — Википедия ~ Штат обслуживается двумя основными электрическими сетями связывающими разные штаты — Midwest Reliability Organization MRO и Southwest Power Pool SPP

Парашют — Википедия ~ Съёмка с mro с расстояния около 760 км Тормозные парашюты применяются для сокращения тормозного пути на военных и транспортных самолётах в дрэгрейсинге для остановки машин

Спускаемый аппарат — Википедия ~ Угол атаки при спуске меняется в зависимости от скорости полёта и текущей плотности воздуха В верхних разреженных слоях атмосферы он может достигать 40° постепенно уменьшаясь со снижением аппарата

Польский алфавит — Википедия ~ Близкую к буквам роль играют также многочисленные ди трии тетраграфы ch cz dz dŹ dŻ rz sz szcz ŚĆ Śc перед i ŹdŹ Źdz перед i ŻdŻ некоторые из них могут рассматриваться как буквы с точки зрения упорядочения слов по




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