"Intymność"

[Gość: lena]

piękny film, o samotności i nieudolnych próbach wydostania się z jej objęć

[rhemek]

Piekny film.
ostatnia szansa zeby go zobaczyc.
Dzisiaj 20.00
Adria.
Rhemek

Re

[.weronika.]

juz przestaje leciec??? tez chcialam na to isc..

[Gość: kupek]

Spokojnie, spokojnie będą jeszcze grać. Ale już niedługo polecam Amelię,
jeszcze nie słyszałem złej recenzji, a znajomych mam wybrednych.

Zla recenzja

[Gość: ochman]

Na zyczenie (z FT)

"The French are good at inventing devices by which thousands serially, painlessly, ritualistically lose
their heads. One was called the Guillotine. The latest is called Amelie. Jean-Pierre Jeunet's
lollipop-coloured love story has been prodigiously popular, causing outbreaks of mass senselessness
from Paris to North America. Popcorn-eaters enjoy its lush, easy-access sentimentality. Cineastes tell
themselves it must be art since Jeunet is (a) French and (b) the former director of that cultist's delight
Delicatessen. That his last film was Alien Resurrection we can pass over, though Winona Ryder's
surreally saccharine presence may have helped to inspire the title heroine, played by newcomer Audrey
Tautou.

In a film I hated I mostly hated her. (The few sensible dissenters from Amelie worship include the
Cannes Film Festival who laudably turned it down for competition last May.) Tautou specialises in
googoo eyes and a babyish moue and directs her gaze at the camera whenever Jeunet wants a
winsome, wordless aside. Amelie is looking for love. She believes that the box of childhood toys and
knick-knacks she finds in her kitchen behind a loose brick must be returned to their mystery owner,
and that finding him will set free her loving, do-gooding heart. After that she can find the man she is
destined to love.

To search; to find. Ah, but Paris is a large unknowable city, even when photographed in handtint-style
mini-panoramas as if Jeunet had made raiding trips into Baz Luhrmann's mind while he was making
Moulin Rouge. Pushing her way through the infinite variety of humanity - two ageing lovebirds in the
local bar, a grocer whose flat she cruelly boobytraps for bullying his assistant, her widowed father who
loves garden gnomes, the old neighbour who keeps painting copies of Renoir's "The Boating Party" -
she finds a scrapbook, then a magical photo booth, then a handsome young man linked to both. He
must, she feels, be Monsieur Right. Played by Mathieu Kassovitz, who in an earlier, adult life directed
La Haine, he has stars all but twinkling from his boyish, gamin face. The accordion music swells...

If I had had a sickbag I would have used it. Instead I adopted a mental brace position, peering up
painfully at a screen that seemed to be getting more sucrose by the minute. Jeunet believes not just in
love, not just in the variety of humankind - the kind of whimsical, Instamatic, "heartwarming" variety
you get in sentimental French comedies - but also in adorable visuals. The playroom primary colours
are sometimes filtered through gold, or sepia, or strawberry red. There are clouds shaped like teddy
bears and rabbits. There are twee silent-comedy bits in black and white. And if our attention wanders,
Amelie gives us one of her wistful straight-to-camera oeillades, re-establishing her Fascist hold on our
attention.

Princess Diana's death occurs as news background, the tragedy of a fairytale heroine whose real-life
adversities and struggles are studiously unmentioned. But then there is no resemblance between
Amelie and real life, or indeed real art. This heroine is a cardboard waif cut out to be carried through
cardboard streets, a placard for meaningless human optimism, with an eternal simper and those eternal
mooncalf eyes that follow us wherever we try to hide."

Zla recenzja Amelie (no txt)

[Gość: ochman]

[rhemek]

Intymnosc bezie wyswietlana w adrii dodatkowo od piatku.
polecam.

[rhemek]

I co , ktos jeszcze ten film widzial?
Rhemek