Three Colors Trilogy

Three Colors Trilogy

Celebrated Film Director Krzysztof Kieslowski's Three Colors Trilogy (Blue, White, and Red) is perhaps his most prominent work. All the three films showcases the makers’ craft and his mesmerizing visual narrative which make him an auteur one of his own kind. Blue, White and Red which also symbolizes the colors of France flag shows three different stories having three political ideals in the motto of the  French Republic: liberty, equality, fraternity.

Three Colors: Blue

First Film in the trilogy is Blue; the subject of the film is freedom, particularly passionate freedom, as opposed to its social or political significance. Set in Paris, the film is around a lady whose spouse and daughter are executed in a accident. All of a sudden set free from her familial bonds, she endeavors to cut herself off from everything and live in detachment from her previous ties, yet observes that she can't free herself from human associations.

Three Colors: White

Second Film in the trilogy is White; it depicts equality, with the film delineating Karol, a bashful man who, in the wake of being left by his wife in embarrassing circumstances in Paris, loses his cash, his residency, and his companions. As an issue embarrassed poor person in Warsaw, Karol starts his push to restore equity to his life through vengeance.

Three Colors: Red

Third and the last installment in the trilogy is Red. Red is about fraternity, which it inspects by indicating characters Valentine Dusseau, a model and Joseph Kern, a retired judge whose lives step by step get to be nearly interconnected when valentine runs over a dog which belong to a retired judge. It depicts how both characters are very much different still they ought to create a bond. Also, at the end of film Kieslowski connects all the three stories.

                                        

Memento (2000)

               Memento (2000) : 'Don't believe his lies' 

From time to time, a film that tests what we think about a motion picture to be goes along. Such films are an exceptional experience and they keep on lingering in one’s mind. In the most recent few years, such movies discharged incorporated Being John Malkovich , Requiem for a Dream, and Time Code. Joining this record is Memento.

Like the movies recorded, Memento requests a considerable measure from the crowd. Being inactive methods you wind up missing an essential some piece of the knowledge of viewing a film like this. The motion picture is told rearward, to represent the predicament of the hero, Leonard (Guy Pearce), who needs fleeting memory. This condition was initiated throughout a strike where (consistent with him) his wife was executed and his mind was harmed. Since Leonard recalls all the occasions that happened before he was ambushed, he is on a mission to vindicate his wife's demise.

The issue with being on a journey and having just fleeting memory is that you can effectively overlook that you recently completed what you began to do. In spite of the fact that Leonard utilizes an arrangement of Polaroid photographs and tattoos to stay informed regarding what he's finishing, its dependent upon him to record whatever he recognizes critical. At the minute of making a snap judgement, when he neglects to discover a pen, or when he's out of film, or assuming that he only decide to not record the data, then he's out of fortunes.

The film begins by indicating Leonard executing somebody, and it is soon implied that this individual could be the executioner Leonard was looking for. The film follow Leonard's steps rearward to attempt to delineate the rationale Leonard utilizes as a part of settling on his choice. In completing thus, the film additionally retracts the story, in ordered request, of Sammy (Stephen Tobolowsky), an individual who Leonard explored for protection misrepresentation and who experienced the same condition as Leonard does, and how their wives (Leonard's and Sammy's) obviously meet their end. This happens slowly and generally, both stories are quite obvious( (which would not joke about this excessively great to be accurate). The most dooming disclosures are made throughout the last minutes of the film, which outlines the way of Leonard's condition, and additionally his round mission (the punch line gives a real piece of information: "a few memories are best overlooked").

While some individuals think about the film as being noticeably questionable, I accept there are sufficient pointers to explain most issues (simply see the motion picture rearward). Case in point, Leonard, our hero, is purportedly helped by Natalie (Carrie-Anne Moss), who would appear to be a great individual. In any case, towards the closure, she issues a tirade which makes it clear precisely what her genuine intentions are. The last arrangements are the most telling, where an alternate individual who Leonard should trust, Teddy (Joe Pantoliano), lets him know what is truly happening since he has been with Leonard since the start of his mission. Leonard's response to Teddy's "truth", and a disappointment to record it, delineates the causes driving his activities.

The film's style of telling the story retrograde is intriguing, yet I'm starting to uncover that its truly not that hard to recount a story in this way. Take a couple of your favorite books (or even this survey), switch all the chapters/paragraphs, and with a touch of mental filler, you can effectively accompany the stories by and large.

The film truly is a masterpiece by its writer and director Christopher Nolan. It’s more like a experience than a film.

To watch this wonderful film please refer to the below YouTube link. Thank you! Enjoy the film. 

         

A Separation (2011)

                                          A Separation (2011)

One of the best Drama film depicting how an divorce between a couple can affect the lives around it and the consequences of it.
Written and Directed by Celebrated Iranian Filmmaker Asghar Farhadi , A Separation won the Best Film award at the Oscars in Foreign Film category.

Watch this wonderful piece of work on YouTube with English Subtitles. Thank you!

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In The Mood For Love (2000)

 In The Mood For Love (2000) : A Poem Of  Images

Wong Kar-wai's ability to intermix visually stunning pictures , emotions and uniqueness is known at international level. And its his these abilities that gives In The Mood For Love a new axis of film making primarily in the romantic drama genre.The film is set in Hong-Kong (1962) which depicts a affair between two newly shifted neighbors who suspects that their respective partners are having an affair. The most interesting part of film is the perspective through which the story is told. Even having an affair both the leads tries to search their respective partners in each other. You don't see even the faces of their partners and that's a very critical decision taken by wong. The master Director has presented the story in a way that audience do or not completely sympathize with the leads.  And Both Tony Leung and Maggie Cheung delivers an outstanding perfomances and are a treat to watch.Wong Kar-Wai is extraordinary in both the departments of writing and direction. The background music of movie specially in slow motion scenes is outstanding. 

To watch this magnificent piece of work refer to link given below. Thank you .

 For Subtitles Please Press Caption Button.

                                                                                                     

                                         

Anhey Ghore Da Daan (Alms for a Blind Horse)

                           

                 Anhey Ghore Da Daan (Alms for a Blind Horse)

There are some movies which doesn’t make you happy, sad, neither excites you nor thrills you , Anhey Ghore Da Daan (Alms for the blind horse) is a movie of such genre. As a cinema lover I came to know about this movie back in 2011 when it bagged best direction, cinematography and best Punjabi film at national awards. Of course it shocked me as Punjabi cinema who is known for its enthralling and zealous music and dance, has produced such a cinematic masterpiece. Its director Gurvinder Singh really shows his ability, after such a long gap I have seen such a strong direction , and screenplay. He is also successful in the way he introduces characters and yes the thing that I liked and that horrified me a bit during the movie is it’s silence. Yes it’s silence , use of live sound , and background music is amazing. It’s cinematography is a treat and specially some steady cam shots. In all , Anhey Ghore Da Daan(Alms for the blind horse) is a very strong and hard hitting cinema experience which is rarely seen in Indian cinema and that too in regional.

To watch this masterpiece refer to below YouTube links: 

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Oldboy (2003)

          

Oldboy (2003) - A never told before revenge story

There are very few movies which possess par excellence in their all departments and with no second thoughts Oldboy is an example of such cinematic experience. Right from the start Oldboy captures audience attention with its fast-paced and unique story line, engaging screenplay, brilliant acting and last but not the least quintessential Direction of  Chan-wook Park. Its it these combinations that produced a cult classic and one of the greatest movies ever made.

Watch this brilliantly crafted cinema work here:

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Alphaville (1965)

   Alphaville (1965) 

 When Jean-Luc Godard's Alphaville opened the 1965 New York Film Festival, the American Civil Liberties Union Benefit group of onlookers appeared to be truly confounded by the blunt movements in tone: from satirically joking futurism, to a farce of private-eye quirks, to an uncontrollably sentimental moral story delineating a machine-regulated publicly accepted norms at war with maestros, scholars, and significant others.

Alphaville is science fiction without enhanced appearances. Godard couldn’t manage them in 1965 or ever, however he likely wouldn’t have needed them regardless of the fact that he’d had unrestricted financing. His entire subject, creative impulse versus legitimacy, is constant with his organization of Paris as it was in the ’60s—or in any event, those parcels of Paris which struck Godard as design bad dreams of unoriginality. Sub-Nabokovian jokes on mark names flourish. There is much talk of publicly accepted norms in different cosmic systems, yet their main indication is the Ford Galaxy that Eddie Constantine's Lemmy Caution (a level-rent French adaptation of Sam Spade and Philip Marlowe) moves about in. A large portion of Alphaville is nighttime or claustrophobically inside. Yet there is an elating discharge in huge numbers of the visualizations and zoom lens developments in view of Godard's uncanny capability to summon favored minutes from numerous films of the past.

Alphaville was never intended to stun, discourage, or loathing, and subsequently it appears as proper and OK in 1998 as it did in 1965. Furthermore it is the work of small time, one conspicuous man, not the work of a skeptical, ascertaining trustees. For sure, the PC-regulated reprobates in Alphaville bear more than a passing likeness to the primary concern driven miscreants in the movie industry. To grasp and relish Alphaville is to grasp Godard, and vice versa. The shapely young lady swimmers with blades for teeth and shark-like impulses for souls are an unfolded form of Alexandra Stewart's swimsuit-clad shark in the Godard scene of RoGoPag, the scene Lincoln Center crowds hissed roughly in 1963. Moreover from RoGoPag are the pills the inhabitant total of Alphaville snaps up like peanuts to hold peacefulness without memory.

The Welles impact, absolutely from Mr. Arkadin, is reflected in the unhindered-wheeling exhibition of Akim Tamiroff in the company of the swinging light spheres of Wellesian expressionism. The references to Dick Tracy and Flash Gordon are unadulterated comic-strip pop, and the reference to relativity and the SS perfect funny angst.

Godard, the partied about enfant horrendous of the nouvelle shadowy, indecently parades Anna Karina, the most fabulous fondness of his essence near his numerous Galateas (Jean Seberg in Breathless had been one of the first). Karina plays Natasha Vonbraun, the loved one of Professor Vonbraun (the eccentric combination of a Tolstoyan first name and a Nazi rocket-researcher final name is common of Godard's irreverent torment-on-both-your-houses state of mind to the Cold War). This fondness of Karina is on showcase with Godard's adore of motion pictures. Cameo presence by Jean-André Fieschi, as Professor Eckel, and Jean-Louis Commoli, as Jeckel, speak for a mixture of two of Godard's successors on the staff of Cahiers du Cinéma with two Hollywood enlivened toon figures.

          Alphaville (1965) [Jean-Luc Godard] with eng. subtitles

          

One may bandy over the misrepresentation of expressive structure in outlining machine control with the scratching-murmuring sounds of a man who has lost his voice box. Innovative totalitarianism might surely have thought of a morebeguiling tone with which to allure its subjects. Regardless, I am more moved today than I was in 1965 by Godard's temerity in having Karina total up the ethical of the picture with a deliberately intoned perusing of the line, “Je vous aime.”

There is a minute of weary reception in Alphaville when Eddie Constantine, his front side blurring into the shadows, affirms that it is destiny to end up being a legend. It is a visualization of learned gallantry and self-distinguishment for example I have sometimes perceived on the screen. Besides in one blaze, Godard enlightens one of Constantine's above all huge reactions to one of the workstation's concerns in a prior grouping. “What converts dimness into light?” Constantine is asked. “La poèsie,” he answers. That a semi-gangster ought to be equipped for such enunciated affectability appears to be doubtful, however no more doubtful actually than the capacity to unite funny strips and cherish pieces with a solitary sensibility.

         

Ambiguity (Short Film)

                         Ambiguity (Short Film)

It was started just from a single word - 'Ambiguity'. The word intrigued me and I decided that my first short film's title would be this. So I drafted the initial script and showed it to my friends, they all loved the script and after that we started to shoot. With almost nil movie making experience each shooting day was a challenge ,but it helped us to  learn very sensitive and important steps of film making. Still after completing the shooting , we faced some more challenges in post-production part- transitions , audio handling , audio-video sync and many more. But as the days passed we begin to explore about these and ultimately made our best to handle it. After more than 7 months we were ultimately ready to present our first short film. It doesn't matter how is the end result but what really matter is the knowledge that we gained about film making  and how we are gonna use it in our next project.

so, here it is. via Dabba Production House - please spare a moment to like this page. thank you! http://www.facebook.com/pages/Dabba-Prouduction-House/184309671628647

                                                                                                                                                       
        

Persona

                                 Persona (1966)

Ingmar Bergman's 1966 picture, Persona, is perhaps his one of the finest work. This was a postmodernist development of the mid-60's that strived to transform, basically, symbolization for craft's particular purpose. Besides, postmodernism is a self-reflective work of art. It grips its particular simulation as a medium that has its sole method in speaking for human impressions or feelings. In this manner, gripping the postmodernist vein of self-reflexivity, Bergman incorporates different metacinematic scenes in the picture. For instance, in one case, Liv Ullman, focuses a still-shot camera straightforwardly into the casing, breaking the fourth divider. In this instant, we are not just helped to remember the camera yet we are overwhelmingly conscious, as a group of people that we are in a mode of imitation. This is an artistic expression that is going over there and gripping its personality as a medium that may be, intrinsically, manufactured. It is taking silver screen and declaring “this is abstraction and we are not concerned with attempting to delude you into intuition its actuality.” With these subjects as a primary concern, one may perceive why, while large portions of us can focus out certain values of this picture that might be connected with different developments of cinematic declaration, one can't avoid finally reach the summation that notwithstanding its different impacts, the disposition of this picture is strikingly postmodern and deconstructionist.

                                                                  A still from the movie.

From a postmodernist view, this picture poses countless inquiries about being and conveyance which can promptly be identified with Shakespearian existentialist conceptualizations of “nothingness”; besides, it keeps on subjects suggested in some of Bergman's previous pictures for example, The Silence, noticing correspondence, or absence thereof, between people. Bergman composes in his self-portrayal that, having vanquished this prevention in the manifestation of his credence in the being of god, he was genuinely fit to go up against true blue inquiries regarding his character. Appropriately, in,Through a Glass Darkly, Bergman prescribed that the closest thing to god or the perfect interaction is established in human association or social connections. Like in, The Silence, this picture too shows its viewer with people who lack the capacity to convey and thusly, in Bergman's observation of the request of the globe, are truly corrupted. Yet, while, The Silence, introduced two sisters, both of whom have had battles in conveyance; Persona, furthermore, ostensibly displays one single split up into tow sides of awareness, acted for, separately, through the actresses Bibi Andersson and Liv Ullman.

     
            Watch Persona (1966) full movie with English subtitles enjoy ;) ....For Subtitles Please Press Caption Button....Thank you!

                                                                                                                                                             
             



Imaginatively, the way Bergman and his cinematographer, Sven Nykvist, took in speaking for quite an a perplexing, interior mental battle is sincerely significant. Through assorted lighting and blocking systems, Bergman and Nykvist accomplish shots that serve to make this picture possess up to its notoriety as a work of self-reflexive delineation; or, additionally, symbolization for craftsmanship's particular purpose. The two picture masters use such significant systems as lighting a large part of the countenance and leaving one side gloom, superimposing two challenges as one unit and at last, making impressionistic scenes in which the collaboration between the actresses is viewed as dream-like, just about as it would be if both of them are apparitions living in an interchange universe of gloom inward-brain science. Be that as it may, with a present day novel, the story here is trite, conventional, needing in movement even; yet, as we realize, that is not the focus. The center of the work is the stylish gifts being put hence by Bergman and Nykvist, besides, the more fabulous thematic translation. The picture finishes demonstrating us a scene of Elisabet being shot as she dividends back to her calling as a performer, leaving us with our final impression, the most metacinematic instant in the picture. The sole statements which Elisabeth talks through the whole picture are “no” and “nothing”. Being that Bergman had his roots in theatre, it is no concern that he was acquainted with the existentialist issues of Shakespeare put forth in such acts as King Lear or Hamlet. Without the inquiry of god loading the specialist, he was now unlimited to attempt in challenging such profound, significant concerns as are typically connected with schools of deconstructivism or alternately postmodernism.

Pulp Fiction

   Pulp fiction: violence layered with black comedy

       

           

Pulp fiction (1994) considered as the one of the most influential classics made in 90’s and still it’s with ‘greatest movies of all time’ tag. With a rank of #4 in IMDB’s Top 250 and 95% rating at rotten tomatoes it still has a rage among movie buffs. Whether talk about its originality in storyline or Tarantino’s typical direction Pulp fiction scores full marks in all cinematic respects.

Cast:  

John Travolta as Vincent Vega

Samuel L. Jackson as Jules Winnfield

Uma Thurman as Mia Wallace

Bruce Willis as Butch Coolidge

Tim Roth as "Pumpkin" or "Ringo"

Plot: 
Pulp fiction’s plot is divided into three interweaving time-twisting stories:

1. Vincent Vega and Marsellus wallace’s wife

2.The gold watch

3.The bonnie situation.

The most original thing in its story is not narrating in it chronological order.

Direction: 

Quentin tarantino has a distinctive style of storytelling as potrayed in pulp fiction. Long running shots, gritty violence with humour and chemistry between characters are key features of this.

My opinion would be it’s a movie to watch before you die, a must watch.

Trailer:

IMDB's Link:

http://www.imdb.com/title/tt0110912/

Download Pulp Fiction (1994) Brrip:

Best torrent:

http://kat.ph/pulp-fiction-1994-720p-brrip-x264-750mb-yify-t6264463.html

8½

Watch 8½ (1963)

When the first time I saw 81/2 I just couldn’t believe that this thing was made back in 1960’s . I was so intrigued by this movie that I watched it again and still it’s in my all time favorites list. I discovered this movie with the most unbelievable cinematic opening sequence ever. Some viewers say that they don’t even get what was happening in the movie but on my part I think 81/2’s beautifulness lies in its these ambiguous transitions.

81/2’s most intriguing part is its protagonist’s fantasy world and the way Fellini connected these dreams with reality. Marcello Mastroianni has done a commendable job in playing such a character and is a treat to watch. The screenplay of the movie is mind blowing and still teaches you something new even today. My last but not the least opinion would be that if you are still in process of discovering something new see 81/2 and it will break your expectations. My personal verdict on 81/2 would be 4.5/5 with a mind blasting tag. To watch this wonderful movie refer to the below YouTube link. 

IMDB Link: http://www.imdb.com/title/tt0056801/

Rotten Tomatoes Link : http://www.rottentomatoes.com/m/8-12/

To watch 81/2 Movie on Youtube Click Here!

SALAAM BOMBAY!

           

          WATCH SALAAM BOMBAY! (1988) 

IMDB Link : http://www.imdb.com/title/tt0096028/

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Bicycle Thieves (Ladri di biciclette)

   

Watch Bicycle Thieves (Ladri di biciclette) (1948) with English subtitles

IMDB Link: http://www.imdb.com/title/tt0040522/

 

  Please Press Caption Button For English Subtitles.