See Justine Bolivian Theatrical Tr on youtube.
See MET GALA 2016: fashion design on youtube.
See Masters & Nickson feat. Ju on youtube.
See 2016 Review-Justine on youtube.
See Spring 2016 Fashion Trends | S on youtube.
See Bal de Sainte-Justine 2016 - 1 on youtube.
See tim's forever friend justi on youtube.
See BAL DE STE JUSTINE 2016 on youtube.
See Le Grand sapin de Sainte-Justi on youtube.
See Justine Magazine: Teen Choice on youtube.
Description: Thennavan is a 2003 Indian Tamil action movie written and directed by newcomer M. Nandakumaran and produced by Vijayakanth, who played the game role Thennavan IAS, in-charge as the Chief Election Commissioner and war vs corrupted politicians.
Description: Sakthivel (Vijayakanth) and Thangarasu (Vijayakanth) are stepbrothers and both are respected by the villagers. But Sakthivel refuses to even acknowledge Thangarasu as his brother since he believes that it was Thangarasu's mother who killed their father. Thangarasu too is under this impression until his grandfather (R.Sunderrajan) says him the truth. Their father (Vijayakanth), whose first wife (Ambika) was a sharp-tongued woman, married Kannamma (Viji) when she earned a terrible name. Thangarasu, who is actually convinced that his mother was a nice woman, sets out to search the truth.
Movies Like Guido 2014
Movies Like Live Nude Girls 2014
Movies Like RIAT 2013 - The Royal International Air Tattoo 2013
Movies Like Rules Don't Apply 2016
Movies Like Mofongo con Ketchup 1995
Movies Like Vietnam Air War - Combat in the Air 2000
Movies Like Duma o Kovpake: Buran 1975
Movies Like Duma o Kovpake: Nabat 1973
Movies Like Nowitzki: The Perfect Shot 2014
Movies Like Lost Time 2014
Movies Like A Matter of Faith 2014
Movies Like Honeyspider 2014
Movies Like Money for Nothing: A History of the Music Video 2013
Movies Like The Sea of Trees 2016
Jac Avila has created a definitive movie ver of the Marquis DeSade's JUSTINE. The film, based on DeSade's popular novel about the misfortunes of virtue, is in my opinion real to the book's spirit and content in a method no another ver has ever been. If, hearing this is a movie of DeSade's JUSTINE, you expect "sadistic" scenes of pretty girls subjected to whippings and another torturous ordeals, Avila's JUSTINE pulls no punches and will fulfill your expectations. But you can also approach this film hungry for a refreshing tour de force of artistic filmmaking and have your desires fulfilled.Avila opens JUSTINE with a startling close-up of Justine's face, pretty and innocent, but with a haunted look in her eyes that suggests she has already been through more horrors than we can imagine and knows the worst is probably yet to come. Amy Hesketh achieves this result by looking straight at you in a certain method that has to be experienced to be understood. In the background we hear the ominous pounding of military drums, which immediately, given the situation, brought to my mind the "March to the Scaffold" in that nice French symphony by Berlioz, SYMPHONIE FANTASTIQUE. And it was an appropriate association to make, for within moments, terrible Justine is dragged away, bound in an X between two pillars, and mercilessly flogged, helplessly naked before a crowd of troops and elegantly dressed aristocrats. And, of course, this is only the beginning of what is to come. Hesketh again, as in another films, such as Avila's relentlessly realistic historical horror of Inquisitional terror, MALEFICARUM, pushes her art above and beyond to achieve other deeply sympathetic and fully convincing performance. Needless to say, there are no "mambo breaks" for her in JUSTINE, referring to the delicious Vampire Mambo sequence in OLALLA, the innovative and persuasively effective Vampire movie she recently directed (available, as is JUSTINE, from Vermeerworks.com). JUSTINE's music, sets, casting, costuming, lighting, editing, and all the another intricate and vital aspects of quality filmmaking and behind the scenes production activities are all quite perfect to my mind, but because I am a writer, I especially appreciated the writing. The dialogue has a proper historic quality without being so authentic that modern ears might have problem keeping up. This is a tricky result to pull off, I guarantee, but JUSTINE does it with style. I especially enjoyed the narrative remarks spoken directly, from time to time, to the viewer by Justine, a technique that should have detached the audience from their involvement in the storyline if handled by a lesser filmmaker than Avila and spoken by a lesser actor than Hesketh. Bottom line, if you have read DeSade's novel then watched Avila's JUSTINE, you might be tempted to trust Avila either employed necromancy to resurrect the corpse of the Marquis long enough to write the screenplay, or that Avila took dictation from DeSade's ghost. I want I had a time machine back to 1930s Paris and should screen Avila's JUSTINE for the founders of the Surrealist movement, the poets, philosophers, filmmakers, and artists. Many fanatics of DeSade's writing and challenging philosophy do not realize how necessary he was to the Surrealists. DeSade was plumbing the forbidden depths of the subconscious long before Freud, and the subconscious is where many dreams are spawned. Dream imagery as a key to unearthing hidden psychological urges was an necessary theme of surrealist expression. To the surrealists, DeSade was an explorer of forbidden themes and a foe of religious and societal hypocrisy. Consider this in connection with Avila's JUSTINE. According to SURREALISM: PERMANENT REVELATION by Cardinal and Short, the surrealists valued DeSade " for his lucid exploration of man's darkest instincts." Avila's movie also explores those instincts, in spades. From THE HISTORY OF SURREALIST PAINTING by Marcel Jean, we are said that Luis Buñuel's film, L'AGE D'OR (AGE OF GOLD), contains the Comte de Blangis, Sade's protagonist in 120 DAYS OF SODOME, appearing as Jesus Christ, and the last photo in the movie is of a crucifix to which few women's scalps are nailed. Avila's last stage of surreal sadism in his JUSTINE, however, takes Buñuel's climactic photo to other lvl entirely. As for the surreal life-death, eros-thanatos juxtapositions in DeSade's novel and Avila's film, DEATH AND SENSUALITY: A STUDY OF EROTICISM AND THE TABOO by Georges Bataille says, in a chapter on DeSade, "Life, he maintained, was the pursuit of pleasure, and the degree of pleasure was in direct ratio to the destruction of life. In another words, life reached its highest intensity in a monstrous denial of its own principle." And with Avila's JUSTINE, this surreal theme is definitively expressed. So, yes, I enthusiastically suggest Jac Avila's JUSTINE. I trust that the Divine Marquis would approve of its challenging, morality- twisting philosophy and scenes of well-whipped flesh. I think that Luis Buñuel and Salvador Dali would applaud its surreal juxtapositions of potent imagery. And I feel that filmmakers can study and learn from Avila's masterful fresh movie for years to come. But most importantly, ordinary blokes like me can just be entertained, gawk in wonder, and cheer. The right person has finally created a movie ver of JUSTINE that brings DeSade's ebook to uncompromising, throbbing life.
New York, NY 10013
Similar Film Search Engine
+44 20 7336 8898
Mon - Sun 09:30 am - 05:30 pm