Movies me 8ema ratsismo/nazismo/e8nikismo ktl

[StationEleven]

pera tou american history x(sauto to styl ,oxi epoxhs xitler ktl)
auto pou dixnei sto mega twra pws legete?(to xw dei arketa palia kai de 8hmamai polla)
gia peite kana allo...

[Ithilmir]

Mia tainia me ton Ian Makellen pou paizei enan prwhn aksiwmatiko nazi .
Nomizw legetai "Mathimata fovou"

Poli gamath.

[Kingdom Gone]

Mia tainia me ton Ian Makellen pou paizei enan prwhn aksiwmatiko nazi .
Nomizw legetai "Mathimata fovou"

Poli gamath.

IIRC, βασίζεται σε βιβλίο του S. King ποε ένας φίλος που το 'χει διαβάσει μου 'πε πως είναι από τα καλύτερα του.

[Dragonlord]

Η λίστα του Σίντλερ
Ο πιανίστας
SouthPark:Bigger,Longer and Uncut

[StationEleven]

american history x(sauto to styl ,oxi epoxhs xitler ktl)

[Kingdom Gone]

Η λίστα του Σίντλερ
Μαλακία, me thinks.


SouthPark:Bigger,Longer and Uncut

Αυτό μάλιστα! "Let me see..., Nope, I don't have any jewish candy!"

[freak brother]

O missisiphs kaigetai tainiara kai mou kanei entypwsh pou den thn eipate.

[eyeamflesch]

S11 gia Nazi fasi des tin pws ti len, tin tainia pou epaize o Russel Crowe (sp?) ton skina, prin ginei firma. Eidika otan ftaseis sto simeio pou oi ypotitloi graFoun ti leksi "μπιστολίδι" tha rikseis poly gelio.

Twra oso afora gia ethnikistikies tainies, des to 90% twn tainiwn tou Hollywood kai allwn xwrwn.

[AngelOfSorrow]

eixe mia xthes sto mega kata tis 4 to prwi alla den 3erw titlo

i lista tou sintler einai theiki tainia

[Raven Lord]

O missisiphs kaigetai tainiara kai mou kanei entypwsh pou den thn eipate.

:thumbsup:

[cthulu]

des to top secret.se vhs logika 8a yparxei.val kilmer me nazi.den yparxei periptwsh na mhn goustareis.ellhnikh metafrash:akrws trelo kai aporrhto.

[freak brother]

to misos tou kasovits

[Medusa]

O missisiphs kaigetai tainiara kai mou kanei entypwsh pou den thn eipate.

me prolabes.

[Raven Lord]

to misos tou kasovits

1-1 τα βγάζεις :P

:worship: για το "μίσος"

[Medusa]

[quote="freak brother":1in34l8d]to misos tou kasovits

1-1 τα βγάζεις :P

:worship: για το "μίσος"[/quote:1in34l8d]

me finale-shock

[freak brother]

[quote="freak brother":1s9mpw51]to misos tou kasovits

1-1 τα βγάζεις :P

:worship: για το "μίσος"

me finale-shock[/quote:1s9mpw51]

e eimai eleutheros auth thn periodo ....



:oops: :oops: :oops:


xaoixoiaxoiaoixa

[cyber_lingas]

'Boys from Brazil' (Ελληνικός τίτλος: 'τα παιδιά απο την μπραζίλια', νομίζω)
Ο Λώρενς Ολίβιε παίζει τον Εβραίο ερευνητή που κυνηγά τον Δρ.Μενγκέλε-Γκρέγκορι Πεκ 30 χρόνια μετα τον β' παγκόσμιο.

'The Odessa file': Ο Γιον Βοιτ είναι δημοσιογράφος στην Γερμανια της ίδιας περιόδου που ανακαλύπτει μυστική οργάνωση ναζί αξιωματικών.

'Fatherland': Ο Χίτλερ έχει κερδίσει τον πόλεμο με την Αγγλία , την δεκατία του 60 η Γερμανία κατέχει σχεδόν όλη την Ευρώπη, ενώ τα εγκλήματα των ναζί έχουν συγκαλυφθεί. Ο Ρούντγκερ Χάουερ είναι ο αξιωματικός των ss που προσπαθεί να ανακαλύψει την αλήθεια.

και το 'Apt Pupil' με τον Ιαν Μακέλλεν που αναφέρθηκε.

Και οι 4 εξαιρετικά ατμοσφαιρικές ταινίες πάνω σε αυτο το θέμα...

[Buddy Lackey]

to "La Haine" den exei kyrio thema tous nazi 'h ton ratsismo genika. Kamia sxesh gia thn akriveia.

[freak brother]

to "La Haine" den exei kyrio thema tous nazi 'h ton ratsismo genika. Kamia sxesh gia thn akriveia.
exei thema ton ratsismo tous nazi oxi :P
an kai sapizouns to xulo kai kati neonazi :P

[Buddy Lackey]

kamia sxesh me ratsismo to ergo, apo oles tis apopseis.

[freak brother]

kamia sxesh me ratsismo to ergo, apo oles tis apopseis.

La Haine
(Mathieu Kassovitz, 1995)
La haine (Hate), which brought Mathieu Kassovitz, in his twenties, the directorial prize at Cannes, centers on three friends living in a Parisian housing project. A Jew, an Arab and a black African, the youths represent groups that a culturally self-involved society prefers to keep at its outermost fringe. They are “kept” there in rather attractive style, though; Americans may have trouble identifying these boys, by American standards, as deprived, given the impressive livability of their subsidized housing. Nevertheless, the boys themselves feel alienated.
Their alienation consolidates their sense of kinship. Strengthening both are their constant confrontations with a common antagonist: the police, whose harassing forays into the projects suggest an invading army, a swarm of bloodthirsty mosquitoes. (Again, the French police are Milquetoast compared to their American counterparts.) Now the police are holding and interrogating a buddy of theirs. When this comrade dies in police custody, one of the boys, in chance possession of a dropped police pistol, explodes; but, in the intriguing way Kassovitz portrays this train of events, the precise causality remains murky, the detained boy`s death a nearly subliminal trigger, just one more contributor to an incendiary atmosphere. But it`s the straw that breaks the Jewish boy`s back.

Let`s get out of the way an inference preposterously drawn: that this boy is Kassovitz himself, who is also Jewish. Mathieu is, in fact, the son of Peter Kassovitz, the photographer and filmmaker. His has been no disadvantaged life. Still, Mathieu can certainly relate, making his Jewish character a surrogate along the lines of “under other circumstances, this could have been me.” After all, Mathieu`s father is a Hungarian immigrant, and French anti-Semitism runs deep. But, in literature and film, biographical or autobiographical equations generally fail to hold true; with absolute justice, Tennyson insisted that the speaker of In Memoriam wasn`t entirely himself, and Orson Welles maintained that Citizen Kane wasn`t William Randolph Hearst. Not that Hearst could grasp the accuracy of Welles`s declaration. Or wanted to.

Moreover, such speculation distracts from Kassovitz`s finely suggestive analysis of how a social situation of violence evolves. Indeed, his exposition in this regard greatly improves on its botched antecedent in Spike Lee`s desultory Do the Right Thing (1989), one of a number of films Kassovitz draws upon. If nothing else, La haine functions as a corrective to the American film, suggesting what Lee`s gaudy extravaganza might have achieved had Lee been less interested in parading pretty pictures and venting his chic bile, and more interested in actually detailing an instance of ghetto violence. Lee, if he has the capacity to do so, could learn a lot from the French kid. Other filmmakers could, also.

But not, were he alive, Akira Kurosawa, whose Stray Dog (1949) is another of the films influencing Kassovitz`s. It is from the violent plot of this brash, moody police thriller that Kassovitz has drawn the stray police pistol; but the allusion is wholly unwarranted. For La haine leaves alone the kind of postwar social analysis that commands Kurosawa`s interest. Kassovitz isn`t after a complex understanding of the pop-off situation—the point of violence—that he, unlike Lee, so closely and admirably describes. Rather, he pleads a case and a cause.

Shot plainly, in black-and-white, the result is agreeably minor. La haine is a simple, highly watchable documelodrama that builds casually to an explosive finale. It`s also a testy film, tinged with arrogance; a part of its youthful charm is how deftly it draws one into the circle of its bias. Our heads may carp that the sort of kids whom the film follows would, in reality, have something to do with the rotten course of their lives; but the fiction of their total victimization the film, by its lightness and lack of self-pity, makes exceedingly easy to give in to. La haine reminds me of an East Side Kids bottom-of-the-bill feature from the 1940s—in a more sophisticated incarnation, of course.

Kassovitz`s sincerity and sympathy, however, do not cover everything. Given the film`s essential naturalism, the minigang`s multiethnic composition is a tad convenient. Moreover, crass stereotyping compounds the convenience; we are given a Jew who is private and moodily intense, a sociable and foolishly fun-loving Arab, and a gooily mama-lovin’ black African. Of greater consequence than this cornball distribution of familiar traits, though, is the insufficient attention the film pays to the dynamic of the boys’ increasingly incorrigible behavior—on the mistaken assumption, perhaps, that a full and open airing of these brats would take an unjust society off the hook. On the contrary, the film`s single-mindedness—its refusal to allow these children even the slightest complicity in their own behavior and their downfall—calls greater attention to its reductionism and leads directly, in fact, to the film`s most grievous mistake: after nicely entertaining us, at the last La haine “goes didactic,” with an absolutist coda referring to a civilization going down for the count. Ho-hum, the sky is falling. Oy.

This conclusion is just slapped on—much as, much earlier, the junior-grade moral crisis, where the boys ponder whether to exchange their “play-tough” mischief for decisive violence, is simply slapped in.

Kassovitz has a lot to teach Spike Lee. Also

[Buddy Lackey]

kala, pes mou ESY giati theoreis oti einai tainia pou exei ws thema ton ratsismo 'h ethnikismo, kai oxi myria alla pramata kai ta leme.

[freak brother]

as to analysei kapoios allos varieme na debatarw pali..
:D

[enitharmon]

ela, afou den exeis tipota kalytero na kaneis :P

[freak brother]

ela, afou den exeis tipota kalytero na kaneis :P

thanks

[Solo Carriera]

to misos tou kasovits

αυτό.

[eyeamflesch]

S11 giati endiaferesai gia tetoiou eidous tainies?

[StationEleven]

goustarw th fash sa 8eaths
auto

[The_Painless]

Pariah. Εντελώς σάπια ταινία για τα έργα και τις ημέρες μιας παρέας skinheads.

[Raven Lord]

Pariah. Εντελώς σάπια ταινία για τα έργα και τις ημέρες μιας παρέας skinheads.

ωχ, ναι... με πολύ σκληρές σκηνές... όταν την είδα, ήθελα να σκοτώσω οποιοδήποτε άτομο με τέτοιες ιδέες :x

[The_Painless]

Ναι, η αλήθεια είναι ότι είναι αρκετά ωμή ταινία. Όποιος θέλει του τη γράφω.