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is inseparable from the character of a "before" and from some "after", but those which he combines, moving from the first state to the second. He becomes "the other" when it begins to fantasize, without falling into fiction.The director, on the other hand, has also become the "other", when in the same way gives the floor a real character, and replace it with a crowd they own fiction fantasy. The director and the characters interact with each other, inventing his own people.I gave slovoAleksisu {"Kingdom of the day") and throughout Quebec to find out what I am, "because to Watch Online and tell me enough download movie Erotic movies and to call on them "This is a simulation of the story, the legend and its metamorphosis nesobstvennopryamaya it all Quebecers, we are gradually transformed fromtwo-headed in Thousand. And then the movie gets the right to be called verite, the more it destroys all true model, becoming creative, producing truth: this is not the cinema of truth, and the truth of cinema. This is exactly meant by Jean Rouch, when he spoke of "verite".Just as Perrault started with reportazheyissledovany, Rush began with ethnographic films. The evolution of these directors can not be about criticizing one truth and honor, about the function of imagination and how it overcomes real and fictitious, the role and the need to "defenders" of the most important text - conversation with Rene Allo Perry:«Ecritures de Pierre Perrault». Edilig, p. 54K this text, you can add all of the analysis ZhanDanielya Lafont entitled »L'ombre d'un doute», where the cinema Perrault described as the art of "dissimulation": his characters "are fictional, though it is not being belonging to the realm of fiction."download movie Erotic movies and to understand the basis of only one reference to the inaccessibility of the "raw" reality; the fact that the camera has an impact on the situation and the characters react to the presence of the camera, they knew everything, and it almost does not bother Flaherty and Leacock, who saw here only lzheproblemy.At Rush just like Perrault, innovation has other origins.It begins to be expressed in clear Rush in "Bezumnyhhozyaevah" when the characters involved in the ritual-obsessed, drunken, foaming at the mouth, entering into a trance, first show in their everyday reality, where they work as waiters in cafes, diggers and laborers - these so they again become after the ceremony. And that's what they were before ...Conversely, in the movie "Yanegr" real characters showing through made-up of the role of Dorothy Lamour - a little prostitute, Lemmy Cochin - Treychvilla of unemployed, even if they themselves subsequently have to comment and correct to assume the functions'.In the "Jaguar" three characters, and especially the "boyfriend" distribute among themselves as contributing to their clash with the realities of travel, as the potency of the legend: such a meeting with the fetishists, the organization of work; production of gold ingots, which are then locked and never used; alternate access to the large market;Finally, the creation of small commercial enterprises under the motto, replacing ^ ready formula figure, able to compose a legend, "gradually builds itself a bird ... a cap." And, like the old, they return to their land, filled with lies and deeds, so that the slightest incident contains false potency. Within one character there is always a transition from one state to another, as in the episode, when the hunter calls the lion Americans or when travelers from the movie "doodle, Mr. Chicken "meet-devil.

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Film Эротик кино
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