К Черному морю

К Черному морю

(4 votos)

?

?

К Черному морю

Recomendados

Great White Fight Club

Experts set out to prove that female great white sharks rule the ocean.

Forbidden Zone

A revolutionary militant is killed during the repression of May 1945. His son, who is unaware of the real circumstances of the murder, ends up being attached to the ideal for which his father died.

Finding Uranus

A young "incel" man embarks on a futuristic jerk-off session.

The Misanthrope

Bergman took one of his favourite plays to Copenhagen for a guest performance, which was even broadcast on Danish TV. In his Copenhagen The Misanthrope, Bergman maintained a dual approach. On the one hand, a production of Molière's play as a theatrical game performed in style and intellectually conceived; on the other hand, an exposure, through physical and psychological intensity, of the emotional tragedy in which Alceste and Celemine are both victims. Expectations were high prior to Bergman's production of The Misanthrope. A reviewer wrote, 'For the first time Molière's connection to the Danish stage is intercepted by a director whose forte is physiological tragedy, Strindberg over Holberg'. Many reviews had expected Bergman to put his very personal stamp on the production. Instead they experienced 'a clean Molière' and were struck by Bergman's faithfulness to the original mise-en-scene and to the classical rhythm of Molière's text.

Who's Yer Father?

A small-town private investigator is hired to investigate the sale of black-market lobster in Prince Edward Island along with a scrappy convenience store owner.

Café Frio

Todos os dias de manhã, Pedro prepara cuidadosamente café para Tiago, mas mesmo com todo seu esforço extraordinário, não consegue impedir que a bebida esfrie.

Mozart: Le Nozze di Figaro

David McVicar's spellbinding production of LE NOZZE DI FIGARO is set in 1830s post-revolution France, where the inexorable unravelling of an old order has produced acute feelings of loss. In the relationship between Finley's suave, dashingly self-absorbed Count and Röschmann's passionately dignified Countess, which lies at the tragic heart of the opera, the sexy ease between a feisty Figaro (Erwin Schrott) and a sassy Susanna (Miah Persson) is starkly absent, the tenacious spark between Marcellina (Graciela Araya) and Bartolo (Jonathan Veira) suggesting what might be rekindled. The production is superbly complemented by the beauty of Paule Constable's lighting and Tanya McCallin's evocative sets. Antonio Pappano conducts (and accompanies the recitatives) with invigorating wit and emotional depth.