Informações
Sinopse:
Duração: 01h11m
Data de lançamento: 02 de setembro de 2003
Genêros: Animação, Comédia, Família.
(5 votos)
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Sinopse:
Duração: 01h11m
Data de lançamento: 02 de setembro de 2003
Genêros: Animação, Comédia, Família.
Dans son premier one man show, Arrête ton cinéma!, rodé au quart de tour, il explose au propre comme au figuré. Qu’il amène les spectateurs au Maroc, dans un club ou dans un avion, il hypnotise son public. C’est toute une « sensation ». Ce spectacle est en tournée au Québec depuis l’automne 2007. À ce jour, plus de 330 000 personnes l’ont applaudi.
Coldplay showcased several tracks from their new album in an open-air concert at the BBC Television Centre in London. The gig – broadcast live on BBC Two – featured new material such as 'Violet Hill' and '42', alongside old favorites including 'Clocks', 'Fix You' and 'In My Place'. The band left the main stage briefly to perform an acoustic version of 'Yellow' against the backdrop of the Television Centre building. The gig ended with a rousing version of 'Lovers in Japan' that involved showering the crowd with thousands of paper butterflies.
During one of their night stays, three college teens play a silly prank where they randomly call people and tell them that they know who that person is and what they have done. What will happen when things take a dangerous turn?
Vice detective Bob Hightower finds his ex-wife murdered and daughter kidnapped by a cult. Frustrated by the botched official investigations, he quits the force and infiltrates the cult to hunt down the leader with the help of the cult’s only female victim escapee, Case Hardin.
Arikawa runs a transport company. But this is only a front for his gambling house. Yuriko is a regular on the scene, and she is fascinated by the dice and the one who throws them. A year before, Yuriko's father died in mysterious circumstances; she decides to go in search of the truth.
Close to 80,000 Syrian refugees live in the Zaatari Refugee Camp in Jordan, the second-largest such camp in the world. Fifty-eight percent of its inhabitants are children. After Spring immerses us in the rhythms of the camp, the role of the aid workers, and the daily lives of two families as they contemplate an uncertain future.
Much of Godin’s purple, declarative dialogue is delivered at a breakneck pace, as though these verbally nimble actors are running lines at auctioneer-speed while simultaneously playing their intentions to the hilt. The film is an exercise in radical compression, its velocity integral to its comic effects, though all the rapid-fire yakking and spastically edited reverse-shot sequences lead to a wordless denouement in which Mésuline searches her pockets for a cigarette in a shot that’s hardly protracted yet still takes up about one-fifth of this taut little film’s runtime. Her pleasure in finally lighting up is fairly adorable.
Bina (46), religious woman from Jerusalem, arrives panic-stricken at the hospital after her son Oliel (25) was severely injured in a stabbing attack. This is the first time she sees him since he became secular and lost contact with the family. Her husband, Meir (50) comes later only after their daughter Ester’s (28) insistence. At the hospital, Bina meets Amal (24). While Meir searches for answers to revive Oliel, the two despondent women bond with one another. However, Amal hides a secret from Bina and Meir. While waiting for Oliel’s revival, they will learn about truth, faith, understanding, acceptance, and love that can and maybe should replace fear of the unknown.