Informações
Sinopse:
Duração: 01h27m
Data de lançamento: 12 de novembro de 1984
Genêros: Drama.
Выигрыш одинокого коммерсанта
(2 votos)
?
?
Recomendados
Box
The execution was scheduled and the last meal consumed. The coolness of the poisons entering the blood system slowed the heart rate and sent him on the way to Judgement. He had paid for his crime with years on Death Row waiting for this moment and now he would pay for them again as the judgment continued..
Exit: The Right to Die
Switzerland is presently the only country in the world where suicide assistance is legal. Exit: The Right to Die profiles that nation's EXIT organization, which for over twenty years has provided volunteers who counsel and accompany the terminally-ill and severely handicapped towards a death of their choice.
Comic 8: Casino Kings - Part 1
Eight secret agents assigned to go undercover as stand up comedians in search of a comedian who becomes a liaison to the master criminal named The King, the most spectacular gambling casino owner in Asia.
The Nature of Things: The Antibiotic Hunters
Dr. David Suzuki explains how antibiotics have been over prescribed for decades and it has led to the fact that now there are bacterial infections that are resistant to them, and people are dying by the thousands.
The Immigrant
A man who controls small airplanes to detect Iraq's front line, is put in danger not being able to return.
A Propos D'Un Crime
In 1967, Visconti came to Algiers for the filming of The Stranger with Mastroianni and Anna Karina. Camus, during his lifetime, had always refused to allow one of his novels to be brought to the screen. His family made another decision. The filming of the film was experienced in Algiers, like a posthumous return of the writer to Algiers. During filming, a young filmmaker specializing in documentaries Gérard Patris attempts a report on the impact of the filming of The Stranger on the Algerians. Interspersed with sequences from the shooting of Visconti's film, he films Poncet, Maisonseul, Bénisti and Sénac, friends of Camus, in full discussions to situate Camus and his work in a sociological and historical context. “The idea is for us to show people, others, ourselves as if they could all be Meursault, or at least the witnesses concerned to his drama.”