Fu.ll Mo.vie | on.line ^[HD] Love of My Life 2017 Movie Watch Full
Trailer: Love Of My Life - Trailer [HD]
Love of My Life 2017 , ".(2017), ".Full, ".Movie, ""Love of My Life 2017 , ".(2017), ".Full, ".Movie, ""Love of My Life 2017 , ".(2017), ".Full, ".Movie, ""Love of My Life 2017 , ".(2017), ".Full, ".Movie, ""Love of My Life 2017 , ".(2017), ".Full, ".Movie, ""Love of My Life 2017 , "
Love of My Life 2017 (2017) Film Online
Online, Free, Full, Movie, Streaming, Love of My Life 2017 , Online, Free, Full, Movie, Free, (2017),DOWNLOAD: http://bit.ly/2TGr7E9
WATCH: http://tinyurl.com/y42588z4
KEYWORD:
PRODUCTION:
I wouldn`t call it entertaining per se, but it`s certainly provocative Taking as its subject the horrific plight of guttersnipe children in the slums of Beirut, Capharnaüm (the word means "a confused jumble; a place marked by a disorderly accumulation of objects") is the third film from Lebanese writer/actress/director Nadine Labaki. Telling the story of Zain El Hajj (Zain Al Rafeea), who sues his parents for giving birth to him, the film presents a milieu in which people are utterly discardable, the film depicts children who are literally bought and sold for a few chickens; 11-year-old girls who are married off so their family can afford the rent; babies who are fed on ice cubes covered in sugar; refugees who roam the streets; mental illness which goes untreated. The film works because it never feels like it`s exploiting, patronising, or trivialising the poverty it depicts, never attempting to manipulate the audience into feeling a preconceived emotion. On the contrary, it`s notable for just how unsentimental it is. It`s also deeply humanist, with genuine compassion in its DNA and a quiet rage at its core. From an aesthetic perspective, Labaki wisely keeps things simple and functional, eschewing any directorial gymnastics, with the aesthetic design perfectly chosen to convey the story she wishes to tell. Adopting a documentarian sense of realism, cinematographer Christopher Aoun sticks to handheld cameras and, for the most part, natural lighting. The scenes on the streets of Beirut are especially impressive, with Labaki shooting most of the material from roughly Zain`s height, or slightly lower. This allows the scenes to adopte a heavily focalised and subjective view of the world, without having to resort to less elegant POV shots. Chadi Roukoz`s sound design is also superb in these exterior scenes, with the soundtrack crammed with car horns, shouting, crying, laughter, dogs barking, airplanes flying overhead, traffic on the streets. It`s an aural overload, conveying how the massive city is overwhelming Zain, and again, tying us to his subjectivity. Labaki sets the tone for the film to come in the very first shot, as we see Zain, filthy dirty, in only his vest and underwear. It is subsequently driven home multiple times that life is almost worthless in this place - Zain`s sister is sold for some chickens, his friend Rahil to encouraged to sell her infant child Yonas in return for forged migrant documents. This is a world in which people think of children in the same way as they think of commodities, with the notion of adults protecting children subservient to that of adults looking at children in a cold transactional manner. Zain somehow manages to retain his sense of empathy, although he too is infected with the concept that everything is transactional, as his pragmatism illustrates to him that materialism is the order of the day. However, although he suppresses his sense of compassion, he does not completely extinguish it, nor would he want to. In a world where adults are reprehensible, Zain is the story`s moral compass, exhibiting a humanity far in excess of any kindness than has ever been shown to him. In terms of problems, the framing device of the trial is awkwardly realised, and not only do these scenes come across as more heavily scripted than everything else, but they also depict something that couldn`t happen (children can`t sue their parents for giving birth to them). Obviously intended as a means to dramatize how Zain wants a voice, it is nonetheless a narrative contrivance that gets in the way of the far more accomplished filmmaking seen elsewhere. The third act in particular, which focuses primarily on the trial, strays into didacticism, which Labaki had avoided everywhere else. There is something of a sense that Labaki overloads the story, pushing just one too many hardships on Zain, as she attempts to cover a plethora of topics (domestic violence, the migrant crisis, human trafficking, paedophilia, child labour, education, the justice system), and on occasion, the film feels like it`s going to collapse under the weight of human suffering and thematic nihilism. Nevertheless, it never feels exploitative, nor does it glorify the poverty at its centre, the film isn`t even especially sentimental, depicting scenes with a raw matter-of-factness. Labaki could easily have used Zain to attempt to elicit unearned pity, but instead, she is far more interested in examining the day-to-day survival of children like him. One of his most salient characterises is his practical-minded solutions to the challenges he faces, and in this, we`re encouraged to respect how he responds to his situation rather than pity him for being in such a situation in the first place. The conclusion is disappointingly didactic, and the journey there harrowing and exhausting. However, in the last shot, Labaki dares to offer a very cautious bit of optimism, and ultimately, the takeaway is not despair, but compassion.
CAST: Anna Chancellor, John Hannah, Hermione Norris, James Fleet, Greg Wise
GENRE: Drama, Comedy
SYNOPSIS: What if you had only five days to figure out... everything.
Komentar
Posting Komentar