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Lapsena koettu suuri järkytys on vakuuttanut Marcellon siitä, että hän on syyllistynyt murhaan. Hän on oppinut häivyttämään itsensä näkymättömiin, sulautumaan massaan. Marcello on taitava sopeutumaan alati muuttuviin sääntöihin. Vuonna 1938 Mussolini hallitsee ja Marcello liittyy suojelupoliisiin – valmiina noudattamaan kuuliaisesti kaikkia sääntöjä. Vaikka se tarkoittaisi vanhan, hyvän ystävän murhaamista. Bernardo Bertoluccin filmografia kattaa sellaiset klassikot kuin Viimeinen tango Pariisissa, 1900 ja Oscar-palkittu Viimeinen keisari. Silti useat kriitikot ovat nostaneet Fasistin italialaisohjaajan parhaaksi elokuvaksi. Elokuva on innoittanut sellaisia nykyelokuvan suurnimiä kuin Francis Ford Coppola ja Martin
Scorsese. (Future film)


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Traileri 1

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kaikki käyttäjän arvostelut

englanti An excellent political thriller with chilling characters, including the lead role, brilliantly portrayed by the ingenious Jean-Louis Trintignant. It’s a film that is suspenseful, cruel, and psychological, relentlessly striving to get to the heart of the matter, even if it means confronting uncomfortable truths. Who are we? What is our conviction? And how is it possible to change it, if it is possible? Interesting questions come to mind while watching the film. ()


kaikki käyttäjän arvostelut

englanti The Conformist is a visually gluttonous portrait of a man who escapes viewers as well as himself in a fragmented mosaic of distorted memories, from which he tries to piece together an answer to how he got into his current situation, when for the first time he clearly finds himself at a moral crossroads between his own desires and his voluntary collaboration with the regime. With its non-linear narrative and symbolist images, The Conformist confronts viewers with a complicated labyrinth that is, however, an eloquent depiction of the title character and his inner turmoil, as he tries to conceal his trauma with an absurd effort to be normal. ()



kaikki käyttäjän arvostelut

englanti I was going for the theme, not at all expecting the visual delights that awaited me. Seeing the Bay-esque camera shots in the 1970s is breathtaking. The lighting and mise-en-scene work, while maddeningly stagey and mannerist in places, is really inventive on the other hand and adds to the importance of each scene. I'm sympathetic to the film's position, in which a man without an ideal is a natural servant of evil, and I'm quite interested in its further development to the current era of late capitalism, where ideas are again commodified, creating a new variant of conformity. ()

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