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Ver Pierrot le Fou

Pierrot le Fou is a movie starring Jean-Paul Belmondo, Anna Karina, and Graziella Galvani. Pierrot escapes his boring society and travels from Paris to the Mediterranean Sea with Marianne, a girl chased by hit-men from Algeria. They...

Drama, Crime, Romance
Jean-Luc Godard
Aicha Abadir, Jean-Paul Belmondo, Graziella Galvani, Anna Karina

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Product details

Genres Drama, Crime, Romance
Director Jean-Luc Godard
Writer Rémo Forlani, Lionel White, Jean-Luc Godard
Stars Aicha Abadir, Jean-Paul Belmondo, Graziella Galvani, Anna Karina
Country Italy, France
Also Known As Ο δαίμων της 11ης ώρας, Ludi Pierrot, Çılgın Pierrot, Hullu Pierrot, Il bandito delle undici, Pierrot el loco, Pierrot, den tokige, Manden i månen, Ludi Pjero, Nori Pierrot, Elf Uhr nachts, Min venn, Pierrot, Il bandito delle 11, Pierrot, el loco, A bolond Pierrot, 気狂いピエロ, Tokstollen, Pamišelis Pjero, 狂人皮埃洛, Pierrot nebunul, Kichigai Piero, Pedro, o Louco, O Demônio das Onze Horas, Ο τρελός Πιερρό, Pierrot le fou, Szalony Piotruś
Runtime 1 h 50 min
Audio Português  English  Deutsch  Italiano  Español  Français  Gaeilge  Svenska  Nederlands
Subtitles Português  日本語  Čeština  Australia  한국어  Filipino  Tiếng Việt  हिन्दी 
Quality 480p, 720p, 1080p, 2K, 4K
Description Pierrot escapes his boring society and travels from Paris to the Mediterranean Sea with Marianne, a girl chased by hit-men from Algeria. They lead an unorthodox life, always on the run.

Top reviews

Friday, 19 Jun 2020 08:47

Touted as the most expensive movie ever made, 'The French Connection' is an unrelenting satire of the drug trade. The film opens with an iconic billboard on a New York City street proclaiming that the "French Connection", the most notorious and dangerous of all of the various drug dealers, was killed last night. The scene is from the film, but the director, Russell Mulcahy, shows no trace of a theatrical flare. Instead, he depicts the streets of San Francisco in a wholly matter-of-fact fashion. The use of street footage of the city from the 1980's is incredibly effective as well. The most striking thing about the film, however, is how powerfully it is expressed. Mulcahy's direction is expertly and unflinchingly devastating. With the exception of 'Miami Vice' and 'Speed', the directing of this film is all-out effective. Mulcahy constructs the character of Benjamine (Kevin Spacey) as an adult, a kind of tortured child that is at once virulently self-destructive, yet emotionally betrayed and pitifully misguided. He's a wounded, deformed entity, whose whole being is hyper-intellectually stunted, yet who possesses an incredibly acute appreciation of power and powerlessness. Benjamine also has a pronounced habit of speaking in half-formed phrases that almost sound like gibberish. If he's in a bad mood, he simply says what comes out of his mouth. You have to see it to believe it. Mulcahy does not care for gratuitous violence, but 'The French Connection' is otherwise a violent movie, for all the wrong reasons. For example, the scene of a body being violently overturned is one of the most horrific scenes in cinema. The resulting crash-scene, with its disorientating, incredible speed, is accompanied by a song that is simultaneously ecstatic and disturbing. This is not something that will go over well with some viewers, but it is undeniably brilliant. Benjamine kills a drug dealer's mother, and the drug dealer's friend turns up dead. Benjamine murders Benjamine's father, and Benjamine's mother turns up dead. Benjamine takes money from his brother and starts using it to pay for his mother's funeral. Benjamine goes to rehab and becomes violent, especially towards the end of the film, before killing his dealer, and his friend. Benjamine's daughter turns up in the middle of the night, after he's been turned in to the police. Benjamine tells her he killed his dealer. Benjamine is locked up in a mental institution, where he constantly struggles to keep the voice of reason up. Benjamine's daughter calls him 'drug-face', and describes him as a bit of a racist. Benjamine is again left to his own devices, but is also the victim of a vicious blackmail plot by the French Connection. This is where the satire begins to fall apart. The film is clearly satire, and in that sense it is a lot like a film noir. However, it's far more effective at satirising the drug trade and the portrayal of it in film than it is at satirising the police or the mental institution. Mulcahy
Sunday, 07 Jun 2020 08:12

In Bordeaux, in the movie Deux Carrettes,, it is a story about Bordeaux in the middle of the 18th century and in a romantic comedy. It is a story that is very different from what I have seen in the other films. In fact, it is not a story, but a musical. And, this is important. We see romantic scenes, like the scene when Mina is in the theater in the beginning of the film and in the end of the film when they all go back to Bordeaux. It is a musical. And they dance to it. If I could find the actors who are famous in the world of romantic comedies, I would go for them. But, in this movie, I don't know whether the same actors are famous in the world of romantic comedies or not. But I don't think they are. And, in the end of the movie, the story is not important, the music is important, which I think is the reason why the movie is different from the others in the genre. And the thing that is unique about the musical in this movie is that they are allowed to act. The character are all actors. The actresses who play Mina and Lea, the actors who play Claudius and Tharaldin. These are the ones who should be on the Oscar nominations. If the others are good, maybe, I don't know, but maybe, the others are not. I don't know. And, in the end, they don't really matter. And, in the end, it doesn't matter whether the movie is good or not, as long as I have seen it, I enjoyed the musical and the movie, as they are two separate things. It is a good movie that is different from the others in the genre, and it is a good movie that has a good story, that is unique.
Thursday, 04 Jun 2020 11:39

I have never really appreciated the two detective stories of Gertrude Stein: L'Armee de la nuit (1930) and M.A.S.H. (1971). But while M.A.S.H. (1981) is a stunning example of stylistic excellence, L'Armee de la nuit is a far superior film with a completely different theme, however. In a postmodern way, this is a "film for the forgotten". Not by any means a masterpiece, but it still has all the intangibles that M.A.S.H. is known for. L'Armee de la nuit is based on the real events of the plot of M.A.S.H. The story is set in Paris, during a period of mental and economic crisis. Author Gertrude Stein's brother Victor (Philippe Noiret) is a painter who works in the cafes. It is during one of these hours when Gertrude also works. As she is painting, she sees the police break into the cafe where she is painting. The client Gertrude is painting for is Maurice (Francois Berleand) the famous painter and critic of the Parisian paper Le Figaro. During the break in Gertrude becomes the victim of a shocking robbery of her painting. We don't get a full account of the events, but we know that Gertrude is clearly the victim and the same happens to Maurice. This is the first appearance of three main characters. The third character is the artist of the Le Figaro, Georges Simenon (Marcel Roca). Georges Simenon is the critic and protector of the paper. He is visited by Gertrude in an asylum and witnesses the incident. The truth is revealed to Georges when Gertrude discovers that her painting has been stolen. The real incident is a case of the psychological psychosis of Georges Simenon. At the same time, Gertrude experiences great anxiety and affects her paintings. It is like a kind of crisis of her life. Gertrude is afraid of her husband, Georges Simenon, that is married to a man named Auguste Dias (Johannes Larner). Georges Simenon is separated from Gertrude and sees a real crisis of his own. He begins to express his private feelings and ask Gertrude to see him. Although they are in a relationship, Gertrude and Georges have not so much understanding. In spite of this, Gertrude is stubborn and attempts to protect Georges from loneliness. As a result, we get a good glimpse of Gertrude's condition in the past. Gertrude becomes lonely and at the same time, feels humiliated. She does not want to be the victim anymore. She cannot express herself well. She feels abandoned and does not know what to do. She always suffers from depression. This is the moment when Gertrude develops a theory. Georges Simenon did not steal his wife's painting, he is the real victim of this episode. It is all about Georges Simenon
Tuesday, 02 Jun 2020 02:41

A strange movie from Claude Chabrol, who has a very loose directing style. But in this case, it works. Another great plot element is the cast. Michel Serrault, Claude Lanzmann, Simone Signoret, Monica Belucci, and Jean-Pierre Benimou are among the principal stars. I don't know if they have ever been famous in the US, but I can't imagine they were any different in France. The style of the French filmmaker can be either stylistic or over-the-top, depending on the situation. In this case, it works very well, with a very elegant and detailed style. Also, it is very well photographed and has very beautiful cinematography. The story is a bit confusing, but is still quite interesting. The photography and score are just superb, and I didn't realize until I watched the movie that Michel Serrault was a director in French films. I also appreciated the language aspect of this movie. The language was a perfect fit for this movie. The one flaw is the movie feels a bit too long. It is an ambitious and interesting movie, but it does feel like a short movie. Maybe it was intended as a companion piece to "A Separate Peace" (1972), but it feels more like a sequel, more like a spoof. I don't know what is the director's intention, but it does feel like a 30 minute episode from "Another View", with better editing. All in all, "Pierrot le Fou" is a classic of the French 70's. Some great direction, camera-work, and a fantastic plot. It is certainly not a movie for everyone. It's a very different style of a French director, but a very fascinating one. The film is directed by the legendary, Claude Chabrol.
Tuesday, 21 Apr 2020 07:34

Pierrot le Fou (2006) is the final of Olivier Assayas' five movies in the opera titled "La Traviata". This movie, adapted from his novel, centers around the relationship between Guido di Angelo (Eduard Cohen), a wealthy but ugly owner of a bar and the Spanish woman who teaches him the art of fencing (Zulily Dicastello). Guido delights in the education of his young pupil, only to see her fall in love with his competitor, Marco (Luis Carmona). This plot twist would have seemed silly, if not for the acting talents of Guido's son Pietro (Yann Isidoro), who gives a solid performance in a quite tragic part. Guido's lack of skill in fencing leads him to turn his attention to the women who know the secrets of the art. Guido must learn to overcome his own perfectionism to put aside his own repressed feelings, and can only learn it if he accepts the love of his pupil. Only a strong man can do that. Guido's knowledge of fencing is not solely acquired from his mother, who instills it in him. Guido does not care about his daughter, and if the love of her sister breaks his heart, Guido becomes free and can be just as happy as a bachelor. As his son, Cohen works wonders with his portrayal of Guido, providing a great insight into the person Guido is, and showing the true consequences of his actions. While this story revolves around a romantic relationship, there is another story, revolving around Guido's ability to better his personal relationship with a fellow fencing master. As Pietro, Yann Isidoro is excellent, showing both the human side of Guido and his personality. The other actors, Dicastello and Carmona are not as memorable, but the young cast is well cast, giving a great performance. The cinematography of Olivier Assayas, especially the set pieces, is amazing. The beautiful sets and effects on Guido's training, gives an incredible atmosphere. "La Traviata" is a great movie, which tells the story of a friendship that is full of secrets, and that helps one overcome the limitations of the individual. In the end, Guido learns the secrets of fencing from Marco, and comes to love his pupil. This story is an emotional one, that makes one reconsider their own standards of love.
Thursday, 02 Apr 2020 10:29

A beautiful and passionate film from the French film maker Claude Berri.It is definitely one of his best films that I have seen and I can't compare it to his previous work as I am not familiar with his work.My guess is that this is a very personal film and it's certainly not an easy film to see but Berri is so passionate about this story that it is really a big leap of faith.The film is set in the French countryside but is focused on the lives of four people who live in this small village.They are - Anissa, Mademoiselle, and herself.The first one is a nurse who is helping Mademoiselle when she is hit by a car.She dies and the other three are her caring neighbours and former partners.I liked the first scene when they all are inside a home discussing her death and she asks them what happened.It is hard not to feel sympathy for them.After the accident the four women decided to start a new life in Paris but Anissa is angry about how life had treated her.She ends up in a high-security psychiatric hospital.Mads is too afraid to leave the hospital and is also sad.He gets angry when his partner does not want to stay in Paris and he becomes a homosexual and spends a lot of time with a group of other men.Mademoiselle also starts to get depressed because she is depressed and unhappy at home.She is deeply in love with a married man and doesn't have a relationship with Mademoiselle.After the death of Mademoiselle the nurse starts to become the only one who sees Mademoiselle every day.The most interesting character is Anissa.She is the only one who is supportive of Mademoiselle, and she also becomes more and more depressed.Mademoiselle tells her that she is angry with her for not taking her son to school.This is the most beautiful scene of the film because it shows the truth of human nature and the strength of friendship.The film is an amazing story about friendship, love and overcoming adversity.It is a story of grief and the strength of friendship.The film is a little bit slow and can be frustrating at times.Berri is also known for his photography.His last film 'The Nymph, The Oracle', which I personally loved was also in French but I do not think that the film is as good as his last films.It is not a bad film but it is not as good as his previous works.My vote is eight.My advice is to see it for the characters and story.

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