This film tells the story of a little girl (Sonsoles Aranguren) living somewhere in the north of Spain and fascinated by the secrets of the south seemingly buried in the traits of her father (Omero Antonutti). In her childhood, Estrella's father is a mysterious world. Growing up, she finds out that he once had a sweetheart (Aurore Clément), and that he is still in love with her.

ژیانی ئیسترێلای بچکۆلانە پارچە دەبێت، کاتێک بەو ئەشقە نهێنییە دەزانێت کە باوکی بۆ ژنێکی دیکە هەیەتی.

فیلمی | باشور - ١٩٨٣
ڤیکتۆر ئێریچە

PLOT SPOIL

In February 1961, Llewyn Davis is a struggling folk singer in New York City's Greenwich Village. His recent solo album Inside Llewyn Davis is not selling; he has no money and is sleeping on the couches of friends and acquaintances. After playing The Gaslight Café one night he is beaten up in the alley behind the café, for reasons not immediately apparent, by a shadowy man in hat and suit with a southern accent.

Davis awakens in the apartment of two friends, the Gorfeins. As he leaves, their cat escapes and is locked out of the apartment. Davis takes him to the apartment of Jim and Jean Berkey, where Jean reluctantly agrees to allow Davis to stay the night, despite already having promised as much to another aspiring folk singer/songwriter, Troy Nelson, a young military man stationed at nearby Fort Dix. Jean informs Davis that she is pregnant, and that Davis could be the father. The next morning, Davis opens a window and the Gorfeins' cat escapes the Berkeys' apartment. Later, Jean asks Davis to pay for an abortion, though she is upset it may be Jim's child she is losing.

Davis visits his sister, hoping to borrow money. Instead she gives him a box of his belongings, which he tells her to leave outside by the curb. She mentions that he could make money by returning to the Merchant Marine. On Jim's invitation, Davis records a space travel-themed novelty song with Jim and Al Cody. Needing money for the abortion, Davis agrees to an immediate $200 rather than royalties. Davis looks to set up the appointment for the abortion, only to learn that payment will not be necessary, as he has credit with the gynecologist's office due to already having paid for the same procedure two years earlier on behalf of another woman who did not go through with it or inform Davis of her decision to raise the child in her hometown of Akron, Ohio.

While talking to Jean at a café, Davis sees what he believes to be the Gorfeins' cat, captures him, and returns him to them that evening. Asked to perform a song after dinner, he reluctantly plays "Fare Thee Well", a song he had recorded with his old partner, Mike. When Mrs. Gorfein starts to sing Mike's harmony, Davis becomes angry and tells her not to. She leaves the table crying, then returns with the cat, having realized it is the wrong gender and thus not theirs. Davis leaves, taking the cat along.

Davis rides with two musicians driving to Chicago: the laconic beat poet Johnny Five and the jazz musician Roland Turner. During the trip Davis discloses that his musical partner, Mike Timlin, died by suicide.

At a roadside restaurant, Roland collapses from a heroin overdose. The three stop on the side of the highway to rest. When a police officer tells them to move on, he suspects that Johnny is drunk and tells him to get out of the car. Johnny resists and is arrested. Without the keys, Davis abandons the car, leaving the cat and the unconscious Roland behind. In Chicago, Davis auditions for Bud Grossman, who says Davis is not suited to be a solo performer but suggests he might fit into a new trio Grossman is forming. Davis rejects the offer and hitchhikes back to New York. Driving while the car owner sleeps, and distracted by the nighttime lights of nearby Akron, he hits a cat; it slowly limps into the woods as Davis watches.

Back in New York, Davis uses his last $148 for back dues to rejoin the Merchant Marine union, and visits his ailing father. He searches for his seaman's license so he can ship out, but it had been in the box he told his sister to trash. Davis returns to the Union Hall to replace it, but cannot afford the $85 fee. He visits Jean and she tells him she got him a gig at the Gaslight.

At the Gaslight, Davis learns that Pappi, the manager, also had sex with Jean. Davis drunkenly heckles a woman as she performs on stage and is thrown out. He goes to the Gorfeins' apartment, where they graciously welcome him. There, he learns that the novelty song is likely to be a major hit with massive royalties. He is amazed to see that their actual cat, Ulysses, has found his way home.

In an expanded version of the film's opening scene, Davis performs at the Gaslight. Pappi teases Davis for his heckling the previous evening's singer and tells him that a friend of his is waiting in the alley. As he leaves, Davis watches a young Bob Dylan perform. Behind the Gaslight, Davis is beaten by the shadowy suited man for having cruelly heckled his wife, the previous night's performer. Davis watches as the man leaves in a taxi, bidding him "Au revoir".

لوین دەیڤس، گۆرانیبێژێکی شەعبیی سەربەخۆ و سۆڵۆیە: لە ململاندایە لەگەڵ ئەو "ویستانەی" بازرگانیی لە سنووری پیشەسازیی مۆسیقادا بۆیان تێدەکۆشێ.

فیلمی | لەنێو لوین دەیڤسدا - ٢٠١٣
ئیثن کۆون - جوێل کۆون

SPOILER

Former designer, Victor is in his sixties and disillusioned. His marriage to Marianne is in trouble and he is disinterested and overwhelmed by the modern technological world. To cheer him up, his son Maxime bought him an evening organized by a company the stages reenactments as a form of "time travel". This company offers its customers to relive the era of their choice, by mixing theatrical devices and historical reconstruction. Some wealthy clients choose to spend an evening with William Faulkner, Adolf Hitler, or with aristocrats in the 17th century century. Victor reluctantly accepts when Marianne shows him the door. He chooses to revisit the most significant week of his life, the one where he met great love, forty years earlier, May 16, 1974, in the La Belle Époque café in Lyon. In this "staging", Marianne is embodied by Margot, an actress who lives a complicated and tumultuous relationship with Antoine. The latter, a former screenwriter, is very fastidious and does not support any approximation on the part of his collaborators. Little by little, Victor will lend himself to the game, until he gets lost in these "reconstituted" memories.

بەڵێندەرێکی سینەمایی ژیانی (ڤیکتۆر)ی بێهیوا و بەتەمەن هەڵدەگەڕێنێتەوە بە گەڕاندنەوەی بۆ سەردەمی لاوێتیی و کاتە خۆشەکانی ئاشق بوون.

فیلمی | کاتە خۆشەکان - ٢٠١٩
_
لە دەربڕینێکی تەنزئامێزی ڕەخنەگرانەدا دەمەوێ بڵێم: ئەوانەی لافی جیهانگیریی و ڕۆمانسیان بە گوێگرتن لە (ئیدیت پیاف) بە ئێمە دەفرۆشتەوە، گەلێ ئاشقی جووڵە و دایەلۆگەکانی ئەم فیلمە دەبن...

When a young Arab is arrested and beaten unconscious by police, a riot erupts in the notoriously violent suburbs outside of Paris. Three of the victim's peers, Vinz (Vincent Cassel), Said (Said Taghmaoui) and Hubert (Hubert Koundé), wander aimlessly about their home turf in the aftermath of the violence as they try to come to grips with their outrage over the brutal incident. After one of the men finds a police officer's discarded weapon, their night seems poised to take a bleak turn.


پۆلیسەکان دەمانپارێزن، بەڵام کێ لە پۆلیسەکان دەمانپارێزێت؟.

فیلمی | ڕق - ١٩٩٥
ماثیۆ کاسۆڤیتز

In Seoul, a loan shark's brutal enforcer (Lee Jung-jin) turns away from his violent lifestyle after he meets a woman (Jo Min-soo) who says she's the long-lost mother who abandoned him when he was just an infant.

هەڵگەڕانەوەی کەسایەتیی کوڕێکی توندڕەوی بێکەس پاش ئەوەی بەر ڕابردووی خۆی دەکەوێت: ژنێک دەردەکەوێت و پێی دەڵێت دایکە هەڵهاتووەکەتم.

فیلمی | پەیتا – ٢٠١٢
کیم کی-دوک
-
پەیتا: وێنە یاخود هەر داتاشراوێکی سیمبولییە بۆ مەریەمی پاکیزە کە لاشەی پیرۆزی مەسیحی لەسەر دەستەکانی یاخود قۆڵی هەڵگرتووە.

Lee Holloway (Maggie Gyllenhaal), a young woman with a history of severe emotional problems, is released into the care of her overbearing parents following a stay at a mental institution. She finds work as a secretary for a rigid and demanding attorney, E. Edward Grey (James Spader), and starts dating the kind but dull Peter (Jeremy Davies). However, Lee soon realizes she's turned on by Grey's stern demeanor, and begins a sadomasochistic relationship with him.

(لی هۆڵوەی) کە خاوەن مێژوویەکی سۆزدارانەی پڕ لە ئازارە، پاش دەستبەکاربوونی وەک سێکرەتێریی پارێزەرێک، کەسایەتییە نهێنییەکەی نێو ناخی (سەیدۆماسۆکیست) دەدۆزێتەوە.

فیلمی | سێکرەتێری - ٢٠٠٢
ستیڤن شەینبێرگ

Dr. Steven Murphy is a renowned cardiovascular surgeon who presides over a spotless household with his wife and two children. Lurking at the margins of his idyllic suburban existence is Martin, a fatherless teen who insinuates himself into the doctor's life in gradually unsettling ways. Soon, the full scope of Martin's intent becomes menacingly clear when he confronts Steven with a long-forgotten transgression that will shatter his domestic bliss forever.


بە گەڕانەوە بۆ تراجەدیای (یرۆپیدیس) بە ناوی (ئیفیجینیا لە ئەولیس) فیلمی (کوشتنی ئاسکە پیرۆزەکە) بیرۆکە وەردەگرێت و چیرۆکی خێزانێکی ئەریستۆکراتیی دەگێڕێتەوە کە لە دایبابێکی پزیشکیی و دوو منداڵ پێکهاتووە: باوکێکی نوژدار بە نهێنیی هاوڕێیەتیی کوڕێکی هەرزەکار دەکات کە ڕابردوو بەیەکیانی بەستووەتەوە. باوکەکە (ستیڤن) ئەم هەرزەکارە (مارتن) ئاشنای خێزانەکەی دەکات و پێیانی دەناسێنێت. لێرەوەیە کە داهاتووی خێزانەکە دەکەوێتە نێو دەستی مارتنەوە.

فیلمی | کوشتنی ئاسکە پیرۆزەکە – ٢٠١٧
یۆرگۆس لانثیمۆس

Ernesto 'Fuser' Guevara, a medical student, finds his calling in life when he sets out on a motorcycle road trip across South America with his friend, Alberto Granado, a biochemist.

خوێندکارێکی بەشی پزیشکیی و بایۆکێمیستێک، بە یارمەتیی ماتۆڕسکیلەکەیان بەدرێژایی ئەمێریکای باشوور گەشت دەکەن.

فیلمی | یادگارییەکانی ماتۆڕسکیلەکە – ٢٠٠٤

کێ پێشبینیی هەڵتۆقینی کاریزمایەکی واها و چەشنێک لە (ئاڵتێر ئیگۆ)ی دەکرد؟.

The Prefab People is a 1982 Hungarian black-and-white drama film directed by Béla Tarr. Although the film was made in 1982, it was not shown in Russia until July 4, 2011. The film earned special mention in the 1982 Locarno International Film Festival. The film has several run times, and is shot in 35 mm


سۆشیاڵ ڕیاڵیزم لە دیدی بێلا تارەوە.

فیلمی | خەڵکانی بینای ئامادە - ١٩٨٢
بێلا تار

SPOILER ALERT

The story centers on Macario, a poor indigenous woodcutter, during Colonial Mexico, on the eve of the Day of the Dead, who lives embittered for being so poor and hungry. His economic situation keeps him and his family at the edge of starvation. After he sees a procession of roast turkeys, his dream is to eat a whole roast turkey just by himself. He announces in front of his wife and children that he will not eat until his dream comes true. His worried wife steals a turkey and gives it to Macario before he heads to the mountains to work.

However, just as Macario prepares to eat the turkey, three men appear to him. The first one is the Devil in the guise of a fine gentleman, who tempts Macario in order to get a piece of the turkey. The second one is God in the guise of an old man. Macario refuses to share the turkey with either, since he believes that they both have the means necessary to get themselves what they want.

When a third figure —a peasant like himself— appears to him, he gladly shares the turkey with the man. The third man is none other than Death itself. Death is unsure why Macario has shared his turkey with him and not with the Devil and God. Macario responds, "Whenever you appear, there is no time for anything else." Macario hoped to forestall what he assumed to be his imminent death by gaining the time it would take for him and Death to eat. Death is amused and as a compensation, names Macario his "friend" and gives him miraculous water that will heal any disease. If Death appears at the feet of the sick person, they can be healed with the water - but if Death appears by the person's head he or she is condemned to die. This "friendship" lasts for years, but they never speak to each other, but merely stare.

Death hints that Macario will meet him later that day. Macario returns home to find his son cold from falling into the well. Macario tries the water on his son and eventually becomes known as a miraculous healer, creating such commotion that the church itself will accuse him of heresy, and even the Viceroy will ask for his services, to cure his son. He is promised freedom if he can save the boy, or to be burned at the stake otherwise.

Unfortunately for Macario, Death "has to take the child," so Macario, in despair, begs and tries to escape, only to enter Death's cavern (filmed in the Cacahuamilpa caverns) and is reprimanded for turning his "gift" into merchandise. Death shows him the candles that the cavern is filled with, thousands of candles all representing a person's life. The making of the wax and length of the candle all factor into the lifespan of a given person. Death then snuffs out the candle of the Viceroy's son before Macario's eyes. When Macario sees how short his candle is, he begs Death to save it but Death refuses. In desperation, Macario snatches up his candle and runs out of the cavern, not heeding the shouts of Death behind him.

The last scenes begin at twilight on the day that Macario shared the turkey with Death. He has not come home, and his wife and some villagers are looking for Macario out in the woods only to find him peacefully dead, next to a turkey divided in halves: one of which is eaten, the other being intact, as if he died not fulfilling his dream of eating a complete turkey for himself.

بە شێوازێکی تایبەت ڕۆژی مردووان لە وڵاتی مەکسیک بەڕێوەدەچێت. هەستکردن بە مردووەکان بۆ ئەوان بنەڕەتییە. ساڵانە لەم ڕۆژەدا بووکەڵە و ئێسکەپەیکەر دروستدەکەن و نان و شەکر ئامادە دەکەن. لە کەشێکی ئاینیی و بە ئامادەکردنی نان و ڕازاندنەوە بە گوڵ، مردووەکانیان بانگهێشتی نان خواردن و خواردنەوە دەکەن. ئەم شێوازە لە پەرستش ڕیشەکەی دەگەڕێتەوە بۆ نەریتی مەکسیکییە ڕەسەنەکان، بەڵام لە سەدەکانی شازدەیەم و حەڤدەیەمدا ئەم بیروباوەڕ و نەریتانە تێکەڵی ئاینی مەسیحییەت کران. بۆیە لەو کاتە بەدوا و ئێستایشی لەگەڵدا بێت، ئەم نەریتە تێکەڵەیەکە لە کولتوری هەردوو بیروباوەڕەکە و پێکەوە خزمەتی ڕۆژی مردووان دەکەن.

لە کەشێکی غەمباردا، ماکاریۆ هەوڵی تێرکردنی خۆی دەدات. بە شێوەیەکی ئەفسووناویی هاوشێوەی مەسیحی پیرۆز توانای شیفای دەستدەکەوێت و بەهۆیەوە دەتوانێت بزانێ کە کێ لە مردن نزیکە و دەتوانێ ژیانی کێ ڕزگار بکات.

فیلمی | ماکاریۆ – ١٩٦٠
ڕۆبێرتۆ گاڤاڵدۆن