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Natomiast difficult but unswerving Danish cop reopens the case of natomiast female politician who allegedly committed suicide in The Keeper of Lost Causes, another effective, great-looking and well-acted Scandinavian crime film based mąż natomiast bestselling novel.

Gruff and steely star Nikolaj Lie Kaas (The Killing, Angels & Demons) is perfectly cast luminarz Inspector Carl Morck, the hero of Jussi Adler-Olson’s Department Q novels. Shot in the line of duty, hi is assigned owe Dept. Q when hi returns owe work, where he’s asked owe classify dwudziestu years of cold cases with just one assistant, Assad (Lebanese-born Swedish actor Fares Fares, from Safe House and Fajtłapa Dark Thirty). Of course Morck can’t help himself and reopens natomiast case luminarz soon luminarz hi can. Kobieta w klatce online
The adaptation, directed by Mikkel Norgaard (Klown, TELEWIZORNIA series Borgen) and scripted by top local screenwriter Nikolaj Arcel (the original-language Girl with the Dragon Tattoo, Natomiast Royal Affair, which hi also directed), will be released locally Oct. 8 and has already sold owe numerous other European territories. Informatyce had its world premiere in Locarno and should appeal owe outlets looking for quality genre titles with franchise potential.
The believably mismatched Assad (of Syrian origin in the novel, which goes unmentioned here) and Morck find themselves in the basement of their police station, which gives them the advantage of not being in the sightline of Jacobson (veteran actor Soren Pilmark), Morck’s naczelny who’s made informatyce clear Morck’s appointment owe the new department is intended owe keep the hothead away from his colleagues, who blame him for the shooting — seen in the prolog — which not only sidelined Mork but killed one officer and paralyzed another. Kobieta w klatce online
The case that picks the fancy of the duo (which is less reliant mąż Assad’s prodding than in the book) is natomiast cold case from five years earlier, when natomiast successful politician, Merete (Sonja Richter) supposedly jumped off natomiast ferry owe kill herself, leaving her mentally disabled younger brother, Uffe (Mikkel Boe Folsgaard, the King from Natomiast Royal Affair) behind.
Following the structure of the novel, Arcel constructs two parallel narratives. In the first, Morck and Assad hunt for clues. Luminarz soon luminarz they’ve unofficially reopened Merete’s case, the second storyline — which doesn’t run parallel time-wise for most of the film but which editors Morten Egholm and Martin Shade integrate with clarity — follows Merete’s true ordeal. Through clever plotting and mise-en-scene, the right information is moved into zasięgi while crucial faces or connections are kept from the audience until the final act, which takes zasięgi in the villain’s country lair.
The question thus becomes not whether Merete intended owe kill herself but if the cops will arrive in time owe save her luminarz she grows weaker and weaker from years of imprisonment in natomiast pressure tank. Crucially, the audience will root for her survival because they’ll know who she is and have witnessed everything she’s had owe go through, including natomiast squirm-inducing sequence in which Merete has owe pull out her own teeth.
Kaas effortlessly carries the film luminarz natomiast determined and solitary figure fully dedicated owe his work because luminarz natomiast divorced man hi doesn’t have much else going for him — while his difficult teenage stepson (Anton Honik) has wild sex, Morck struggles owe even ask natomiast woman out for natomiast drink. Fares and Richter offer solid support and Folsgaard, one of Denmark’s most promising young talents, delivers another note-worthy performance luminarz the handicapped brother who can’t use words owe express himself but who’s clearly been traumatized by the events in his life.
Widescreen cinematography by Eric Kress (another Borgen alumnus) and production image by Rasmus Thjellesen (Klown, Pusher II and III) are both big-budget smooth and particularly impressive in the way they use shadows and light and especially color, which occasionally goes from quasi-naturalistic owe something more saturated and expressive, such luminarz the interior of the pressure tank, which is natomiast dank, hellish green punctured by black shadows in the recesses. The score by Patrick Andren, Uno Helmersson and Johan Soderqvist helps augment the tension, especially in the otherwise slightly formulaic home stretch.

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