Film La Fa, Streaming avec sous-titres en Français, la fa || Regardez tout le film sans limitation, diffusez en streaming en qualité.
Spin-off of "Mudos testigos" (2023). Based on an idea by Luis Ospina, a man asks his uncle for advice on issues of love.
A farmer's son falls in love with a young peasant girl despised by the people of the village where she lives.
Casablanca evokes romance, freedom fighters and magic. Under the myth built by Hollywood lies a town full of stories, such as that of the Spanish community that played a key role to turn Casablanca in the French colonial pearl in Africa.
Patrick Straumann's commentary "La Maison Fassbinder" is a scientific text and strongly based on French film semiotics as initiated by Christian Metz and thus indebted to structuralism in the tradition of De Saussure until Barthes and Levi-Strauss, searching in literature as well as in film recurrent topics, structural parallels, symmetries, Syntagmatic connections as well as paradigmatic variations.
After years of absence, a man returns to his village in seeks of redemption, but he must win the forgiveness of his family members, especially, his brother's.
Catherine lives in idleness in her father’s villa. A night, he brings back home a young woman who becomes more and more influential. Catherine will try to get rid of the latter so that she can get back her privileges.
In this Peruvian look at the beginning of the 20th century in Lima, the life of a fictitious leftist labor organizer Vicente Orozco (Humberto Cavero) is traced back to 1900 to illustrate the conditions that led to his radicalization. This background and Vicente's efforts to unionize his fellow workers are thoroughly explored in the 140-minute running time.
Opening with the testimony of a politically exiled Basque author reminiscing on a childhood where he was forced to “hide his language as something ugly”, Faire la parole then keeps apace with some young people from the French and Spanish Basque Country: Nora, who saw the newspaper where she worked closed by the Guardia Civil in 2003, then Aitor, Ana and Ortzi. The last three, still teenagers, lend a summery and easy-going tone to the film, which is magnificently framed by Eugène Green’s long-time cameraman, Raphael O’Byrne. The dialogue that settles in between the younger members and those in their thirties has a rare quality, as if the difference of language – which each has had to impose on their family or on their national entourage – had almost tacitly created a secret community. Starting with the political stakes (regional languages versus centralism), the story hikes over the mountains with these new friends brought together by the filmmaker.
Young heroin addict dies in the pursuit of his calling, and his brother goes on a vendetta against the narco gang that supplied his drugs.
A family accustom to the common clichés of love and relationships battles with their son's modern way of living.
