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Directed by - Corneliu Porumboiu / year - 2019 / Country - Sweden / 1260 Votes / 
/ star - Agustí Villaronga, Vlad Ivanov.
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A hegyek szigete movie online en espanol. 94,537 Una reproducción hace la diferencia. Junus y triple S somos uno solo. A hegyek szigete Movie online ecouter. Cristi is a middle aged undercover police officer with mommy issues who is trying to find the location of some stolen money. So he goes to a remote island to learn a whistling language that will allow him to communicate with the criminals from a distance. There he rekindles a relationship with his old flame and his priorities change. As both the criminals and his colleagues are onto Cristi what choices will he make to come out clean of his predicament? A clever game of cops and robbers ensues.
Summing up this multi layered, not always coherent plot, is not an easy task. THE WHISTLERS takes a long time to get going but it's many elements come together building up to something special. Heavy on movie references it is heavily inspired by Tarantino movies, although the style of the cinematography is rather dull.
The script on paper must look great, but this is the case where a writer should let go of his work and let someone else direct. Cornelliu Porumboiu helmed 13 films but seems to be still searching for his directing style. While all the cast do their job well, the motives of their characters for the majority of the film are obscure to say the least.
But if this is the originality you are looking for THE WHISTLERS is for you. With good timing and a genuine sense of wit it is a rewarding experience for those who will stick with it until the end.
If pain is a reliable measure of truth, then Frances, the protagonist of Noah Baumbach’s new film, “ Frances Ha ” (played by Greta Gerwig, who also co-wrote it)—who sets herself adrift in the stream of time and gets caught in a waterfall—is utterly dans le vrai. Frances is a twenty-seven-year-old woman, originally from California, who starts out in Brooklyn (her changing addresses, in the form of title cards, punctuate the movie throughout) as an apprentice dancer in a small company where she’s aspiring to full membership. Instead, she gets dropped from its roster, and her life goes into a sudden downward cascade. Frances starts the movie with a breakup with a boyfriend, ostensibly due to her obligation to her roommate and best friend since college, Sophie (Mickey Sumner), but the breakup seems trivial beside the fluctuations in that friendship. Sophie, who is a rising star in book publishing, is making a little money and dating a man—a Wall Street analyst—who is making a lot of it, and she soon accepts an offer to move into a nice apartment in Tribeca, which Frances can’t afford. As a result, Frances—with a few crash stops along the way—becomes, in effect, homeless at the same time as she is unemployed, artistically unmoored, and friendless. Yet, throughout the movie, Frances wears a smile and carries herself with a blithe bounce that contrasts sharply with her actual situation, as if to mask her agony. She can’t bring herself to complain, to admit her troubles, or to take much action to remedy them. As closed-mouthedly as possible, she grabs at whatever rung she can lay hold of while in free fall. Her solitude is both her refuge and her treasure; her despair conceals her intimation of greatness, her sense of being destined for big things. “Frances Ha, ” underneath its more or less familiar variety of New York indie-world story, is a complex construct, both in what the movie shows and in what it doesn’t, in its narrative construction and in its convergence with life offscreen. The offscreen life is that of Gerwig, who started out in ultra-low-budget independent films, got called to Hollywood, where, though underemployed and misemployed, she extended her range, astonished in Whit Stillman’s “ Damsels in Distress, ” and now has an entirely justified and deserved esteem and prominence. Her trajectory resembles what Frances believes she is destined for; that secret is what causes Frances to smile throughout the movie, what renders her confident in the face of all deflating evidence, and what renders the very tone of the movie surprisingly chipper. Frances’s persona converges with that of Gerwig—a woman whose circumstances can’t mask her ineffably appealing idiosyncrasies and the depth of character that they reflect. Frances is drastically different from everyone else (Robert Bresson once said that an artist is simply someone who’s unable to do things the way that everyone else does them), and her differences—her way of speaking, her gestures, her sense of timing, and her very willingness to face her fate down to its bedrock of misery—can’t conceal the fact that she is in fact marked for success. The unexpressed secret is only the first of the gaps around which the movie is constructed; another is the gap between Frances’s nonachievement and Gerwig’s accomplishments. For instance, one of the young men (Michael Zegen) in the Chinatown boho “rich boy” apartment where Frances crashes—an aspiring TV comedy writer who spends more time at the movies and hanging out than at his laptop—endlessly jokes that her idiosyncratic habits of mind and independent temperament make her “undateable. ” The joke concealed in the term is that it’s in fact Frances who renders herself untouchable by the homunculi of her own circle, because she is a woman of destiny awaiting a Prince Charming of a similar grandeur of character. “Frances Ha” is built of the stuff of classic-modern ultra-low-budget independent films (such as Joe Swanberg’s “Hannah Takes the Stairs, ” Gerwig’s first great showcase), the essential subject of which is the ambitions and frustrations of young liberal-arts and creative types whose work and lives tensely intermingle. “Frances Ha” ultimately leaves its protagonist better off than she started, and does so in a sort of tag ending that implies—in a single cut from one shot, of rock-bottom desperation, to another, of practical improvement—an entire film of fulfilled ambition that, here, couldn’t be made, because it would imply Gerwig’s own autobiography. Frances, who is no longer a dancer, takes the first step in becoming a choreographer, but the movie glosses over all that goes into the making of the show—the working, the casting, the exigencies of the day job she holds meanwhile, the need to work “Nights and Weekends” (the title of a movie that she and Swanberg co-directed and co-starred in, from 2008), the relationships that develop or that fail in the making of the work—that’s the classic-independent film that would bubble up from the cut, the missing hour of “Frances Ha. ” Where the classic-modern independent film is implicitly autobiographical, “Frances Ha” is a movie that draws on this tradition to depart from it. In effect, “Frances Ha, ” with its conspicuous artifice—the conspicuous chirpiness and facile typology of the people in Frances’s circle, the highly constructed and hermetic indie-world in which she lives—is like “ Charlie Parker with Strings. ” Rather than playing with soloists in a small group of equals and who spark her to flights of spontaneous and extravagant invention, Frances is set off as a soloist by the non-spontaneous, schematic, and somewhat impersonal arrangements that emphasize romantic urbanity and bring the extreme modes of expression to an audience that isn’t necessarily down with the style. Baumbach and Gerwig, like Parker in his time, bring their emotions, moods, and methods on to a broader stage. It isn’t just a matter of popularization; it’s also a matter of transcending style in yet another creative act of self-definition. Gerwig may be famed for acting like a nonactor, but she’s an extraordinarily accomplished actor (as she proved in “Damsels in Distress”), and here she puts the movie on her back and carries it from beginning to end, combining the spontaneous inspiration and personal presence of her earlier films with the constructed performance of “Damsels. ” The “arrangements” (in this case, the script and its directorial adornments), put her in front, as a soloist. Baumbach anchors “Frances Ha” in the iconography of the French New Wave and its successors. He makes the film in black and white; adorns it with music from Truffaut’s films (such as the twangy theme from “A Gorgeous Girl Like Me”); and remakes an iconic scene from Leos Carax’s “Bad Blood” with the same music, David Bowie’s “Modern Love. ” Even the title is a New Wave reference: characters in Jean-Luc Godard’s “Made in U. S. A. ” make frequent reference to someone whose last name is never heard in its entirety but is blasted over by dubbed-in gunshots, ringing phones, or horn honks: “Richard Po—” The New Wave may be the enduring model for the personal cinema and signifier of directorial inspiration, but it’s also a movement of a non-academic neo-classicism. For Baumbach, the modern classics of French cinema, from Truffaut and Godard to Carax, play a role akin to the one that the films of Alfred Hitchcock, Howard Hawks, Fritz Lang, and Nicholas Ray played for the New Wave directors: the idea that one films one’s own life and thoughts in terms of the movies one loves. Baumbach is adding his own movie love to the formula of the independent cinema, borrowing that movement’s core concerns while building on a different, and—by implication—more solid foundation of cinematic experience. That’s how he writes himself into the story and implies that it is also his own. What’s more, the New Wave also signifies a cinema of youth, both of directors and of a generation of actors, whose very manner became a new kind of stardom.
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https://hideuri.com/z1vlPw La Gomera a.k.a. "The Whistlers" is a fun Romanian neo-noir borrowing suspense tropes from James Cain, Robert Siodmak and Jules Dassin. The premise is a cop (no unreliable voice overs here) who had to learn the idiom of the whistling language for communicating with people living in interstitial spaces inside and outside of the law. Offbeat, at times hilarious in a deadpan way and rife with truly beautiful mise en scène, the film is a deconstructed tribute to this specific and particular film genre but operates outside of it. All the characters are vividly drawn, the supporting ones carry out the one-dimensionality of their roles with a certain lived-in freshness. The use of music was also very tasteful and deliberately operatic as counterpoint to the life-and-death situations, quirkily told. Corneliu Porumboiu seems to be having fun directing this story. it shows and I for one was swept by the story and storytelling.
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