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  1. country Brazil, Germany
  2. Description A Vida Invisível is a movie starring Julia Stockler, Carol Duarte, and Flávia Gusmão. Two sisters born in Rio de Janeiro make their way through life, each mistakenly believing the other is living out her dreams half a world away
  3. genre Drama
  4. Directed by Karim Aïnouz
  5. 1850 votes
  6. Writer Martha Batalha

 

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A vida invisível de eurídice gusmão filme. Filme de ação e aventura. Mó expectativa. E ai descubro que n vai passar aqui. sjaisjau assim fica foda ajudar nosso cinema, e olha que minha cidade é grande. Caramba! Nem vou precisar ver o filme, o trailer mostrou tudo em 2 minutos. Основное - авторы (48) - релизы - связки Промо - постеры (1) - кадры - трейлеры На сайтах - imdb - kinopoisk Для читателей - написать отзыв - нашли ошибку? - добавить информацию - добавить фильм Страница создана: Contributor Над страницей работали: Contributor буду смотреть смотрю просмотрено брошено в коллекции все списки написать отзыв редактировать <- -> трейлеры 0 | постеры 1 | кадры 0 Невидимая жизнь Эвридики Названия A Vida Invisível / Die Sehnsucht der Schwestern Gusmão / Invisible Life / The Invisible Life of Euridice Gusmao Производство Бразилия, Германия Формат полнометражный фильм Хронометраж 139 мин. Жанр драма Первый показ 2019. 05. 20 (Франция) В России 2020. 03. 05 (прокат Русский репортаж) Сборы в России $12, 159 (зрителей: 2, 971) Режиссёр Карим Айнуз Сценарий, идея Мурило Хаузер, Inés Bortagaray и другие В ролях Julia Stockler, Кэрол Дуарте, Флавия Гусман, Антонио Фонсека, Гюго Крус, Николас Антунес и другие Средний балл ------------ Проголосовало ------------ Место в рейтинге фильм ещё не попал в рейтинг Проголосуйте Отзывы зрителей 1. Старайтесь писать развёрнутые отзывы. 2. Отзыв не может быть ответом другому пользователю или обсуждением другого отзыва. 3. Чтобы общаться между собой, используйте ссылку «ответить». Выборка фильмов из базы данных: - тип - по алфавиту - год выхода - страна - статус - жанр - теги - тип оригинала - сортировка.

A vida invisivel torrent. Caramba, parece que vai ser muito bom. A vida invisivel de euridice gusmao. A vida invisível online. A vida invisível oscar 2020. Nada a desejar para as super produçõ que sempre esperei: ótima fotografia e qualidade sonora. A Vida Invisível satis. O que é a presença de Fernanda Montenegro? Impactante. A vida invisivel. 20% falndo bem do filme 80% reclamando da dublagem. A vida invisivel filme. My biggest turndown with Invisible Life's biggest competition inside Brazil this year ( Bacurau' was the excess of metaphors to make it a smart work. some of which have absolutely no contibution to the story. Still, it was able to provoke a lot of emotional reactions, it's specially smart and meaningful to watch from a Brazilian perspective. Invisible Life is something different, it's universal, delicate and rough at the same time, and it's story has no need to explaining. we all know what it is about. Still, they explain (the only reason why it's not a 100% for me.
Carol Duarte and Julia Stockler are incredible. Also need to mention the short appearance from Brazil's greatest actress of all time, Academy Award nominee Fernanda Montenegro, not only for the name but mostly because, after 120 minutes of the movie, her performance was still able to reach out to the emotions you built for the characters in the past 2 hours.
Overall, absolutely beautiful. The film is a visual spectacle, but also a beautiful and touching story.

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Tiraram o mushu, tiraram o grilin, se tirarem a música Vamos à batalha. Guerrear. Vencer. Levanto e vou embora rsrsrs. A vida invisível cinema. Adorei a entrevista, Carol. Que lindo ver artistas discutindo temas tão atuais e que têm tanto impacto em como nos sentimos.

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Os canhotas vão amar. A vida invisível sessoes. Gostei de todos, Mas me emocionei muito com a ultima história, muito lindo. A vida invisível oscar. Nossa muito triste vida invisivel nao estar e mais ainda nenhum latino. Mais eu realmente nao consigo entender como o irlandes ficou fora da maquiagem, sou maquiadora de cinema e fiquei chocada o trabalho que teve ter dado fazer todos processos de envelhecimento, rejuvenecimento, epoca e muitas perucas... Triste ele perder espaco para Malevola que ja foi indicado no primeiro filme, sendo que a caracterizacao nao mudou. Faz um video comentando sobre a categoria de make.


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Parece bom né. A vida invisível rotten tomatoes. Nathaniel Rogers há muito tempo previa previa o filme polonês. Perai! É o Robert De Niro fazendo o apresentador. Hum. cheirinho de dupla premiação em 2020. A vida invisível estreia. A vida invisível filme. Ela convidou a TODOS e TODAS, se você se incomodou sinta-se desconvidado, não precisa vir aqui nos comentários reclamar não cara, a Fernandona tá bem de boa em algum lugar gastando o dinheiro que ela conquistou com lei Rouanet e sem lei Rouanet, e quer você queira ou não, ela é FODA.

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An immersive experience with great acting and a terrific story. One of the best movies of 2019. Highly recommended. A vida invisível trilha sonora. A vida invisível download.

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. director=Ashutosh Gowariker. resume=The film is based on the third battle of Panipat which took place on the 14 of January in 1761 between the Marathas and the King of Afghanistan, Ahmad Shah Abdali. Rating=2079 votes. 6,2 / 10 Stars. Action, History.

इतिहास मे बहुत कूछ ऐसा हूआ जो आज के परिपेक्ष्य मे बहुतों को गले नहीं उतरता ।. Panipat: The Great Betrayal”, out in Indian cinemas since December 2019, is just the latest in a string of recent Bollywood movies that feature Afghans in the role of arch-villains, in this case Ahmad Shah Durrani, often described as the founder of the modern Afghan state. The historical revisionism and stereotyping of Afghans seen in the film have sparked protests by Afghan diplomats and public alike. AAN’s Fabrizio Foschini here assesses the film-makers’ claim to historical accuracy and also sets the movie in a wider context, wondering if the recent negative portrayal of Afghans by Bollywood may yet jeopardise the long-lasting bond of friendship between the people of Afghanistan and India. Sanjay Dutt as Ahmad Shah Abdali in Panipat - photo On the 14 January 1761, a great battle was fought on the plain of Panipat, around 90 miles north of Delhi in today’s state of Haryana, India. It was the third major confrontation to take place on this battlefield in just over two centuries and while it was not the most decisive, it was certainly the bloodiest. More than a hundred thousand soldiers were involved in the fighting, along with countless camp-followers and civilians who were also present; the casualties numbered, for both sides, in the tens of thousands. The armies of the Durrani Kingdom had marched south from Kandahar led by Ahmad Shah; facing them was the army of the Peshwa, the ruler of the Maratha Confederacy, who had travelled northwards from their capital of Pune under the command of Sadashiv Bhau. The two factions led large coalitions, as various contingents of fighters from the regional principalities of Northern India had coalesced around the two contestants. The Afghan king had come to assert a claim over some northern provinces of the Mughal Empire that had recently fallen under his dominion. Moreover, the Afghans had decided to intervene more directly in the Mughal affairs at the behest of their kinsmen, the Rohillas, who were long-settled in Northern India, and trying to counter the Marathas’ expansionism by cutting a role for themselves as king-makers at the Delhi court. The Marathas power had grown after successfully resisting the Mughals in Deccan and gradually encroaching upon imperial territory in the North by way of raids and tributes exacted from local Mughal feudatories. They were now trying to play a more pro-active and stable role in Delhi, until faced with this challenge from the Durranis. The third battle of Panipat followed two months spent with the main armies entrenched in the respective camps, with only minor detachments involved in forays and sallies, until the Afghan command of all the supply routes forced the Marathas to attack. At the end of a violent engagement that lasted for most of the day, the Marathas were thoroughly defeated and their rout turned into a massacre. Despite representing the climax of a protracted confrontation that had pitted the Marathas and the Afghans against each other for over two years, with many a battle fought and with mixed fortunes, Panipat led to remarkably limited consequences for the balance of power in northern India, at least in the short run. The victorious Ahmad Shah stopped in Delhi just for a couple of months in order to settle the affairs of the helplessly decaying Mughal court to the advantage of his allies and to secure recognition of his annexation of the ex-Mughal province of Punjab. (1) Then he rode home, back to his cherished mountains, fruits and quarrelsome subjects. Thus far, facts that anybody familiar with Afghan or Indian history knows. Against the backdrop of war-torn eighteenth century India, with Mughal authority in the North collapsing and stimulating invasions and raids from Central Asia, Central India and European colonial inroads in Bengal, the Afghan military campaigns in the Punjab and around Delhi hardly made an outstanding exception. (2) However, history is often re-written according to the whim of the era or the need of the screenplay, and in the case of “Panipat: The Great Betrayal” it seems that the Durranis have been taken as the eponym for an evil foreign threat that had to be stopped at all costs by a handful of self-sacrificing and patriotic heroes. Conversely, in the movie script it fell to the Marathas to be cast in this valiant role, an unlikely one even for these redoubtable warriors. The highly-polarised rendering of this historical episode and, in particular, the nasty portrayal of Ahmad Shah Durrani, a hero to many Afghans, has caused deep resentment among the Afghan public, an otherwise avid consumer of Bollywood movies. A three-hour history lesson? It may be pointless to single out every historical inaccuracy or inconsistency in the movie, given the typical lack of concern towards these issues displayed by Bollywood movies. That boring historical truths can be sacrificed – at least up to a point – on the altar of entertainment and audience empathy is part of the rules of the game. However, the movie chooses to follow a chronological approach, relating the events of the 1759-1761 campaign in order and detail and laying thus an implicit claim to accuracy. Indeed, it has been labelled, by some cinema reviews in India, a “labored history lesson” (read here or here). It is therefore worth mentioning a few significant points of the historical reconstruction offered by the movie, particularly given the huge educational potential of Bollywood among the Indian public and that of neighbouring countries. The title “The Great Betrayal” – following the old literary canon that only betrayal can bring about the heroes’ defeat – finds little justification in the facts surrounding the military campaign. The movie is also ambiguous about the real substance of this betrayal: it could refer both to the belated decision by Shuja ud-Dawla, the ruler of Awadh (in modern Uttar Pradesh), to side with the Afghans, despite his many differences with the Rohillas who were the main local allies of Ahmad Shah (the rulers of Awadh and the Rohillas were competing for territory and belonged to rival factions at the Delhi court, loosely aligned along sectarian Shia and Sunni lines); or to the last minute desertion from the Maratha coalition by the Jat leader of Bharatpur, Suraj Mal. On one hand, the focus on the Marathas’ epic struggle and political-military achievements is interesting. Episodes from Maratha history have not featured prominently in Bollywood movies until recent years but were consigned to regional filmography. A re-discovery of such history and its significance at the national level through the media of cinematographic fiction is entirely justified. However, the portrayal of the Maratha policies and ideology offered by “Panipat: The Great Betrayal” is flattened by a mixture of early twentieth century Indian patriotism and early twenty-first century Hindu revival. Director Ashutosh Gowariker with the main characters from the Maratha camp: the hero Sadashiv Bhau (Arjun Kapoor, in white) his beloved wife Parvati Bai (Kriti Sanon, warming up with a hot beverage) General Govind Pant Bundela (Paresh Shukla, in orange) and loyal Muslim soldier Ibrahim Khan Gardi (Nawab Shah, with beard) – photo Let us start with the most problematic aspect of how religious strife is dealt with in the movie, particularly when set against the backdrop of today’s sensitivity on this issue in India. Official history here unfortunately led the way: according to many sources from the time, in his 1759-61 campaign Ahmad Shah had responded to pleas from several leaders to come to the rescue of the Indian Muslims, threatened by the Marathas’ capture of the Mughal capital, including a request from Shah Waliullah, a major alim (religious scholar) and Sufi pir (holy man) of Delhi. Hence, the idea of a Jihad against infidels – together with hopes of booty and territorial and diplomatic gains – was part of the ideological baggage of the Afghan army when marching towards Delhi. It is to be noted, however, that Ahmad Shah had established diplomatic relations with several Hindu rulers, such as the Rajput princes of Jaipur and Jodhpur, who had also invited him to India to protect them from the Marathas and who remained steadfastly pro-Afghan during the whole Panipat campaign. Among the ranks of the two armies there was an intermixing of Hindus and Muslims. Troops coming from Afghanistan were not accustomed to such integration at first and were reportedly outraged at the presence of Hindus in the contingents of their Indian allies. It was after the better advice of his Rohilla and Awadhi supporters that Ahmad Shah issued decrees to his troops requiring them to respect Hindu religious practices. It is not however Muslim intolerance that is exaggerated in the movie. (3) Rather, it is the pan-Hindu significance of the Maratha struggle against the Afghans that gets portrayed in a way that panders to the Hindutva nationalist ideology expounded by the ruling Bharatiya Janata Party (BJP) and by more extreme, right-wing political movements. One example. Songs usually stress crucial moments and have a narrative value in Bollywood movies. A particularly telling one in the movie marks the Marathas’ conquest of Delhi in July 1760, during the manoeuvre warfare that took place before the decisive battle. The event is hailed in the movie as the liberation of the national capital (in fact, Marathas had already entered and held the city in 1758, in collaboration with a faction of the Mughal nobility, before the Afghans occupied it early in 1760). The main refrain of the song, “We’re the ones who shook the millennial chains of bondage” cannot but refer to the centuries-long rule of Muslim dynasties over Delhi and, generally speaking, northern India. The fact that before this last ‘shake’ the Hindu Marathas had alternatively threatened or patronized the now-weakened Mughal emperors, exactly as the Afghans were doing, with no intention of abolishing the institution of the Mughal Empire is conveniently overlooked. This brings us to the second incongruous aspect: the hero’s and his companions’ idea of nation, socially and territorially. One of the movie’s recurrent themes is the self-identification of the Marathas with India as a whole and their dedication to protect its external borders from foreign invaders. However, this needs clarification, both at the semantic and symbolic level. Part of the problem is with the term “Hindustan”. Historically this referred only to the Upper Gangetic Basin – roughly speaking from Sirhind to Varanasi – but since Partition it has become the term of choice used by some Indian and Pakistani politicians to indicate the whole of India, in place of the official name, Bharat. While historical-geographic Hindustan covered a portion of Northern India in which a Muslim minority had made significant contributions through centuries of political and cultural prominence, the ideal Hindustan evoked in the words of the movie hero Sadashiv Bhau (the Marathas’ commander in the Panipat battle) is a veritable ‘Land of the Hindus’ encompassing the whole of India. (Sadashiv Bhau is at some point even rebuked by another Maratha chief for his dream of a united Hindustani army). Indeed, what the movies shows as the Maratha concern of rushing to defend the northern frontiers because of Delhi’s inability to guard them, fails to take in account what we know about the geographic differences and community identification of the time. Eighteenth century Marathas would not have identified as Hindustanis but as Dakhani, from Deccan in central India, a view that would have been shared by Hindustanis (Hindu or Muslim alike). This said, the Afghans who came with Ahmad Shah were certainly seen as foreigners. Ahmad Shah came in the wake of the invasion of India by his former mentor, the Persian ruler Nadir Shah Afshar. That event, in 1739, was the first time in centuries that an invader from the north-west had sacked Delhi but not tried to occupy the throne, and had instead marched back after a thorough looting, thereby not letting time wash away his otherness as previous invaders had done. While a portion of the Afghan people had for centuries been part of the north Indian landscape and were a familiar presence in Hindustan, the Persian civilization that Nadir Shah represented and that Ahmad Shah’s retinue and elite corps resembled (as the direct product of Nadir Shah’s military system), was perceived as distinctly “other” in India. Moreover, Ahmad Shah was trying to make the Afghan tribes coalesce under his leadership to create a new political entity centred on what is nowadays Afghanistan and parts of Pakistan, not on the Gangetic Plain. His dealings with Delhi do not give the impression that he had an ambition to establish himself as the successor of the Mughals in northern India. His main aim, during his several Indian campaigns, seems to have been to secure for himself Punjab, which – together with Kashmir – constituted the major revenue-generating area of his empire, and to certify this possession through a measure of leverage over the nominal emperors in Delhi. To sum up, to the people of Hindustan, Marathas and Afghans were foreigners in very much the same way: they were familiar, albeit foreign, military powers that had to be reckoned with. They could pose a threat by way of raids or could be called in for help against other enemies. Indeed, in northern Indian chronicles, Marathas have been vilified as much as the Afghans as rapacious raiders and plunderers. When they were campaigning around Delhi, the Marathas were as far from their capital at Pune as the Afghans were from theirs at Kandahar (Panipat is actually slightly closer to Kandahar). Some Maratha leaders and their retinue had become permanently established in Hindustan and were arguably becoming “Hindustani”, much like the Afghan Rohillas, but both expatriate communities were in the process loosening their bonds of loyalty to their original community and the political entity that chiefly represented it. These two historical distortions in the movie – the supposed Maratha role as avengers of centuries of Muslim oppression of Hindus and as saviours of the national independence against a foreign threat – are worth taking time to debunk because it is on them that the vilification of the Afghans is founded. In fact, the political-military ascent of Marathas and Afghans have a few common traits: from the formation of a strong “identity in opposition” against the Moghul Empire (and the Safavid Empire in the case of the Afghans) to the military exploits of their cavalry units. In an epoch of rebellions, collapsing revenue systems and perennially indebted monarchs who could not afford to pay regular troops, the Marathas and the Afghans had turned to the tactic of making war to pay for war, by raiding the declining empires’ territories – hence their shared reputation as plunderers in many sources. Finally, what may seem the last and foremost revisionist aspect of the movie is that it portrays the battle of Panipat as a strategic victory for the Marathas, claiming that it was Sadashiv Bhau’s heroism that henceforth scared away Ahmad Shah from India. Although all sources corroborate the idea of a decisive tactical Afghan victory in one of the greatest battles of the time, the idea that the strategic outcome was closer to a draw is not as bizarre as it seems. If the Marathas lost the battle, the Afghans failed to capitalise on their hard-won victory. The direct effects of the Afghan victory at Panipat did not last more than a decade. Even in a highly dynamic context such as India in the second half of the eighteenth century, that is not a great achievement, and arguably not worth all the blood spilt for it from the two sides. In the 1770s, not only did the Maratha recover and start anew to harass the lesser principalities of the north, but the rise of the Sikhs’ power in the Punjab helped to cut off Afghanistan from its Rohilla allies, making Afghan influence over Indian politics more remote. For some historians, a secondary effect of Panipat was the extension and consolidation of the grip of the English East India Company on India, who arguably exploited the temporary weakening of the Marathas to make decisive gains. Protesting against the new image of the “Afghan other” in Bollywood “Panipat: The Great Betrayal” was controversial even before its release. Afghan diplomats in India were concerned about possible negative effects of a misrepresentation of the founding figure of Ahmad Shah on Afghan-Indian ties. Reportedly, the cultural attaché at the Afghan Embassy in Delhi had started investigating the film’s contents as early as two years ago, when he first heard of it. As soon as the trailer for the movie came out, last November, these concerns were realised. The actor’s choice for portraying Ahmad Shah was Sanjay Dutt, a charismatic old favourite. However, the line he tweeted at the trailer’s debut “Ahmad Shah Abdali – death strikes where his shadow falls” sent a shiver through the spine of many Afghans. Since its release, the movie’s portrayal of historical events and, in particular, of the character of Ahmad Shah has offended many Afghans, stirring a virulent debate on social media (read here and here). The movie producers have been accused of spreading islamophobia and hatred and spoiling good relations enjoyed by India and Afghanistan for the box office takings. In the movie, Ahmad Shah Durrani is cast under a sinister light from his very appearance: his eyes are heavily lined with kohl and his garments are usually sombre. One cannot avoid the impression that the costume designers were keener on morphing a gothic-look of action movie villains with some of the Taleban’s black grunge, rather than consulting historical sources. Suffice to say, the image is in stark contrast to the resplendent images of the Durrani court from paintings of the era. The representation of Ahmad Shah in the movie is such a thin caricature that it is completely detached from any historical reality. The result however is not a fearsome adversary or a monster of cunning: this Ahmad Shah behaves like an ill-tempered gorilla throughout the movie. He is given to fits of hysteria and is often at a loss as to what to do next. The movie does not give him space for an inner life, even of a villainous nature, he merely demonstrates his evil by killing aimlessly and brutally a couple of his own courtiers. In what is probably the trashiest scene of the whole movie he smashes the skull of a conspirator with the famous Koh-e Noor diamond set in his crown, then dons the bloody headgear. History records several massacres of civilians carried out by Afghan troops during the Indian invasions of Ahmad Shah: at Mathura and Vrindavan in 1757 and in various instances at Amritsar and in other parts of Punjab in the following years. However, the main historical sources do not attribute to Ahmad Shah Durrani a cruel or brutal personality, at least according to the royal standards of the epoch. (4) Acts of wanton cruelty and autocracy do not fit with the portrait of the Afghan monarch left by contemporaries. Moreover, Ahmad Shah had to manage a tribal confederacy, whose loyalty was conditional upon a delicate balance of personal and familial ties as much as on force and prospects of booty. This called for a very ‘light hand’ in meting out punishments to other Afghan chiefs and posed strong caveats against the despotic use of royal authority against his own subjects. In short, Ahmad Shah is shown as a violent barbarian with no ambition above plunder, one so craving for India’s riches that his first act after entering Indian soil is to grab a pomegranate and bite it ravenously (as if he had not just arrived from Kandahar! ). (5) In the movie, part of the blame for the Afghan invasion is deflected onto the treacherous Rohilla chief Najib ud-Dawla, who keeps dragging Ahmad Shah into battles that he would prefer to avoid (and is thrashed by the Afghan king every time something goes wrong). Even this, however, belittles the character of the Afghan monarch, making him look like a petty thief lacking the intellect to make strategic decisions about war and peace. Finally, at the end of the movie, his shift away from aggression towards a more reasonable posture is motivated only by the reverential terror inspired on him by the heroic bravery of Sadashiv Bhau. Indeed, a veteran of remarkable villain roles like Sanjay Dutt must have found it dull to impersonate this Ahmad Shah: he is not given a single funny line of dark humour, a recurrent honour offered to classical Bollywood villains. (6) Following the release of the movie, protests immediately took place in parts of the Indian state of Rajasthan, where cinemas were vandalised. Local audiences were incensed at the negative role played by the Jat leader of Bharatpur, Suraj Mal, one of whose descendants is currently a state minister in Rajasthan. This pattern of protests against the representation of communities or historical figures is becoming a normal occurrence in India, especially given the high number of movies with historical subjects produced in recent years. It is unwise to portray historical communities with a deep-rooted sense of identity – and this is certainly the case in many parts of India, such as Rajasthan, where politics are still run on the basis of identity and family origin – in the highly-polarised manner of contemporary Bollywood movies. In the face of the Rajasthan protests, the producers of Panipat promptly edited the movie, cutting it by 11 minutes, and distributed a new version. It is however difficult to imagine that anything can be done, even if there was the will, to improve the profile of the Afghans in the movie. “Panipat” is not the first instance of a Bollywood movie with negative stereotypes of Afghans in recent years. Most notably, “Padmaavat” (2018) and “Kesari” (2019) made many eyebrows rise. As the Telegraph India said, “Period films like Padmaavat, Kesari and now Panipat, have crassly stereotyped and vilified Afghans in typical colonial fashion as brutal, cold-blooded and treacherous ”. Padmaavat retells the story of a Sufi poem about the frustrated obsession of sultan Alauddin Khalji for the beautiful queen Padmavati (or Padmini), wife of the Rajput ruler of Chittor. In the movie, the fourteenth century Afghan sultan is so violent he appears to be a borderline psychopath, and a remarkably shabby one for that. He commits all sorts of treachery: against his wife, his uncle and his foes, rehearsing derogatory tropes about Muslim men as violent abductors and rapists. The second movie, “Kesari”, is set during the Tirah campaign of 1897 and is about the battle between a small detachment of the British Indian army at a frontier garrison and the Afghan tribesmen. The heroism of the Sikh soldiers is contrasted with the brutality of the Afghans (honour killing and the repression of women are also touched upon), without addressing the paradox of a film that exudes nationalist pride but is actually centred on Afghans defending their land from British colonial rulers who were using Indian soldiers to occupy it. Both movies stirred strong criticism in Afghanistan; albeit without reaching the sensitivity of the misrepresentation of Ahmad Shah. Have Afghans achieved a new status of Public Enemy Number 1 for Bollywood screenwriters? If so, that would reverse a long-established trend of sympathetic portrayals of Afghans by Bollywood that has been the subject of an AAN report in 2012 (read it here). Generations of Indians and Afghans have grown up with that cinematographic staple and this has influenced positively the reciprocal perception between the peoples of the two countries. Even Narendra Modi, in his speech at the Afghan Parliament in 2015 remembered, among other instances of Indo-Afghan friendship and closeness, the famous character of the big-hearted Pathan crook Sher Khan in the movie “Zanjeer”. However, if the pattern of movies vilifying Afghans continues, things may change for newer generations. So, what’s happening in Bollywood? One should ask the producers of period action movies, a booming genre in today’s film industry. They are constantly on the lookout for new enemies, preferably Muslims, that fit a popular narrative of nationalism in contemporary India, with an increasingly Hindu-nationalist slant given the current political trends in India. (7) When the enemy was inside, that is when Bollywood dealt, albeit in its naïve way and through the medium of love stories, with themes of social reform like the fight against poverty, criminality, corruption and class division in Indian society, the simple-mannered and proud Pathan could be seen as a good sidekick for the protagonists, also thanks to the stereotypical representation of an altogether familiar “otherness”. Fascination for a more complex other is now over, and all the enemies are outside of India, or clearly recognisable inside it because of their religious or political affiliation. Therefore, it was probably inevitable that Bollywood screenwriters would fall in with European colonial imagery and find their ideal villain in those champions of imaginary “otherness”, the wild and wily Afghans. Afghans were right to expect, if not a favourable portrait of Ahmad Shah and his warriors, at least one founded upon historical sources and shed of unnecessary and unproven nasty characterisations. On the other hand, Afghan touchiness on issues regarding their history and identity is problematic. As in many other parts of the world, sensitivity about issues of national or ethnic identity and the memory of historical figures has been on the rise in recent decades and has often been exploited by political forces, causing polarising mobilisations and in some cases instances of violence. This can prove particularly dangerous in a country where the study of modern and contemporary history lags behind and where teaching the events of the last 50 years in schools is still taboo. This means that when such issues arise – as has been the case on a few occasions in recent years () – there is no common scholarly reference that is widely accepted or can at least be used to mediate or exclude the most extreme positions. Afghanistan should devote more efforts at researching, understanding and writing its history, by listening to its many voices and experiences of it, in order to produce shared standards of reference both at the scientific and entertainment levels, if it wants to be sure that in the future no-one can slander its historical figures and its role in world history unopposed. Edited by Rachel Reid (1) Also not so decisive a result, for in the next decades the Sikhs would bitterly contest and eventually snatch away control of it from the Afghans. (2) The decline of the Mughal Empire created a free and open military labour market that was dominated by Afghan migrants by the early 18 th century. As detailed by Jos Gommans in “The Rise of the Indo-Afghan Empire 1710-1780”(Brill, Leiden 1995), the prominence of Afghan mercenaries was linked to their mastering both the type of military formation most effective in that contest, medium-sized and highly mobile bodies of light cavalry, and the military commodity pivotal to the development of such units, that is, the fine war horses which were brought from the Central Asian breeding grounds to almost horseless India by the same Afghan traders. These trader-mercenaries, collectively known as Rohillas (that is, coming from Roh, the mountainous Frontier area) had settled in large numbers in a tract of land between the Ganges and Yamuna rivers which came to be known as Rohilkhand and their leaders had become influential at the Delhi court. The most prominent among them around 1760 was Najib ud-Dawla, whose territories were both the more exposed to Maratha raids and the best located to assist logistically the Durrani military campaign that he triggered, in hope of countering the threat from the Marathas. (3) Through the movie there are a couple of Muslims characters that are not portrayed as unequivocal enemies. One of them is an unavoidable historical protagonist of the battle of Panipat: Ibrahim Khan Gardi, a Deccani Muslim who held a high rank in the Maratha army, being in command of the sepoy (Indian) infantry (European model) and of the artillery. He was a highly respected veteran who had served in the Maratha army for many years and had been instrumental in many of their victories. In the movie, however, he is seen being spared as a prisoner by the Maratha hero Sadashiv Bhau right at beginning of the events, hence forming a bond of personal loyalty to him that explains his awkward position in the Hindu-Muslim conflict that is later represented. The real reasons for his stubborn attachment to the Maratha cause apparently did not interest the movie screenplay writers. It is a pity, for reality here would have been more dramatic than fiction: after the battle of Panipat Ahmad Shah Durrani had Ibrahim Gardi executed because of his refusal to join the Afghan army. (4) It is interesting to note that the only non-Afghan biographer of Ahmad Shah Durrani – and thus the author of the only biography of him available in English language, Ahmad Shah Durrani, Father of Modern Afghanistan (Bombay, 1959) – was an Indian historian, Ganda Singh (1900-1987). He was a Sikh, member of a community whose past history of conflict with the Afghans holds a much more central place as a marker for identity compared to other Indian communities, but he portrayed Ahmad Shah in a remarkably positive light. (5) Kandahar is famous worldwide for its pomegranates, which, together with other Afghan fruit have been exported to India for centuries (on the Indo-Afghan fruit connection see an old report here). Also, the scene contrasts awkwardly with Ahmad Shah’s own poems, where he longs for the gardens of Afghanistan and declares himself ready to renounce the throne of Delhi in exchange for the bare Afghan mountains. (6) The TV series from the 1990s “The Great Maratha” (by Afghan-Indian director Sanjay Khan) is as celebrative of the Maratha gallantry as it is dismissive in its portrayal of Ahmad Shah Abdali (who appears as a rather uncouth and ruthless, if less sinister, villain). It is just as prone to casting the blame squarely on Najib ud-Dawla and equally patriotic, but nonetheless more realistic and enjoyable than 2019 Panipat (see here the episode focused on the battle). (7) Just one month after the release of Panipat, another period action movie focusing on the exploits of the Marathas was aired in Indian Cinemas. “Tanhaji” sees again the Hindu warriors defend their homeland (this time Central India) from an invasion by Muslim fiends (the Mughals, then still aggressively trying to subdue the Marathas), but the main villain in the movie is a Rajput Hindu commanding the Mughal troops. Depending on the point of view, he can be seen as a high-ranking official in the (at its high points) religiously tolerant Mughal Empire or as a traitor of the worst kind, but what is more interesting here is that he shares with his fellow movie villains Ahmad Shah and especially Alauddin Khalji some disgusting habits that are cast as traits of Muslim (evil) otherness, like cheating, eating huge amounts of meat and posing a threat to the chastity of women. Endnotes: Revisions: This article was last updated on 9 Mar 2020 Authors:.

Panipat hindi movie. साहेब बाजीराव सतत बाहेर मोहीमेवर रहायचा म्हणून मस्तानी च्या नादाला लागला हे सत्य नसून. छत्रसाल बुंदेलाने बाजीरावांच्या मदतीवर खुष होऊन त्यांना भेट म्हणून दिली होती असे इतहास सांगतो ! बाकी तुमचा मुद्या युध्दात सरदारांनी स्वतःच्या बायका घेऊन जाणे काही अंशी बरोबर असेल पण कृपा करून त्याला मस्तानी प्रकरणाशी जोडु नका. Panipat official trailer. Will I go to watch this movie. 1:04. Panipat song. Am i only one who hears welcome movie tone?😂.

Panipat movie full movie. Panipat war wiki. Panipat review. Movie is not loading through app. I have waisted money on this. And there is no feedback or complaint option. Panipat movie release date. Panipat full movie online watch. Panipat movie free online. Panipat reviews. UNLIMITED TV SHOWS & MOVIES SIGN IN In 18th-century India, a Maratha commander leads his army in preparation for a fierce battle against Afghan invaders in this film based on real events. Starring: Sanjay Dutt, Arjun Kapoor, Kriti Sanon Watch all you want for free. Ashutosh Gowarikar, director of the Oscar-nominated “Lagaan, ” helms this period drama starring Sanjay Dutt and Arjun Kapoor. More Details Watch offline Available to download This movie is... Emotional, Exciting, Romantic Audio Hindi [Original], Hindi [Original] Subtitles German, English, Thai, Simplified Chinese Cast Sanjay Dutt Arjun Kapoor Kriti Sanon Zeenat Aman Mohnish Bahl Padmini Kolhapure Kunal Kapoor Suhasini Mulay More TV Shows & Movies Coming Soon.

Abe dience ko bhi sun saala apni hi bole ja raha hai... YouTube. Yar ye movie lga do. Felling very proud to be an #MardMaratha. Panipat box office. Panipat. Panipat movie reviews. 👍One like for chota diljith 😁😂. Hrithik Roshan ko he ly lyty is film main. sleepy actors not allowed. Panipat Theatrical release poster Directed by Ashutosh Gowariker Produced by Sunita Gowariker Rohit Shelatkar Written by Ashok Chakradhar (dialogue) Screenplay by Chandrashekhar Dhavalikar Ranjeet Bahadur Aditya Rawal Ashutosh Gowariker Starring Arjun Kapoor Sanjay Dutt Kriti Sanon Music by Ajay−Atul Cinematography C. K. Muraleedharan Edited by Steven Bernard Production company Ashutosh Gowariker Productions Vision World Films Distributed by Reliance Entertainment Release date 6 December 2019 Running time 162 minutes [1] Country India Language Hindi Budget ₹100 crore [2] Box office est. ₹49. 29 crore [3] Panipat is a 2019 Indian Hindi -language epic war film directed by Ashutosh Gowarikar. [4] Starring Arjun Kapoor, Sanjay Dutt and Kriti Sanon in the lead roles, it depicts the events that took place during the Third Battle of Panipat. The film was theatrically released in India on 6 December 2019. [5] [6] The film was unsuccessful at the box office. [7] Plot [ edit] By 1758, the Maratha Empire had reached its peak under the leadership of Peshwa Balaji Baji Rao aka Nana Saheb. Maratha commanders Raghunath Rao, the Peshwa's brother, Shamsher Bahadur, the Peshwa's half-brother, and Sadashiv Rao Bhau, the Peshwa's cousin, defeat the Nizam of Hyderabad and capture their commander of artillery Ibrahim Khan Gardi, with Sadashiv inducting him into the Maratha Army as their commander of artillery. They return home to the Empire's capital at Pune and are welcomed. Due to pressure by his wife Gopika Bai, the Peshwa appoints Sadashiv as the Empire's finance minister in favour of the Peshwa's son Vishwas Rao, which he reluctantly accepts. Sadashiv lists the defaulters who failed to pay taxes to the Maratha Empire on time, and notes that the Rohilla chieftain Najib ad-Dawlah has the largest amount of tax due. Najib, determined to teach the Marathas a lesson, allies himself with Ahmad Shah Abdali, inviting him to Delhi. News of this formidable alliance reaches Pune, along with the news of Dattaji Shinde 's death in battle against Najib. The Peshwa appoints Raghunath Rao as the commander of the Maratha forces which will be dispatched to fight Abdali and defend Delhi. However, Raghunath asks for a large amount of money, which Sadashiv denies, citing the treasury's condition after consecutive battles. Raghunath, therefore, refuses to march north, which leads the Peshwa to appoint Sadashiv as the commander-in-chief of the Maratha army, under the overlordship of Vishwas Rao, the Peshwa's son and heir. The army, along with a large number of non-combatants (women, children and pilgrims), begin their long and arduous journey north. They arrive at Dholpur, where they're welcomed by their fellow Maratha generals— Govind Pant Bundela, Balwant Rao Mehendale, Jankoji Shinde, and the veteran Malhar Rao Holkar. They start making alliances with other kingdoms, including Maharaja Suraj Mal and Nawab Shuja-ud-Daulah, and are successful, with their army size growing to 50000 men. Abdali is also making alliances, taking advantage of the Rajput kings' hatred for the Marathas. Sadashiv and the commanders receive intelligence that Abdali has camped on the other side of the Yamuna and spot Shuja's flags along with Abdali's, revealing that the Nawab had switched allegiance. Due to the heavy rains, the Marathas are unable to build a bridge to cross the Yamuna. Sadashiv decides to march north and capture Delhi and then cross the Yamuna to defeat Abdali. Najib receives intelligence that the Marathas have retreated, from which Abdali deduces that they are marching north to Delhi. He suggests that they also march north and cross the Yamuna. Meanwhile, the Marathas defeat Najib's general and capture Delhi. After finding out the Afghans are chasing the Marathas, Sadashiv decides to strategically capture Kunjpura Fort, which angers Abdali to such an extent that he immediately reacts by crossing the swollen Yamuna in heavy rainfall. This leaves the Maharaja of Patiala, Ala Singh, unable to send his soldiers. Food begins to dwindle, and the Maratha soldiers and civillians are forced to go without food. Although the arrival of King Araadhak Singh provides some relief to the Maratha camp, but soon after camping at Panipat, Abdali catches up with the Marathas and comes face to face. However, after hearing of a possible coup at his capital in Kandahar, Abdali arranges for a truce with Sadashiv but scraps it after the latter doesn't agree with to terms Abdali presents him. After both sides decide strategies and formations, they prepare for the final confrontation. Parvati Bai and the civilians and pilgrims stay at a small camp towards the back, and Vishwas promises Sadashiv that he'll never get off his elephant during the battle for his own protection. Artillery firing begins by both sides, with substantial damage done to Abdali's army due to Ibrahim Khan's leadership. The riflemen also start attacking. The infantry then begin the main attack, with the Marathas doing well. Overcome with fear, many soldiers of Abdali's army retreat, but Abdali threatens them with severe punishment and forces them to return to the battle. Meanwhile, on seeing Shamsher wounded, Vishwas descends from his elephant to protect him. Sadashiv fends off the Afghans who attacked the young prince, but a bullet hits Vishwas on his head, killing him. This is a huge blow to the morale of the Marathas, who begin to lose ground from then. One by one, the Maratha chieftains are either wounded or killed. Araadhak Singh unexpectedly retreats from the battle. It is then revealed that he was angry with the Marathas for the high taxes imposed upon them, so he secretly allied himself with Abdali and passed information onto him. Seeing the tide of the battle turn, Malhar Rao retreats from the battlefield and escorts the non-combatants to safety, as promised to Sadashiv on the eve of the battle. Abdali's soldiers close in on Sadashiv but he bravely fights back, sustaining serious injuries. He eventually succumbs to his wounds and dies, but not before making Abdali aware of his pyrrhic victory. Back in Pune, Parvati Bai dies from grief. Abdali sends the Peshwa a letter, praising Sadashiv's bravery and courage. The epilogue reveals that even though victorious, Abdali never returned to India. Under the leadership of Peshwa Madhav Rao, the generals Mahadaji Shinde and Tukoji Rao Holkar saved the Maratha empire from extinction, and re-captured Delhi ten years later, making the Marathas a dominant force once again. Cast [ edit] Arjun Kapoor as Sadashiv Rao Bhau Sanjay Dutt as Ahmad Shah Abdali Kriti Sanon as Parvati Bai Mantra as Najib-Ud-Daula Mohnish Bahl as Nana Saheb Peshwa Padmini Kolhapure as Gopika Bai (Peshwinbai) Sahil Salathia as Shamsher Bahadur Kunal Kapoor as Shuja-ud-Daula Mir Sarwar as Imad-ul-Mulk Milind Gunaji as Sardar Dattaji Shinde Abhishek Nigam as Vishwas Rao Peshwa Ravindra Mahajani as Subhedar Malhar Rao Holkar Gashmeer Mahajani as Sardar Jankoji Shinde Nawab Shah as Ibrahim Khan Gardi Kashyap Parulekar as Raghunath Rao Suhasini Mulay as Radhabai S. M. Zaheer as Mughal Emperor Alamgir II Arun Bali as Ala Singh Karmveer Choudhary as King Suraj Mal Paresh Shukla as Govind Pant Bundela Zeenat Aman as Sakina Begum Pradeep Patvardhan as Lingoji Narayan Krutika Deo as Radhikabai Vinita Mahesh as Mehrambai Archana Nipankar as Anandibai Shailesh Datar as Pant Dyanesh Wadkar as Sardar Balwantrao Mehendale Shyam Mashalkar as Bhanu Dushyant Wagh as Nana Phadnavis Dr Rajesh Ahir as Sardar Biniwale Sagar Talashilkar as Sardar Raste Ajit Shidhaye as Wazir Shahwali Khan Production [ edit] Development [ edit] National Award winning art director Nitin Chandrakant Desai recreated the majestic Shaniwar Wada at ND Studios, Karjat. [8] Neeta Lulla has designed the costumes. [9] Padmini Kolhapure joined the cast in October 2018 as Gopika Bai. [10] In June 2019, Zeenat Aman joined the cast to portray Sakina Begum. [11] Filming [ edit] On 30 November 2018, Gowariker and the cast tweeted a promotional poster to announce the beginning of principal photography. [12] On 30 June 2019, Sanon wrapped up shoot by posting pictures and notes for Gowariker and Kapoor. [13] Soundtrack [ edit] Panipat Soundtrack album by Ajay−Atul Released 28 November 2019 [14] Genre Feature film soundtrack Length 16: 48 Label Zee Music Company Producer Ajay−Atul Ajay−Atul chronology Super 30 (2019) Panipat (2019) Tanhaji (2020) External audio Official Audio Jukebox on YouTube Ajay Atul are composing the music for the film. The songs are written by Javed Akhtar. [15] [16] Track list No. Title Singer(s) Length 1. "Mard Maratha" Ajay−Atul, Sudesh Bhosle, Kunal Ganjawala, Swapnil Bandodkar, Padmanabh Gaikwad, Priyanka Barve 6:05 2. "Mann Mein Shiva" Kunal Ganjawala, Deepanshi Nagar, Padmanabh Gaikwad 5:17 3. "Sapna Hai Sach Hai" Abhay Jodhpurkar, Shreya Ghoshal 5:26 Total length: 16:48 Marketing and release [ edit] The first teaser poster was released on 15 March 2018. [17] On 5 November 2019, the official trailer of the film was launched by Reliance Entertainment. [18] The film was released on 6 December 2019 in theatres and on 14 February 2020 on Netflix. [19] Reception [ edit] Critical reception [ edit] Monika Rawal Kukreja of Hindustan Times wrote "Panipat is an honest attempt at recreating the war that we only read in history books until now. It’s a tribute to the Maratha community in its truest form and even it was shorter by an hour, it could have had the same impact". [20] The Times of India gave 3. 5 out of 5 stars stating "‘Panipat’ delves into a significant chapter in history and is a war drama that lauds the unshakable bravery, courage and the strong principles of the Maratha's". [21] India Today gave 2. 5 out of 5 stars stating "Ashutosh Gowariker may not be able to do grandeur like Sanjay Leela Bhansali, but he can do war. Yet, a lacklustre cinematography and terrible CGI mars this solid attempt. It would have worked 10 years ago". [22] Namrata Joshi of The Hindu wrote "Gowariker may have taken liberties with history, but doesn’t play around with the form. He sticks to the tried and tested, the long and langourous and old-fashioned". [23] Bollywood Hungama gave 3 out of 5 stars stating "PANIPAT throws light on an important chapter of Indian history with the battle scenes as its USP". [24] Zee News gave 3 out of 5 stars stating "The film is a great effort by Gowariker and deserves to be watched for some impeccable performances and adrenaline-pumping action". [25] CNN-News18 gave 2. 5 out of 5 stars stating "Panipat, a film about Maratha warrior Sadashiv Rao Bhau who staves off Afghan ruler Ahmad Shah Abdali, disappoints only because of a linear screenplay that fails to rouse dramatic emotions so important to historicals". [26] NDTV gave 2 out of 5 stars stating "The burden on Arjun Kapoor is too heavy for him though he rises manfully to the challenge. Panipat definitely isn't Mohenjo Daro. But is that saying much? It will take three hours of your life and a whole lot of patience to sit through this laboured film". [27] Deccan Chronicle gave 2. 5 out of 5 stars stating "Directors like Gowariker do no service to the nation or their audience by twisting the truth, ignoring military, diplomatic, common sense follies and rewriting history with jingoistic fervour". [28] BBC News and Al Jazeera reported that the film received criticism from different parts of the world, especially from Afghanistan since Ahmad Shah Abdali is the national hero and the founder of modern day Afghanistan. [29] [30] Afghan viewers pointed that the film's portrayal of Abdali was that of an Arab, rather than an Afghan. Critics linked the rising number of Bollywood films with negative Muslim characters, such as the portrayal of Alauddin Khilji as a cruel and vicious ruler in the film Padmaavat, as an attempt by the industry executives to align with India's ruling Bharatiya Janata Party, a Hindu nationalist party led by Prime Minister Narendra Modi. [29] The Panipat trailer depicted Ahmed Shah Durrani as ruthless and brutal ruler [31] and Afghans as 'battle-hardened, blood-thirsty savages'. [32] While the film presented Marathas as 'sophisticated and righteous'. [32] Consul General of Afghanistan in Mumbai, Naseem Sharifi, said that 'Afghans would not tolerate any insult to Ahmad Shah Durrani'. Afghan journalists stated that the film will create more Islamophobia and racism towards Afghans. The Telegraph India reported that films like Padmaavat (2018), Kesari (2019) and Panipat have stereotyped and vilified Afghans as brutal, cold-blooded and treacherous. [33] Afghanistan's Ambassador to India, Tahir Qadiri, claimed that he was in contact with Indian officials and have shared the Afghan concerns with them. Ajmal Alamzai, cultural attache at the Afghan embassy in New Delhi, claimed that he had made several unsuccessful attempts to contact the director of the film. Pajhwok Afghan News reported that the Panipat film trailer depicted the Maratha Empire as victorious in the Third Battle of Panipat despite the fact that it was Ahmad Shah Durrani, who had won the battle. [34] Khaama Press, another Afghan newspaper, reported that some Afghan social media users have welcomed the film as reality while others criticised it and claimed that parts of history has been forged in favour of specific groups. [35] Box office [ edit] Panipat ' s opening day domestic collection was ₹ 4. 12 crore. On the second day, the film collected ₹5. 78 crore. On the third day, the film collected ₹7. 78 crore, taking the total opening weekend collection to ₹17. 68 crore. [3] As of 10 January 2020, with a gross of ₹ 40. 81 crore in India and ₹ 8. 48 crore overseas, the film has a worldwide gross collection of ₹ 49. 29 crore. [3] References [ edit] ^ "EXCLUSIVE: Panipat makers opt for self-censorship; REMOVE 11 minutes of controversial content". Bollywood Hungama. Retrieved 12 December 2019. ^ "Panipat box office collection Day 1: Arjun Kapoor and Sanjay Dutt film earns Rs 4. 12 crore". India Today. Retrieved 8 December 2019. ^ a b c "Panipat Box Office". Retrieved 11 January 2020. ^ "Ashutosh Gowariker to make film on the Third Battle of Panipat". The Times of India. ^ "Kriti Sanon: Excited to share work space with Sanjay Dutt". The Times of India. ^ "Ashutosh Gowariker's period drama 'Panipat' first poster is out". Connect Gujarat. November 2019. Retrieved 4 November 2019. ^ " ' Panipat' box office collection day 5: Arjun Kapoor, Kriti Sanon and Sanjay Dutt's periodic drama fails to impress the audience". Times of India. 11 December 2020. Retrieved 2 January 2020. ^ "Ashutosh Gowariker To Recreate Shaniwar Wada for Panipat". Koimoi. 19 April 2018. ^ "Neeta Lulla to design costumes for Ashutosh Gowariker's 'Panipat ' ". The Times of India. ^ "Padmini Kolhapure joins Arjun Kapoor, Kriti Sanon, Sanjay Dutt in Ashutosh Gowariker's Panipat". Firstpost. ^ "Veteran actress Zeenat Aman joins cast of Ashutosh Gowariker's Panipat. Details here". Ist. Retrieved 30 June 2019. ^ "Panipat: Sanjay Dutt, Arjun Kapoor and Kriti Sanon starrer goes on floors". Zee News. ^ "Kriti Sanon wraps up the shoot of Panipat; shares a note thanking Arjun Kapoor and Ashutosh Gowariker | Bollywood News".. Retrieved 30 June 2019. ^ "Panipat - Original Motion Picture Soundtrack". Jio Saavn. ^ "Ajay-Atul to create music for 'Panipat ' ". Deccan Chronicle. ^ "Javed Akhtar to pen lyrics for Ashutosh Gowariker's 'Panipat ' ". The Times of India. ^ "Panipat teaser poster: Ashutosh Gowariker announces next film with Kriti Sanon, Arjun Kapoor and Sanjay Dutt". Firstpost. ^ Reliance Entertainment (5 November 2019). "Panipat - Official Trailer - Sanjay Dutt, Arjun Kapoor, Kriti Sanon - Ashutosh Gowariker - Dec 6". Retrieved 5 November 2019 – via YouTube. ^ "Panipat - The Great Betrayal". Netflix. ^ "Manmadhudu 2 movie review: Nagarjuna, Rakul Preet starrer is a hopelessly bad rom-com". Hindustan Times. 6 December 2019. Retrieved 7 December 2019. ^ "Panipat Movie Review: A Layered, Detailed War Drama". Retrieved 7 December 2019. ^ "Panipat Movie Review: Arjun Kapoor, Sanjay Dutt and Kriti Sanon film is a brave attempt". Retrieved 7 December 2019. ^ Joshi, Namrata (6 December 2019). " ' Panipat' movie review: Sticks to the tried-and-tested format, but falls short of its ambition". The Hindu. Retrieved 7 December 2019. ^ "Panipat Movie Review". Retrieved 7 December 2019. ^ "Panipat movie review: Kriti Sanon outshines Arjun Kapoor, Sanjay Dutt in epic saga". Zee News. Retrieved 7 December 2019. ^ "Panipat Movie Review: Ashutosh Gowariker's Simplistic Approach Fails to Meet Expectations". CNN-News18. Retrieved 7 December 2019. ^ "Panipat Movie Review: Arjun Kapoor's Film Perks Up A Tad When Sanjay Dutt Surfaces". NDTV. Retrieved 7 December 2019. ^ "Panipat movie review: Rewriting historical defeats with patriotic fervour". Deccan Chronicle. Retrieved 7 December 2019. ^ a b "Panipat: The Bollywood battle over an 18th Century war". BBC. 8 December 2019. Retrieved 11 December 2019. ^ "Bollywood's Panipat irks Afghans over founding father's portrayal". Al Jazeera. 17 December 2019. Retrieved 7 December 2019. ^ Sangeeta Nair (8 November 2019). "Panipat Movie controversy: Can Ahmad Shah Abdali's portrayal impact Indo-Afghan ties? ". ^ a b "Afghans Unhappy With Movie Panipat Over Vilifying Ahmad Shah Abdali". Eurasian Times. 7 November 2019. ^ "Vilifying Afghans in Bollywood". The Telegraph India. 6 November 2019. ^ "New Indian movie on Panipat battle roils Afghans". Pajhwok Afghan News. 6 November 2019. Archived from the original on 6 November 2019. ^ "The upcoming Bollywood movie 'Panipat' sparks anger among the Pashtun's of Afghanistan". Khaama Press. 6 November 2019. External links [ edit] Panipat on IMDb Panipat on Bollywood Hungama Panipat at Rotten Tomatoes.


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Casting him for this role was a horrible decision. Panipat public review. Mashallah Allah Allah vahan ke musalmanon ko masjid Abad karne ki taufeeq ata farma. Panipat cast. Panipat full movie watch online. Panipat battle third. Come man banglore Avane srimannarayana kannada film 🎥. Panipat 2019. Panipat movie collection. Where is the full movie in Ishaqzaade. Panipat india. Panipat movie near me. Panipat trailer reaction. Panipat showtimes. Panipat history. Thank you brother this is really history. Panipat box office collection. Panipat movie download. Panipat scene. I love this song jai maratha jai shivray 🚩. Panipat 2019 movie online. Panipat maratha. Panipat court. Nonika Singh The Third Battle of Panipat, fought in 1761, is testimony as much to the might of Ahmad Shah Abdali as the valour of his adversary the Maratha Empire. What for many of us might be a one-line note in history books transforms into a full-fledged story replete with background and detail. Ashutosh Gowariker, who has a penchant for translating history onto silver screen, brings to us this fascinating battle. Though history, it is often said, is written from the victor’s point of view, he glorifies the vanquished. The hero here is Sadashiv Rao Bhahu, a Peshwa (Arjun Kapoor) who decides to take on Ahmad Shah Abdali after he is invited by disgruntled elements in India. Sure India was not India back in the 18th century but the idea of Hindostan both Gowariker and his protagonist uphold and float with the secular fabric intact. Though Marathas chant Har Har Mahadev with gusto, Gowariker does not make this a Hindu-Muslim battle and certainly does not feed Islamophobia. Early on in the film, he establishes how traitors are born in every community. Clearly treachery is a thread that runs through the film but Marathas are let down not just by Shuja–ud–Daulah (Kunal Kapoor) but also by Hindu rulers, a few of them on the battleground itself. Indeed, no one can take issues with Gowariker’s intentions or his ambition to take us back into the lanes of history. But, it is in trying to strike a balance between historical veracity and the commerce of cinema that he fails. Much of the film as expected is spent in building up the romance between Sadhashiv and Parvati (Kriti Sanon). No doubt, Kriti looks beautiful and has a meaty part too. The film also boasts of two heroines of yesteryear, Padmini Kolhapure and Zeenat Aman. Zeenat, in a small but significant part of Sakina Begum, retains the grace of her youth but doesn't quite stand up to be counted. Padmini shows the same spark that distinguished her in her heydays but is hemmed in by the archetype that her role demands. Much here follows the hackneyed. Marathas breaking into a song every now and then doesn’t help except introduce us to the scale of those times and the opulence of the sets. The treatment of the film is rich and the grandeur of those times comes across though not in the same fashion as a Bhansali film. With a smattering of Marathi, the language just about passes muster. Words like gathbandhan shatbhandhan stand out like a sore thumb. Even Abdali (Sanjay Dutt) is introduced with a rather insipid one-liner. Unlike Khilji played to menacing perfection by Ranveer Singh in Padamavaat, Abdali is not so demonised. But then despite looming large on the screen, Sanjay Dutt fails to create a solid impact. And that is the biggest problem of the film. For a film that recreates an epic battle, it doesn’t create a powerful impression. Even on the battle ground, everything is spelt out thus diluting the otherwise formidable battle scene formations. Since it all finally boils down to eulogising the bravery of one man Sadashiv, the bloodbath leaves you more cold than emotive. Making a historical, we all know, requires tremendous hard work, research and money. If only Gowariker had added astute skills to his armoury we would not have been forced to say love’s labour lost. For, while history stands as witness to Maratha’s loss, despite their peerless courage, we hate to see Gowariker lose a cinematic battle. More so for alongside goes the earnest endeavour of Arjun Kapoor who looks the part but can’t rise above the film.

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Jessica Hausner; UK, Austria; duration 1 Hours, 45 Minutes; 1705 vote; Alice, a single mother, is a dedicated senior plant breeder at a corporation engaged in developing new species. She has engineered a very special crimson flower, remarkable not only for its beauty but also for its therapeutic value: if kept at the ideal temperature, fed properly and spoken to regularly, this plant makes its owner happy. Against company policy, Alice takes one home as a gift for her teenage son, Joe. They christen it 'Little Joe' but as it grows, so too does Alice's suspicion that her new creations may not be as harmless as their nickname suggests; Actor Ben Whishaw.

Brilliant happy song, colourful. "★★★★★ A delightfully oddball and dread-filled psycho-bio thriller. " Katie Walsh, Tribune News Service. Free Stream Little joel. Free stream little joe band. Kino. Filmische Freiräume! Das Internationale Frauenfilmfestival Dortmund | Köln zeigt Vielfalt – Festival 03/20 „Das ist keine 08/15-Liebesgeschichte“ Paula Beer über „Undine“ – Roter Teppich 03/20 „Familienfilm mit politischer Haltung“ Dani Levy über „Die Känguru-Chroniken“ – Gespräch zum Film 03/20 Applaus, Applaus, Applaus Kino und Gewissen – Vorspann 03/20 Das Kind in der Künstlerin Filmmatinée „Varda par Agnès“ im Odeon – Foyer 02/20 Ballettschule für Blinde Premiere von „Looking at the Stars“ im Odeon – Foyer 02/20 Königinnen der Herzen „Das Wunder von Taipeh“ im Filmforum – Foyer 02/20 „Bei Terrence Malick hat man viel mehr Zeit“ Valerie Pachner über „Ein verborgenes Leben“ – Roter Teppich 02/20 Tag der Abrechnung! Rück- und Vorschau für Neunzehn/Zwanzig – Vorspann 02/20 Kannste dir nicht ausdenken… Neue Nachrichten aus einer verrückten Welt – Festival 02/20 Geisterwelten „Los Silencios“ im Filmforum – Foyer 01/20 Belgischer Widerstand Filmreihe „Gerettet – auf Zeit“ im Filmforum – Kino 01/20 „Er lässt sich einfach nichts sagen“ Jan Bülow über „Lindenberg! Mach dein Ding“ – Roter Teppich 01/20 Von allem und für jeden Vielfalt im Kino – Vorspann 01/20 „Nicht alles erklären“ Patrick Vollrath über „7500“ – Gespräch zum Film 01/20 Gegen das Spekulantentum „Wem gehört die Stadt – Bürger in Bewegung“ im Odeon – Foyer 12/19 „Alle unsere Handlungen haben miteinander zu tun“ Julius Feldmeier über „Mein Ende. Dein Anfang. “ – Roter Teppich 12/19 Das andere Geschlecht LaDOC zeigt Filme über die Vulva zwischen Tabu und Tuning – Reihe 12/19 Die Angst abschütteln „Der nackte König“ im Filmforum – Foyer 12/19 Wir müssen reden … Männer und Frauen im Kino – Vorspann 12/19 Schüler-WG und Wohntherapie in einem Weltpremiere von „Auerhaus“ im Cineplex – Foyer 12/19 Preise für die Kurzen Preisverleihung des KFFK im Filmforum – Festival 11/19 Kapitalismus außer Kontrolle „System Error! “ im Cinenova – Foyer 11/19 Neue Filme aus der neuen Welt Südamerika steht im Fokus von Kino Latino Köln – Festival 11/19 „Kinder in den Mittelpunkt stellen“ Joachim Steinigeweg über das Cinepänz-Jubiläum – Festival 11/19.

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Free stream little joe online. Selbst der verpuffer vom little joe hat doch sicher gedrückt oder :D. Free stream little joe 3. This film start with a plant breeding lab, two worker(Alice and Chris) talking about their company philosophy, and Alice sending her son "Joe" back to her house scene! As turnout, this film is about solving the mystery of a plant breeding by Alice "Little Joe" Alice thought the plant can harm people by infected them but it's not! Entire film slow like freaking hell! The film also full of boring overuse scene! Such as, overuse of the working at the plant breeding lab scene, overuse of the super freaking annoying background music scene, overuse of the washing hand scene and overuse of the watching video clip scene! The conversation in the film also bored to death! The death of Bella's dog and she kill herself scene also never show to us! Barely intense scene is, Chris knock Alice out scene! But this scene even show us sideways! At the end, Little Joe awarded a prize! Alice sent Joe back to his father house! Alice greeting Little Joe "Goodnight" That's it! Definitely the worst movie of the year! Avoid at all freaking cost.

Filmdaten Deutscher Titel Little Joe – Glück ist ein Geschäft Originaltitel Little Joe Produktionsland Österreich, Deutschland, Vereinigtes Königreich Originalsprache Englisch Erscheinungsjahr 2019 Länge 106 Minuten Altersfreigabe FSK 12 [1] Stab Regie Jessica Hausner Drehbuch Géraldine Bajard, Jessica Hausner Produktion Bertrand Faivre, Martin Gschlacht, Jessica Hausner, Gerardine O'Flynn, Bruno Wagner Kamera Martin Gschlacht Schnitt Karina Ressler Besetzung Emily Beecham: Alice Ben Whishaw: Chris Kerry Fox: Bella David Wilmot: Karl Leanne Best: Brittany Lindsay Duncan: Psychotherapeutin Sebastian Hülk: Ivan Goran Kostic: Mr. Simic Yana Yanezic: Mrs. Simic Andrew Rajan: Jasper Kit Connor Phénix Brossard Jason Cloud Synchronisation Little Joe – Glück ist ein Geschäft ist ein Science-Fiction- Drama und Psychothriller von Jessica Hausner, der am 17. Mai 2019 im Rahmen der 72. Internationalen Filmfestspiele von Cannes seine Premiere feierte und dort im Wettbewerb um die Goldene Palme konkurrierte. Emily Beecham und Ben Whishaw spielen die Hauptrollen im ersten englischsprachigen Film der österreichischen Regisseurin. Handlung [ Bearbeiten | Quelltext bearbeiten] Die alleinerziehende Mutter Alice Woodard arbeitet als Pflanzenzüchterin bei Planthouse Biotechnologies, einem Unternehmen, das sich mit der Entwicklung neuer Arten beschäftigt. Sie hat eine ganz besondere purpurrote Blume gezüchtet, die sie „Little Joe“ nennen und die sich nicht nur durch ihre Schönheit, sondern auch durch ihren therapeutischen Wert auszeichnet. Sie wurde für einen ganz besonderen Zweck entwickelt, denn sie soll Menschen glücklicher machen. Ihr Duft löst die Freisetzung von Oxytocin aus, was wiederum zu einem allgemeinen Wohlbefinden führt. Wenn sie bei der idealen Temperatur gehalten und richtig ernährt wird und man regelmäßig mit ihr redet, macht diese ihren Besitzer glücklich. Entgegen der Firmenpolitik nimmt Alice eine dieser Pflanzen als Geschenk für ihren Sohn Joe mit nach Hause. Doch mit dem Wachstum der Pflanze wächst auch Alices Verdacht, dass ihre neuen Kreationen möglicherweise nicht so harmlos sind wie geglaubt. Als die gentechnisch manipulierte Pflanze ihre Samen ausstreut, ruft sie damit unheimliche Veränderungen bei Mensch und Tier hervor. Die Befallenen wirken fremd und wie ausgewechselt, vor allem für die, die ihnen nahestehen. [2] [3] Produktion [ Bearbeiten | Quelltext bearbeiten] Martin Gschlacht, Jessica Hausner und Bruno Wagner (2020) Regie führte Jessica Hausner. Es handelt sich bei Little Joe um ihren ersten englischsprachigen Film. [4] Vom Österreichischen Filminstitut erhielt Little Joe eine Stoffentwicklungsförderung in Höhe von 15. 000 Euro und eine Produktionsförderung in Höhe von 600. 000 Euro [5], vom Filmfonds Wien eine Förderung in Höhe von 15. 000 Euro für die Projektentwicklung und eine Produktionsförderung von 350. 000 Euro [6], von FISA Filmstandort Austria eine Produktionsförderung von 580. 000 Euro und vom Medienboard Berlin-Brandenburg eine Produktionsförderung in Höhe von 150. 000 Euro. Weitere Mittel kamen vom BFI British Film Institute und Eurimages (Produktionsförderung in Höhe von 450. 000 Euro). Emily Beecham und Ben Whishaw sind im Film in den Rollen der Wissenschaftler Alice und Chris zu sehen, die in der Genforschung tätig sind. [4] Kerry Fox übernahm die Rolle von Bella, einer älteren Wissenschaftlerin, die sich gerade von einem Unfall erholt und ihren Hund Bello zur Arbeit mitbringen darf. [7] Lindsay Duncan spielt Alices Psychotherapeutin. [8] In weiteren Rollen sind David Wilmot, Sebastian Hülk und Leanne Best zu sehen. Die Dreharbeiten fanden zwischen 11. August und 9. Oktober 2018 statt. Gedreht wurde in Wien und Krems an der Donau, hier an der Karl Landsteiner Privatuniversität für Gesundheitswissenschaften, in Veiling Rhein-Maas, Deutschlands einzigem Auktionshaus für Blumen und Pflanzen, und im Großraum Liverpool. Als Kameramann fungierte Martin Gschlacht. Für das Kostümbild zeichnete Tanja Hausner und für das Szenenbild Katharina Wöppermann verantwortlich. [9] Ben Croll von The Wrap beschreibt Little Joe, die gentechnisch zum Leben erweckte Pflanze, einer riesigen Safranzwiebel ähnlich, wie sie von Dr. Seuss entworfen hätte sein können: „Sie ernährt sich von Liebe und Fürsorge und schenkt ihrerseits Glück, da sie zur Verbreitung des gleichen Hormons gezüchtet wurde, das frische Mütter mit ihren Kindern verbindet. Die Blume wirkt durch eine Art Gedankenkontrolle und produziert Pollen, die das Glücksgefühl aller steigern, die daran riechen. “ Das Ganze folge einer Dynamik wie aus dem Film Die Körperfresser kommen, wenn „Little Joe“ versucht, die Menschen um ihn herum zu beherrschen, allen voran seinen Namensgeber Joe, während sich seine Mutter Alice hiergegen wehrt. [10] Christoph Petersen von Filmstarts schreibt, auch wenn sich das Motiv irgendwann mit der Zeit abnutze, die Blumen zunehmend ihren hypnotischen Schrecken und die Bilder an Kraft verlieren, könne die absolut brillante Filmmusik dies zumindest ein Stück weit abfedern: „Die auf den 1982 verstorbenen japanischen Avantgarde-Komponisten Teiji Ito zurückgehenden kakophonischen Klangteppiche fahren direkt ins Mark und würden mit ihrem metallischen Jaulen wohl selbst Aufnahmen von mit Wollknäueln spielenden Katzenbabys hochgradig verstörend wirken lassen. “ [11] Der Film feierte am 17. Mai 2019 im Rahmen der Internationalen Filmfestspiele von Cannes seine Premiere, wo er im Wettbewerb um die Goldene Palme konkurrierte. Ende Juli und Anfang August 2019 wurde er beim Jerusalem Film Festival gezeigt. [12] Im September 2019 wurde er beim Fantasy Filmfest als Centerpiece gezeigt [13] [14] und im gleichen Monat im Rahmen der Filmkunstmesse Leipzig vorgestellt. [15] Anfang Oktober 2019 wurde er beim London Film Festival vorgestellt. [16] Der österreichische Kinostart erfolgte am 1. November 2019, [5] in Deutschland ist er für den 9. Januar 2020 vorgesehen. [17] Rezeption [ Bearbeiten | Quelltext bearbeiten] Altersfreigabe [ Bearbeiten | Quelltext bearbeiten] In Deutschland wurde er von der FSK ab 12 Jahren freigegeben, in Begleitung der Eltern jedoch bereits ab 6 Jahren erlaubt. In der Freigabebegründung heißt es, die Geschichte sei sehr zurückhaltend erzählt und erzeuge mit suggestiven Mitteln einen subtilen Horror. Die bedrohliche Atmosphäre und befremdliche Verhaltensänderungen von Hauptfiguren sowie Konflikte, die nicht leicht einzuordnen sind, könnten Kinder unter 12 Jahren irritieren und emotional überfordern, zumal der Sohn der Protagonistin sich als Identifikationsfigur für Kinder und Jugendliche eigne. [18] Kritiken [ Bearbeiten | Quelltext bearbeiten] Der Film stieß bislang auf gemischte Kritiken, so auf die Zustimmung von 67 Prozent der Kritiker bei Rotten Tomatoes. [19] In der bei Screen veröffentlichten Kritikerumfrage zu den Festivalbeiträgen in Cannes erhielt er 2, 3 von 4 möglichen Punkten. [20] Dominik Kamalzadeh vom Standard schreibt, der Film, der sich an Sci-Fi- Horrorklassiker wie Invasion of the Body Snatchers oder Little Shop of Horrors anlehnt, sei in dem schon charakteristisch zurückgenommenen, sanft ironischen Tonfall von Jessica Hausner gehalten, der auch Ungeheuerlichkeiten eine profane Note verleiht. Inszenatorisch sei Little Joe aus einem Guss: „Das ausgeklügelte Produktionsdesign, das außer der giftig roten Blume alles in eher kühle Farben taucht, das leicht befremdlich Spiel der Darsteller, die minimalistische Musik von Teiji Ito – all das verleiht dem Film eine genuin artifizielle Note. “ Hausners Augenmerk liege auf der Feinbeobachtung der Veränderungen, so Kamalzadeh, doch das Drehbuch sei nicht ganz auf der Höhe dieser Kunst. So würde bisweilen eine Spur zu viel von dem erklärt, was ohnehin die Bilder vermitteln, am Ende gehe das Spiel mit Mutmaßungen und Ahnungen aber schlüssig auf. [21] David Ehrlich von Indie Wire schreibt, Hausner sei eine der wenigen zeitgenössischen Filmemacherinnen, die es verdienten, als Kubricks Erben betrachtet zu werden, und ihre Kontrolle über ihr Werk sei auch in Little Joe nach wie vor überragend. Der Film sei immer in Bewegung, drifte seitlich oder schleiche sich vorwärts, um all die alltägliche Bedrohung zu enthüllen, die dem bloßen Auge entgeht. Der Film brauche nur ein paar Minuten, damit sich der Zuschauer vor einer einfachen Pflanze fürchtet, und so habe er für Gewächshäuser das geleistet, was Psycho für Duschen getan hat. Je weiter der Film voranschreitet, desto lauter werde seine Botschaft, denn Alice, die „Little Joe“ verteidigt, egal wie irrational dies sei, mache Parallelen zu Suchtkranken erkennbar. Ehrlich verweist auch auf die heutige Zeit, in der Schmerzmittel eine der häufigsten Todesursachen in weiten Teilen der Welt sind. Allerdings hätte Hausners Film so viel besser sein können, wenn die gezeigten Figuren eine Bestandsaufnahme ihres persönlichen Glücks gemacht hätten, ohne dieses gleichzeitig zu delegitimieren. [22] Peter Bradshaw vom Guardian meint, der Aufbau sei großartig und es gebe großartige Aufnahmen von Pflanzen in Fußballfeldgröße, die sich unheimlich in dem Hi-Tech-Gewächshaus bewegen wie in einem Dokumentarfilm von Nikolaus Geyrhalter, der ein Meister dieser Art von Tableau entfremdeter Natur sei. Weiter schreibt Bradshaw, dramaturgisch könne der Film nicht überzeugen, und die Schauspieler, die alle sehr talentiert seien, hätten vielleicht nicht klar genug Regieanweisungen bekommen. [7] Einsatz im Schulunterricht [ Bearbeiten | Quelltext bearbeiten] Das Onlineportal empfiehlt den Film für die Unterrichtsfächer Biologie, Englisch, Deutsch, Ethik und Psychologie. Dort schreibt Karl-Leontin Beger, der Film könne im Biologieunterricht Ausgangspunkt für die Beschäftigung mit grüner Gentechnik sein. Ethische Fragen ließen sich hingegen im Politik- und Ethikunterricht vertiefen und damit auch eine Auseinandersetzung über die Folgen des breitflächigen Einsatzes von genetisch verändertem Saatgut in der industriellen Landwirtschaft. Im Deutsch- und Englischunterricht biete es sich an, die filmästhetischen Mittel des Horror- und Sci-Fi-Genres herauszuarbeiten und anhand der Figur der Kollegin Bella die Erfordernisse der Leistungsgesellschaft und ihre Folgen zu diskutieren: „Was ist Glück und wie lässt es sich in der postindustriellen Konsumgesellschaft erlangen? “ Diese Fragen könne im Philosophie- und Religionsunterricht in Hinblick auf Vermarktungsstrategien und Konzepte wie Work-Life-Balance besprochen werden. [23] Auszeichnungen [ Bearbeiten | Quelltext bearbeiten] Internationale Filmfestspiele von Cannes 2019 Auszeichnung als Beste Darstellerin ( Emily Beecham) Nominierung für die Goldene Palme ( Jessica Hausner) Österreichischer Filmpreis 2020 Auszeichnung in der Kategorie Beste Maske ( Heiko Schmidt) Auszeichnung in der Kategorie Bester Schnitt ( Karina Ressler) Auszeichnung in der Kategorie Bestes Szenenbild ( Katharina Wöppermann) Nominierung in der Kategorie Bester Spielfilm ( Bruno Wagner, Bertrand Faivre, Philippe Bober, Martin Gschlacht, Jessica Hausner, Gerardine O'Flynn) Nominierung in der Kategorie Beste Regie ( Jessica Hausner) Nominierung in der Kategorie Bestes Drehbuch (Jessica Hausner) Nominierung in der Kategorie Beste weibliche Darstellerin ( Emily Beecham) Nominierung in der Kategorie Beste weibliche Nebenrolle ( Kerry Fox) Nominierung in der Kategorie Beste Kamera ( Martin Gschlacht) Nominierung in der Kategorie Bestes Kostümbild ( Tanja Hausner) Der Film befand sich zudem in der Vorauswahl für den Europäischen Filmpreis 2019. [24] [25] Synchronisation [ Bearbeiten | Quelltext bearbeiten] Darsteller Synchronsprecher Rolle Emily Beecham Anna Grisebach Alice Woodard Ben Whishaw Tobias Nath Chris Kerry Fox Almut Zydra Bella Kaspar Johann Wollstein Joe Woodard Sebastian Hülk Ivan Andrew Rajan Rainer Fritzsche Jasper David Wilmot Oliver Siebeck Karl Tim Schwarzmaier Ric Weblinks [ Bearbeiten | Quelltext bearbeiten] Little Joe – Glück ist ein Geschäft in der Internet Movie Database (englisch) Little Joe – Glück ist ein Geschäft in der Deutschen Synchronkartei Little Joe – Glück ist ein Geschäft bei crew united Little Joe im Programm der Filmfestspiele von Cannes (englisch) Little Joe – Offizielle Website zum Film von Coop99 Einzelnachweise [ Bearbeiten | Quelltext bearbeiten] ↑ Freigabebescheinigung für Little Joe – Glück ist ein Geschäft. Freiwillige Selbstkontrolle der Filmwirtschaft (PDF; Prüf­nummer: 195335/K). ↑ Little Joe. In: Abgerufen am 3. März 2019. ↑ ↑ a b Hannah Woodhead und Adam Woodward: 25 films we’d like to see at the 2019 Cannes Film Festival. In:, 2. März 2019. ↑ a b Little Joe. In: Abgerufen am 5. März 2019. ↑ Little Joe. März 2019. ↑ a b ↑ Little Joe – Glück ist ein Geschäft bei crew united. Abgerufen am 3. März 2019. ↑ Ben Croll: 'Little Joe' Film Review: Cannes Gets a Horticultural Horror Flick. In:, 17. Mai 2019. ↑ Little Joe. In: Abgerufen am 24. Juli 2019. ↑ Little Joe. In: Abgerufen am 1. August 2019. ↑ Marc Mensch: Viel Neues auf der Filmkunstmesse. In: Blickpunkt:Film, 20. August 2019. ↑ 63rd BFI London Film Festival programme announced. In:, 29. August 2019. ↑ Starttermine Deutschland In: Abgerufen am 21. September 2019. ↑ Little Joe In: Rotten Tomatoes. Abgerufen am 24. Februar 2020. ↑ Ben Dalton: Screen reveals Cannes 2019 jury grid critics. In: Abgerufen am 25. Mai 2019. ↑ David Ehrlich: 'Little Joe' Review: A Horror Film that Dangerously Compares Antidepressants to an Alien Invasion — Cannes. Mai 2019. ↑ Karl-Leontin Beger: Little Joe – Glück ist ein Geschäft. In:, 6. Januar 2020. ↑ Jochen Müller: Lola-Abräumer in Vorauswahl für Europäischen Filmpreis. August 2019. ↑ EFA Feature Film Selection. In: Abgerufen am 20. August 2019.

Lmao loads of these movie's have got major flops written all over them. Free Stream Little joe bar. Free stream little joe tv. Really cool, but all that efford into costumes and effects and then you use a 2 wig, lmao. Ajua,eso rolitas del pasado,encanto. Free stream little joe videos.

Free stream little joe hamilton. Nice to watch a trailer when I don't feel like I just saw the whole movie. Free Stream Little joe jonas. Wissenschaftlerin Alice hat eine Blume erfunden, deren Duft die Menschen glücklich machen soll - doch nicht mit den Nebenwirkungen gerechnet Bewertung Stars Redaktions Kritik Bilder News Kino- Programm Cast & Crew Alice Chris Bella Kit Connor Joe Phénix Brossard Ric Redaktionskritik Ist eine genmanipulierte Pflanze, deren Duft Glücksgefühle auslöst, doch nicht so harmlos, wie die Forscher behaupten? Die Österreicherin Jessica Hausner („Lourdes“, „Amour fou“) zählt zu den ganz wenigen Regisseurinnen, deren Filme regelmäßig im Programm der gr0ßen Filmfestivals zu sehen sind. Ihr neuer Film „Little Joe“ lief in diesem Jahr im Wettbewerb der Filmfestspiele von Cannes. Emily Beecham, die bislang vor allem in Nebenrollen zu sehen war („Hail, Caesar! “) und überraschend zur besten Darstellerin des Festivals gekürt wurde, spielt darin die Bota­nikerin Alice. Der alleinerziehenden Mutter ist es gelungen, eine Blume zu züchten, deren Duft die Menschen glücklich machen soll – sofern sie ihr genügend Aufmerksamkeit und Liebe schenken. Alice hat ein schlechtes Gewissen, weil sie zu viel arbeitet und den 13-jährigen Joe (Kit Connor) vernachlässigt. Heimlich nimmt sie eine der purpurroten Pflanzen mit nach Hause, um sie ihrem Sohn zu schenken. Als sich die Menschen in ihrer Umgebung auf subtile Weise verändern, muss sich Alice mit den Konsequenzen ihrer Forschung auseinandersetzen. Mit subversivem Humor schildert Jessica Hausner eine Welt, in der sich das Vertraute plötzlich fremd und unheimlich anfühlt. Die Geschichte weckt Erinnerungen an Klassiker wie „Die Körperfresser kommen“, doch „Little Joe“ bricht mit allen Genrekonventionen. In kühlen, streng komponierten Bildern erzählt ihr Film von den Gefahren der Gentechnik. Die ausgeklügelte Farbdramaturgie und der skurrile Soundtrack des japanischen Komponisten Teiji Ito verleihen ihrem Film eine betörende Künstlichkeit. Fazit Jessica Hausner beweist erneut, dass sie zu den eigenwilligsten und aufregendsten Autorenfilmerinnen in Europa zählt Film-Bewertung Little Joe – Glück ist ein Geschäft (GB 2019) Wie bewerten Sie diesen Film? Für diese Funktion müssen sie in der Community angemeldet sein. Jetzt anmelden Noch keine Inhalte verfügbar.

Free stream little joey. Free stream little joe song. Faszinierender Science-Fiction-Film über eine Pflanze, die eine ungewöhnliche Wirkung hat Gentechnikerin Alice (Emily Beecham) arbeitet für ein Labor, das sich ganz dem Ziel verschrieben hat, eine Pflanze zu entwickeln, die die Menschen glücklich macht. Eines Tages gelingt ihr tatsächlich der Durchbruch: Die rote, Little Joe getaufte Blume verströmt einen Duft, der glücklich macht, solange man die Pflanze nur gut behandelt, sie gießt und mit ihr spricht. Doch schon bald stellt sich heraus, dass Little Joe die Menschen manipuliert und dafür sorgen will, dass es immer von seiner Sorte gibt. Alice weiß bald nicht mehr, was real ist und was Einbildung: Ist Little Joe wirklich gefährlich? Versucht ihr Kollege Chris (Ben Whishaw) wirklich, ihr ihre Erfindung streitig zu machen? Warum verhält sich ihr Sohn Joe (Kit Connor) so merkwürdig? War das ganze am Ende nur Einbildung? mehr lesen weniger lesen.

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Deep into a swaying and lush bamboo forest, Okina, an elderly farmer, stumbles upon a mysteriously glowing bamboo stalk, that from within, a minuscule fairy-like creature enfolded in a royal robe sprouts before his amazed eyes. Without delay, the ageing man rushes to his wife, Ona, only to witness, much to their surprise, the tiny nymph transform into a baby. In the end, as the infant grows exponentially into a fine girl, the humble couple will take her to the capital, Kyoto, to make her an aristocratic and well-mannered lady worthy of Japan's most powerful suitors. But is this Princess Kaguya's fate? writer - Isao Takahata, Isao Takahata Average rating - 8,6 / 10 genres - Adventure year - 2013 Japan.

Kaguyahime no monogatari. Kaguya-hime no monogatari eng sub. I watched it and it's beautiful. Loved it <3.

Watching this fable im cried. This so beautiful. Sorry for my english, im Polish. Kaguya hime no monogatari procession. Is this what's sailor Moon was based off of, I love sailor Moon Edit: I just saw the part where the father said oh my God you're sailor Moon, I died laughing. Kaguya hime no monogatari amv. Kaguya hime no monogatari. Kaguya hime no monogatari transcript. Kaguya hime no monogatari watch online.

Kaguya hime no monogatari running. The Tale of Princess Kaguya is an old Japanese folk tale about a magical girl found in a bamboo tree by a poor man. The story is episodic yet all holds together well, creating an involving and sometimes enchanting narrative.
The animation style is light and lovely with a sketched watercolor look. Some of it is impressionistic, most notably a striking scene of Kaguya running, but other times, as in a stunning, stormy sea scene, the animation is full and complex.
My girlfriend says this might be her favorite Japanese animated film of all time. I wouldn't go that far - for me nothing beats Miyazaki - but it is a remarkable movie.
This was the last movie directed by Isao Takahata, the first one I've been impressed by since Grave of the Fireflies, and, since Fireflies was so painfully grim, the first Takahata film I've ever strongly enjoyed. It's nice he left at the top of his game.

You can also use the keyboard shortcuts to control the player Note: These shortcuts only works with our main server and external servers that support the standard. Toggle play/pause the player Toggle mute/Unmute video volume Increase and decrease volume by 10% Seek forward and backward by 5 seconds Fast seek to x% of the video Enter or exit fullscreen. Kaguya hime no monogatari download. Kaguya-hime no monogatari wiki. Wonderful interpretation. Studio Ghibli may be wise, but compared to Jehovah's Witnesses, there just selfish, arrogant and haughty. Unlike Jehovah's Witnesses, there is no sense of unity or morality and they only seem to care about themselves. Which is why their movies are reduced to arthouse theaters. Kaguya-hime no monogatari full movie.

Kaguya-hime no monogatari trailer. The fact that the mother is singing this breaks my heart even more. This is the only movie that has genuinely made me super emotional... just, all of these feeling that you get as a human jumbled up in one film. I cried so much. Whats funny is thats the entire point of the movie. Feelings. Kaguyahime no monogatari. Kaguya-hime no monogatari rotten tomatoes. 8:11 Congrats to hellokitty11432. This isn't merely one of the greatest masterpieces in 's one of the greatest motion pictures, period, of the past 25 years. As much as Grave of the Fireflies is also unbelievable, I honestly think this was Takahata's ultimate masterpiece. The most beautiful swan song we could have ever asked for from this genius. Very similar to what hopefully will have been Miyazaki's swan song, The Wind Rises. In that, if that ends up being his final film, he couldn't have ended on a more perfect note. P.S. I know that apparently Miyazaki is doing one more film before his retirement, but I just have doubts about a) whether or not it will ever happen and b) if/when it does, the chances of it living up to The Wind Rises is me.

Kaguya hime no monogatari song lyrics. Fall in love with this film. Kaguya hime no monogatari sub indo. Es hermosa esa canción!😭. That Farewell Masterpiece literally broke my heart. I know it's been a long time but... I just discovered his work, such a shame. Kaguyahime no monogatari eksi. Kaguya hime no monogatari movie. One of the most somber and heartbreaking films I've ever seen. It feels like an ancient poem. And it's ending was devastating to me because of what could have been. Timeless, it is one of the best animated films ever produced. Kaguyahime no monogatari french. Kaguya-hime no monogatari (the tale of the princess kaguya.

Another awesome movie from studio Giblie films.

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I finished this movie 20 minutes ago and I'm still crying. Studio Ghibli always does this. Kaguyahime no monogatari trailer. Kaguya hime no monogatari full english sub. Kaguya hime no monogatari warabe uta. Kaguyahime no monogatari cda. I've learnt more from ghibli movies than I ever did from school.

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I love Kiki's Delivery Service, possibly on of my favourite films of all time, but what in gods name is this spawn of Satan, this whole trailer offends me on so many levels, but whats worse is you know Hollywood will then make a remake of this which will have zero resemblance to the original whatsoever. Why oh whyyyy. Kaguya hime no monogatari pdf. Kaguyahime no monogatari song. Kaguya hime no monogatari watch movie.

 

I'm getting tired of these fantasy ridden movies that mirror a lot of ambiguity yet always talk about the same things. This is not of the same ilk as a Miyazaki film. It's not even a proper Japanese movie. It's an American movie, it's a Discworld movie, a Neil Gaiman fantasy novelization. It's a hippie movie disguised as a Ghibli picture. The major gripe I have about the whole affair is the way the story is derailed by the caprices of the magic which comes to mess up the kernel of heartfelt purity that had set off the movie.
The birth of Kaguya is the best example of a supernatural act. It's familiar and unquestionable. Unlike later occurrences, you never doubt it's a dream sequence or a metaphor. The concept of miracle births have been drilled into us so soundly that we accept the childhood and disillusionment of Kaguya. What happens after the princes have failed in their quests is nothing but the admission (insert gratuitous box office joke) of the filmmakers that they have run out of imagination. This movie didn't make the splash it was no doubt vying to get and the anonymity that beckons will be very much deserved.

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Since Disney released the first trailer for this, I've been excited. However, I find that the one thing people are seeming to forget is that Mulan was a real person with a real story/legend in ancient Chinese history. Ever since I was young, I've always loved the original story and am hoping that this movie will be telling that story rather than simply being a spin-off of the first. Considering it looks like Mulan has a sister and the names of the characters are accurate to the original legend, it looks like it will be and I can't wait. Yes, we're all going to miss Mushu, but in the end, he belongs to a different version of the story which heavily deviates from its original source material, much like many other Disney properties like Frozen and Beauty and the Beast. I'm looking forward to seeing Disney actually use the direct source material as it was intended. I can't wait to see this in theaters.

Yasss honestly I think i gonna love this movie. This is Disney trying to impress China, the origin of the Ballad of Mulan. Rest of the world: WHERE THE HELL IS MUSHU. Tweets de @Villedemoulins --> #moulins Moulins sur les réseaux sociaux + Menu Que faire à Moulins Que faire à Moulins Magazine de la Ville Application mobile Ma ville Ma ville Horaires et contacts des services Démarches Affaires diverses Carte d'identité - passeport Décès Demande d'actes Elections Naissances - mariages Urbanisme et service des eaux Autorisations d'urbanisme Plan Local d'Urbanisme Occupation du domaine public Service des eaux Vie politique Les élus Les séances du conseil municipal Vie associative Annuaire des clubs et associations Formulaire de modification des coordonnées Les salles disponibles Vie quotidienne Accessibilité Logement Transport Stationnement Sport et culture A ciel ouvert Installations sportives Installations culturelles Les marchés hebdomadaires Nos jumelages Bad Vilbel Montepulciano Le Casabianca Grand Bassam Recrutement Patrimoine Patrimoine Ville d'art et d'histoire Un peu d'histoire Le bourbonnais Un patrimoine riche Carte ambassadeur Visites de la ville et ateliers Les autres sites culturels Centre National du Costume de Scène Musée de la Visitation Musée de l'Illustration Jeunesse Musée Anne de Beaujeu Musée du bâtiment Maison Mantin Triptyque du Maitre de Moulins Votre séjour à Moulins Moteur collections Education & Jeunesse Education & Jeunesse Ecoles maternelles et élémentaires Les établissements scolaires Inscriptions Temps d'Activités Périscolaires Accueils périscolaires Restaurants scolaires Activités scolaires Règlement intérieur Accueil de Loisirs 3/13 ans La structure Inscriptions Accueil de Jeunes 14/17 ans Collèges, Lycées, Post-bac Collèges - Lycées Post Bac Point Information Jeunesse Permis Jeune Cadre de vie, Environnement Cadre de vie, Environnement Environnement et espaces verts Espaces verts Chaufferie Eclairage public Prévention du bruit Préservation de l'environnement Propreté Propreté urbaine Ramassage des ordures ménagères et déchèteries Enlèvement des graffitis Toutounets L'AVAP Urbanisme Dispositif d'aides en faveur de l'habitat DICRIM Familles Services aux familles Petite Enfance Maison de l'enfance et de la famille Etablissements d'accueil du jeune enfant Lieux d'accueil enfants-parents Relais assistantes maternelles Actions de soutien à la Parentalité Pôle Seniors Animations et ateliers Actualités REPID Services au quotidien Pôle Handicapés Pôle Social Actions humaines à la une > toute l'actualité Votre magazine Mars 2020 en savoir + Coronavirus Moulins protège ses enfants Mutuelle communale Agenda des permanences Démarches Newsletter Associations Billetterie Théâtre Plan écrire au maire que faire à Moulins? > tout l'agenda KIOSQUE Magazine de la Ville D'une rive à l'autre Mars 2020 / N°265 Télécharger > toutes les publications Liens Le centre national du costume de scène En savoir + Moulins Communauté Office de Tourisme Moulins Habitat SICTOM Nord Allier Moulins DANS MA POCHE + de 2000 téléchargements et vous? Découvrir l'appli.

Why do they have to remake everything? Ive watched more than 10 Mulan based movies through my life including the Disney version. I dont mind watching yet another version (I love Disney movies) but there are so many great stories out there that havent been made into a movie yet. Gong Li is the witch. Love how they were kind enough to speak english for us back in ancient china 😅😅😅. “im glad there making this more historically accurate” sees men running up the great wall. Can't wait to hear renew version of reflection.

Aurora descended from heaven to share the voice of Angel's, she truly captures the spirit of freedom in her song's & defines the genre🤩. Okay but falcon and the winter soldier. heck yeah.

 

I would definitely watch this movie just to see how Mulan cuts her hair with a sword in one freaking stroke. One of the many scenes from Mulan that gave me goosebumps. In my lesson also the story of mulan for 10 std English subject Tamil nadu. I honestly want to know who the hell is the composer is for the trailer song, I know the original composer but this almost sounds like some Hanz Zimmer style of the original version. I cant even find it online hah.

Im super excited for this movie, but I have to be honest. The cartoon Mulan and this Mulan are way too different and should be considered different movies. I get this is more accurate and thats awesome, but I need my Mushu and my lets get down to business for it to be Mulan. Grandma: you should have brought home a man Shang walks in Grandma: sign me up for the next war This 80 year old grandma who already has a husband wants a young hot man AND wants to go to war. Again probably 80 years old That is ICONIC.


Where is mushu.
Movie directors: do you want us to 1. remove sheng 2. remove mushu ( but still have a woman who turns into a bird) 3. give you a sister Mulan: Yes.
I just read that there's no Shang in this movie. I've never felt more dissapointed in my life Edit: listen listen I just read (again) that there's a possible love interest for Mulan BUT IT'S NOT LI SHANG. Now I'm angry.
This movie makes forgot about the coronavirus is china, Mulan looks sooooo COOL!💖💖💖 (Pray for China.

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movie youtube Watch Mulan Online Download Watch ' Online 'Live Stream Online. Mulan See here. 8 Posted by 6 months ago Archived 芸能 1 comment 84% Upvoted This thread is archived New comments cannot be posted and votes cannot be cast Sort by level 1 1 point · 6 months ago 知ったような口聞いてんじゃねえぞばいたが More posts from the newsokur community Continue browsing in r/newsokur r/newsokur Newsokur(Breaking News on Reddit) is a subreddit for Japanese news and topics. / ニュー速R(ニュース速報@Reddit)は様々なニュースや話題を扱う掲示板(サブレディット)です。 29. 9k 人が購読中 146 人が閲覧中 Created Feb 17, 2015 help Reddit App Reddit coins Reddit premium Reddit gifts Communities Top Posts Topics about careers press advertise blog Terms Content policy Privacy policy Mod policy Reddit Inc © 2020. All rights reserved.

 

Mulan' at Dailymotion Download MULAN Megashare Watch Online Youtube… at"Dailymotion"Mulan full movie watch for free…. This score slaps! I hope Disney releases this in the score soundtrack. Disney: Dragons and crickets aren't real so Mushu and Cri-kee will not be in the new Mulan. Also Disney: Shape shifting witches are real and will be in the new Mulan.

I'm here because Aurora, she is should be the main singer. The Spanish singer is pretty. Qui kiffe quand la mamie dit criquet. The witch: you will die pretending something you are not. then turns into a falcon.




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Correspondent mulan monroe

Biography: Mulan Monroe Lewis 🤰🏾

 

 

 

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  • Columnist: Rabid Rook
  • Info: I'm a geek for all the geeky things. Comics, books, games, tv & movies, all the things! Trying my hand at reviews and gaming content. Formerly Shrouded Hivebane

 

  • writers Jen Soska, John Serge
  • The quiet Rose works in women's fashion clothing, hoping to be a designer. A traffic accident damages her face. She gets experimental stem cell treatment, leaving her stronger and prettier than ever - but there's a side effect
  • Ted Atherton, Hanneke Talbot
  • Release Date 2019
  • duration 1 Hour, 47Minute
  • Genre Horror

Not a single movie Id like to see. A fox obviously. Well, it finally happened, Rocket lost his mind. Besnilo movie page imdb. It had "continuity errors" from beginning to end. And, IMO they didn't add to the appeal of the characters, satire, or plot. So, either they intentionally inserted them or a few people noticed but chose to keep quiet.
The movie did have a great pro-vegan message in the final quarter. br>
Some of the continuity errors:
After Rose awakes in hospital meeting her doctor, she requests to see her wounds. She reels in horror and Doctor calmly says "I would strongly suggest staying away from mirrors right now.
Much later, Brad and Rose go on lunch date which is awkward, then are suddenly attacked by rabid zombie who is hammered bloody by Brad.
A few scenes later, Brad sees Rose and asks what was troubling her at their lunch lunch not about the zombie that came at her through the
diner window.
Even later, Rose goes into an alley for a break and collapses. Two curious males come up her and she takes one of them out with her "appendage" which is seen by Brad. Rose is taken back indoors where she resuscitates. Brad asks her what she is doing up, not mentioning the 5ft snake writhing from her armpit.

 

Besnilo movie page. The Damned: a great band. Besnilo movie maker. Im glad they caught and got rid of it Im not a big animal lover but I have compassion for them Id hate for a child to come across an animal with rabies and be attacked. Oh shit - I thought It's extinct disease. I hope you reported it somewhere.

Ye man me too al those corpses. Me:oh sweet this is a new horror movie starts trailer and see the word leave appear Me:k. Besnilo film ceo sa prevodom. Besnilo. I was gonna skip this trailer because who needs another zombie movie. Then I watched it anyway. Looks really good. Besnilo movie. Im confused. Beautiful woman: Ahhh whats happening to me! Im like a zombie everything feels so wrong. Doctor: Well, congrats darling you are patient zero we can lock you up while we find a cure. Besnilo movies. Great... a secluded cabin in the woods. Nothing EVER goes wrong in those kinds of places. Nothing about protecting the voting system.

So this movie is about doing everything u can to get laid before the end of humanity! Ohhhmhyygawwwd. This is soooo fetch.

 

Besnilo movies. DO NOT APPROACH OR COME NEAR ANY ANIMAL THAT BEHAVES LIKE THAT. Besnilo movie database. Rabies A dog with rabies in the paralytic (post-furious) stage Specialty Infectious disease Symptoms Fever, fear of water, confusion, excessive salivation, hallucinations, trouble sleeping, paralysis, coma [1] [2] Causes Rabies virus, Australian bat lyssavirus [3] Prevention Rabies vaccine, animal control, rabies immunoglobulin [1] Prognosis Nearly always death if symptoms start to manifest [1] Deaths 17, 400 (2015) [4] Rabies is a viral disease that causes inflammation of the brain in humans and other mammals. [1] Early symptoms can include fever and tingling at the site of exposure. [1] These symptoms are followed by one or more of the following symptoms: violent movements, uncontrolled excitement, fear of water, an inability to move parts of the body, confusion, and loss of consciousness. [1] Once symptoms appear, the result is nearly always death. [1] The time period between contracting the disease and the start of symptoms is usually one to three months, but can vary from less than one week to more than one year. [1] The time depends on the distance the virus must travel along peripheral nerves to reach the central nervous system. [5] Rabies is caused by lyssaviruses, including the rabies virus and Australian bat lyssavirus. [3] It is spread when an infected animal bites or scratches a human or other animal. [1] Saliva from an infected animal can also transmit rabies if the saliva comes into contact with the eyes, mouth, or nose. [1] Globally, dogs are the most common animal involved. [1] In countries where dogs commonly have the disease, more than 99% of rabies cases are the direct result of dog bites. [6] In the Americas, bat bites are the most common source of rabies infections in humans, and less than 5% of cases are from dogs. [1] [6] Rodents are very rarely infected with rabies. [6] The disease can be diagnosed only after the start of symptoms. [1] Animal control and vaccination programs have decreased the risk of rabies from dogs in a number of regions of the world. [1] Immunizing people before they are exposed is recommended for those at high risk, including those who work with bats or who spend prolonged periods in areas of the world where rabies is common. [1] In people who have been exposed to rabies, the rabies vaccine and sometimes rabies immunoglobulin are effective in preventing the disease if the person receives the treatment before the start of rabies symptoms. [1] Washing bites and scratches for 15 minutes with soap and water, povidone-iodine, or detergent may reduce the number of viral particles and may be somewhat effective at preventing transmission. [1] [7] As of 2016, only fourteen people had survived a rabies infection after showing symptoms. [8] [9] [10] Rabies caused about 17, 400 human deaths worldwide in 2015. [4] More than 95% of human deaths from rabies occur in Africa and Asia. [1] About 40% of deaths occur in children under the age of 15. [11] Rabies is present in more than 150 countries and on all continents but Antarctica. [1] More than 3 billion people live in regions of the world where rabies occurs. [1] A number of countries, including Australia and Japan, as well as much of Western Europe, do not have rabies among dogs. [12] [13] Many Pacific islands do not have rabies at all. [13] It is classified as a neglected tropical disease. [14] Signs and symptoms The period between infection and the first symptoms (incubation period) is typically 1–3 months in humans. [15] This period may be as short as four days or longer than six years, depending on the location and severity of the wound and the amount of virus introduced. [15] Initial symptoms of rabies are often nonspecific such as fever and headache. [15] As rabies progresses and causes inflammation of the brain and meninges, symptoms can include slight or partial paralysis, anxiety, insomnia, confusion, agitation, abnormal behavior, paranoia, terror, and hallucinations. [5] [15] The person may also have fear of water. [1] The symptoms eventually progress to delirium, and coma. [5] [15] Death usually occurs 2 to 10 days after first symptoms. Survival is almost unknown once symptoms have presented, even with intensive care. [15] [16] Fear of water Hydrophobia ("fear of water") is the historic name for rabies. [17] It refers to a set of symptoms in the later stages of an infection in which the person has difficulty swallowing, shows panic when presented with liquids to drink, and cannot quench their thirst. Any mammal infected with the virus may demonstrate hydrophobia. [18] Saliva production is greatly increased, and attempts to drink, or even the intention or suggestion of drinking, may cause excruciatingly painful spasms of the muscles in the throat and larynx. This can be attributed to the fact that the virus multiplies and assimilates in the salivary glands of the infected animal with the effect of further transmission through biting. The ability to transmit the virus would decrease significantly if the infected individual could swallow saliva and water. [19] Hydrophobia is commonly associated with furious rabies, which affects 80% of rabies-infected people. The remaining 20% may experience a paralytic form of rabies that is marked by muscle weakness, loss of sensation, and paralysis; this form of rabies does not usually cause fear of water. [18] Cause Rendering of the rabies virus Rabies is caused by a number of lyssaviruses including the rabies virus and Australian bat lyssavirus. [3] Duvenhage lyssavirus may cause a rabies-like infection. [20] The rabies virus is the type species of the Lyssavirus genus, in the family Rhabdoviridae, order Mononegavirales. Lyssavirions have helical symmetry, with a length of about 180 nm and a cross-section of about 75 nm. [21] These virions are enveloped and have a single-stranded RNA genome with negative sense. The genetic information is packed as a ribonucleoprotein complex in which RNA is tightly bound by the viral nucleoprotein. The RNA genome of the virus encodes five genes whose order is highly conserved: nucleoprotein (N), phosphoprotein (P), matrix protein (M), glycoprotein (G), and the viral RNA polymerase (L). [22] Once within a muscle or nerve cell, the virus undergoes replication. The trimeric spikes on the exterior of the membrane of the virus interact with a specific cell receptor, the most likely one being the acetylcholine receptor. The cellular membrane pinches in a procession known as pinocytosis and allows entry of the virus into the cell by way of an endosome. The virus then uses the acidic environment, which is necessary, of that endosome and binds to its membrane simultaneously, releasing its five proteins and single strand RNA into the cytoplasm. [23] The L protein then transcribes five mRNA strands and a positive strand of RNA all from the original negative strand RNA using free nucleotides in the cytoplasm. These five mRNA strands are then translated into their corresponding proteins (P, L, N, G and M proteins) at free ribosomes in the cytoplasm. Some proteins require post-translative modifications. For example, the G protein travels through the rough endoplasmic reticulum, where it undergoes further folding, and is then transported to the Golgi apparatus, where a sugar group is added to it ( glycosylation). [23] When there are enough viral proteins, the viral polymerase will begin to synthesize new negative strands of RNA from the template of the positive strand RNA. These negative strands will then form complexes with the N, P, L and M proteins and then travel to the inner membrane of the cell, where a G protein has embedded itself in the membrane. The G protein then coils around the N-P-L-M complex of proteins taking some of the host cell membrane with it, which will form the new outer envelope of the virus particle. The virus then buds from the cell. [23] From the point of entry, the virus is neurotropic, traveling along the neural pathways into the central nervous system. The virus usually first infects muscle cells close to the site of infection, where they are able to replicate without being 'noticed' by the host's immune system. Once enough virus has been replicated, they begin to bind to acetylcholine receptors at the neuromuscular junction. [24] The virus then travels through the nerve cell axon via retrograde transport, as its P protein interacts with dynein, a protein present in the cytoplasm of nerve cells. Once the virus reaches the cell body it travels rapidly to the central nervous system (CNS), replicating in motor neurons and eventually reaching the brain. [5] After the brain is infected, the virus travels centrifugally to the peripheral and autonomic nervous systems, eventually migrating to the salivary glands, where it is ready to be transmitted to the next host. [25]: 317 Transmission All warm-blooded species, including humans, may become infected with the rabies virus and develop symptoms. Birds were first artificially infected with rabies in 1884; however, infected birds are largely, if not wholly, asymptomatic, and recover. [26] Other bird species have been known to develop rabies antibodies, a sign of infection, after feeding on rabies-infected mammals. [27] [28] The virus has also adapted to grow in cells of cold-blooded vertebrates. [29] [30] Most animals can be infected by the virus and can transmit the disease to humans. Infected bats, [31] [32] monkeys, raccoons, foxes, skunks, cattle, wolves, coyotes, dogs, cats, and mongooses (normally either the small Asian mongoose or the yellow mongoose) [33] present the greatest risk to humans. Rabies may also spread through exposure to infected bears, domestic farm animals, groundhogs, weasels, and other wild carnivorans. However, lagomorphs, such as hares and rabbits, and small rodents such as chipmunks, gerbils, guinea pigs, hamsters, mice, rats, and squirrels, are almost never found to be infected with rabies and are not known to transmit rabies to humans. [34] Bites from mice, rats, or squirrels rarely require rabies prevention because these rodents are typically killed by any encounter with a larger, rabid animal, and would, therefore, not be carriers. [35] The Virginia opossum is resistant but not immune to rabies. [36] The virus is usually present in the nerves and saliva of a symptomatic rabid animal. [37] [38] The route of infection is usually, but not always, by a bite. In many cases, the infected animal is exceptionally aggressive, may attack without provocation, and exhibits otherwise uncharacteristic behavior. [39] This is an example of a viral pathogen modifying the behavior of its host to facilitate its transmission to other hosts. Transmission between humans is extremely rare. A few cases have been recorded through transplant surgery. [40] The only well-documented cases of rabies caused by human-to-human transmission occurred among eight recipients of transplanted corneas and among three recipients of solid organs. [41] In addition to transmission from cornea and organ transplants, bite and non-bite exposures inflicted by infected humans could theoretically transmit rabies, but no such cases have been documented, since infected humans are usually hospitalized and necessary precautions taken. Casual contact, such as touching a person with rabies or contact with non-infectious fluid or tissue (urine, blood, feces) does not constitute an exposure and does not require post-exposure prophylaxis. Additionally, as the virus is present in sperm or vaginal secretions, spread through sex may be possible. [42] After a typical human infection by bite, the virus enters the peripheral nervous system. It then travels along the afferent nerves toward the central nervous system. [43] During this phase, the virus cannot be easily detected within the host, and vaccination may still confer cell-mediated immunity to prevent symptomatic rabies. When the virus reaches the brain, it rapidly causes encephalitis, the prodromal phase, which is the beginning of the symptoms. Once the patient becomes symptomatic, treatment is almost never effective and mortality is over 99%. Rabies may also inflame the spinal cord, producing transverse myelitis. [44] [45] Diagnosis Rabies can be difficult to diagnose because, in the early stages, it is easily confused with other diseases or with aggressiveness. [46] The reference method for diagnosing rabies is the fluorescent antibody test (FAT), an immunohistochemistry procedure, which is recommended by the World Health Organization (WHO). [47] The FAT relies on the ability of a detector molecule (usually fluorescein isothiocyanate) coupled with a rabies-specific antibody, forming a conjugate, to bind to and allow the visualisation of rabies antigen using fluorescent microscopy techniques. Microscopic analysis of samples is the only direct method that allows for the identification of rabies virus-specific antigen in a short time and at a reduced cost, irrespective of geographical origin and status of the host. It has to be regarded as the first step in diagnostic procedures for all laboratories. Autolysed samples can, however, reduce the sensitivity and specificity of the FAT. [48] The RT PCR assays proved to be a sensitive and specific tool for routine diagnostic purposes, [49] particularly in decomposed samples [50] or archival specimens. [51] The diagnosis can be reliably made from brain samples taken after death. The diagnosis can also be made from saliva, urine, and cerebrospinal fluid samples, but this is not as sensitive or reliable as brain samples. [48] Cerebral inclusion bodies called Negri bodies are 100% diagnostic for rabies infection but are found in only about 80% of cases. [21] If possible, the animal from which the bite was received should also be examined for rabies. [52] Some light microscopy techniques may also be used to diagnose rabies at a tenth of the cost of traditional fluorescence microscopy techniques, allowing identification of the disease in less-developed countries. [53] A test for rabies, known as LN34, is easier to run on a dead animal's brain and might help determine who does and does not need post-exposure prevention. [54] The test was developed by the CDC in 2018. [54] Differential diagnosis The differential diagnosis in a case of suspected human rabies may initially include any cause of encephalitis, in particular infection with viruses such as herpesviruses, enteroviruses, and arboviruses such as West Nile virus. The most important viruses to rule out are herpes simplex virus type one, varicella zoster virus, and (less commonly) enteroviruses, including coxsackieviruses, echoviruses, polioviruses, and human enteroviruses 68 to 71. [55] New causes of viral encephalitis are also possible, as was evidenced by the 1999 outbreak in Malaysia of 300 cases of encephalitis with a mortality rate of 40% caused by Nipah virus, a newly recognized paramyxovirus. [56] Likewise, well-known viruses may be introduced into new locales, as is illustrated by the outbreak of encephalitis due to West Nile virus in the eastern United States. [57] Epidemiologic factors, such as season, geographic location, and the patient's age, travel history, and possible exposure to bites, rodents, and ticks, may help direct the diagnosis. Prevention Almost all human cases of rabies were fatal until a vaccine was developed in 1885 by Louis Pasteur and Émile Roux. Their original vaccine was harvested from infected rabbits, from which the virus in the nerve tissue was weakened by allowing it to dry for five to ten days. [58] Similar nerve tissue-derived vaccines are still used in some countries, as they are much cheaper than modern cell culture vaccines. [59] The human diploid cell rabies vaccine was started in 1967. Less expensive purified chicken embryo cell vaccine and purified vero cell rabies vaccine are now available. [52] A recombinant vaccine called V-RG has been used in Belgium, France, Germany, and the United States to prevent outbreaks of rabies in undomesticated animals. [60] Immunization before exposure has been used in both human and nonhuman populations, where, as in many jurisdictions, domesticated animals are required to be vaccinated. [61] The Missouri Department of Health and Senior Services Communicable Disease Surveillance 2007 Annual Report states the following can help reduce the risk of contracting rabies: [62] Vaccinating dogs, cats, and ferrets against rabies Keeping pets under supervision Not handling wild animals or strays Contacting an animal control officer upon observing a wild animal or a stray, especially if the animal is acting strangely If bitten by an animal, washing the wound with soap and water for 10 to 15 minutes and contacting a healthcare provider to determine if post-exposure prophylaxis is required 28 September is World Rabies Day, which promotes the information, prevention, and elimination of the disease. [63] Vaccinating other animals In Asia and in parts of the Americas and Africa, dogs remain the principal host. Mandatory vaccination of animals is less effective in rural areas. Especially in developing countries, pets may not be privately kept and their destruction may be unacceptable. Oral vaccines can be safely distributed in baits, a practice that has successfully reduced rabies in rural areas of Canada, France, and the United States. In Montreal, Quebec, Canada, baits are successfully used on raccoons in the Mount-Royal Park area. Vaccination campaigns may be expensive, and cost-benefit analysis suggests baits may be a cost-effective method of control. [64] In Ontario, a dramatic drop in rabies was recorded when an aerial bait-vaccination campaign was launched. [65] The number of recorded human deaths from rabies in the United States has dropped from 100 or more annually in the early 20th century to one or two per year due to widespread vaccination of domestic dogs and cats and the development of human vaccines and immunoglobulin treatments. Most deaths now result from bat bites, which may go unnoticed by the victim and hence untreated. [66] Treatment After exposure Treatment after exposure can prevent the disease if given within 10 days. The rabies vaccine is 100% effective if given early, and still has a chance of success if delivery is delayed. [21] [23] [67] Every year, more than 15 million people get vaccination after potential exposure. While this works well, the cost is significant. [68] In the US it is recommended people receive one dose of human rabies immunoglobulin (HRIG) and four doses of rabies vaccine over a 14-day period. [69] HRIG is expensive and makes up most of the cost of post exposure treatment, ranging as high as several thousand dollars. [70] As much as possible of this dose should be injected around the bites, with the remainder being given by deep intramuscular injection at a site distant from the vaccination site. [23] People who have previously been vaccinated against rabies do not need to receive the immunoglobulin, only the postexposure vaccinations on days 0 and 3. [71] The side effects of modern cell-based vaccines are similar to flu shots. The old nerve-tissue-based vaccination required multiple injections into the abdomen with a large needle but is inexpensive. [52] It is being phased out and replaced by affordable World Health Organization intradermal-vaccination regimens. [52] Intramuscular vaccination should be given into the deltoid, not the gluteal area, which has been associated with vaccination failure due to injection into fat rather than muscle. In children less than a year old, the lateral thigh is recommended. [72] Thoroughly washing the wound as soon as possible with soap and water for approximately five minutes is effective in reducing the number of viral particles. [73] Povidone-iodine or alcohol is then recommended to reduce the virus further. [74] Awakening to find a bat in the room, or finding a bat in the room of a previously unattended child or mentally disabled or intoxicated person, is an indication for post-exposure prophylaxis (PEP). The recommendation for the precautionary use of PEP in bat encounters where no contact is recognized has been questioned in the medical literature, based on a cost–benefit analysis. [75] However, a 2002 study has supported the protocol of precautionary administering of PEP where a child or mentally compromised individual has been alone with a bat, especially in sleep areas, where a bite or exposure may occur with the victim being unaware. [76] After onset A treatment known as the Milwaukee protocol, which involves putting a person into a chemically induced coma and using antiviral medications, has been proposed but subsequently found not to be useful. [77] It initially came into use in 2003, following Jeanna Giese, a teenager from Wisconsin, becoming the first person known to have survived rabies without preventive treatments before symptom onset. [78] [79] She, however, already had antibodies against rabies when she initially arrived at hospital. [77] While this treatment has been tried multiple times more, there have been no further cases of survival. [77] The protocol has since been assessed as an ineffective treatment with concerns related to the costs and ethics of its use. [77] [80] Prognosis Vaccination after exposure, PEP, is highly successful in preventing the disease. [67] In unvaccinated humans, rabies is almost always fatal after neurological symptoms have developed. [81] Epidemiology Deaths from rabies per million persons in 2012 0 1 2–4 5–9 10–17 18–69 Map of rabies-free countries and territories In 2010, an estimated 26, 000 people died from rabies, down from 54, 000 in 1990. [82] The majority of the deaths occurred in Asia and Africa. [81] As of 2015, India, followed by China (approximately 6, 000), and the Democratic Republic of the Congo (5, 600) had the most cases. [83] A 2015 collaboration between the World Health Organization, World Organization of Animal Health (OIE), Food and Agriculture Organization of the United Nation (FAO), and Global Alliance for Rabies Control has a goal of eliminating deaths from rabies by 2030. [84] India India has the highest rate of human rabies in the world, primarily because of stray dogs, [85] whose number has greatly increased since a 2001 law forbade the killing of dogs. [86] Effective control and treatment of rabies in India is hindered by a form of mass hysteria known as puppy pregnancy syndrome (PPS). Dog bite victims with PPS, male as well as female, become convinced that puppies are growing inside them, and often seek help from faith healers rather than medical services. [87] An estimated 20, 000 people die every year from rabies in India, more than a third of the global total. [86] Australia The rabies virus survives in widespread, varied, rural animal reservoirs. Despite Australia's official rabies-free status, [88] Australian bat lyssavirus (ABLV), discovered in 1996, is a strain of rabies prevalent in native bat populations. There have been three human cases of ABLV in Australia, all of them fatal. United States Rabies cases in humans and domestic animals — United States, 1938–2018 From 1960 to 2018, a total of 125 human rabies cases were reported in the United States; 36 (28%) were attributed to dog bites during international travel. [89] Among the 89 infections acquired in the United States, 62 (70%) were attributed to bats. [89] While canine-specific rabies does not circulate among dogs, about a hundred dogs become infected from other wildlife per year in the US. [90] [91] Rabies is common among wild animals in the United States. Bats, raccoons, skunks and foxes account for almost all reported cases (98% in 2009). Rabid bats are found in all 48 contiguous states. Other reservoirs are more limited geographically; for example, the raccoon rabies virus variant is only found in a relatively narrow band along the East Coast. Due to a high public awareness of the virus, efforts at vaccination of domestic animals and curtailment of feral populations, and availability of postexposure prophylaxis, incidence of rabies in humans is very rare. A total of 49 cases of the disease was reported in the country between 1995 and 2011; of these, 11 are thought to have been acquired abroad. Almost all domestically acquired cases are attributed to bat bites. [92] Europe Either no or very few cases of rabies are reported each year in Europe; cases are contracted both during travel and in Europe. [93] In Switzerland the disease was virtually eliminated after scientists placed chicken heads laced with live attenuated vaccine in the Swiss Alps. [65] The foxes of Switzerland, proven to be the main source of rabies in the country, ate the chicken heads and immunized themselves. [65] [94] Italy, after being declared rabies-free from 1997 to 2008, has witnessed a reemergence of the disease in wild animals in the Triveneto regions ( Trentino-Alto Adige/Südtirol, Veneto and Friuli-Venezia Giulia), due to the spreading of an epidemic in the Balkans that also affected Austria. An extensive wild animal vaccination campaign eliminated the virus from Italy again, and it regained the rabies-free country status in 2013, the last reported case of rabies being reported in a red fox in early 2011. [95] [96] Great Britain has been free of rabies since the beginning of the twentieth century except for a rabies-like virus in a few Daubenton's bats; there has been one, fatal, case of transmission to a human. There have been four deaths from rabies, transmitted abroad by dog bite, since 2000. The last infection in the UK occurred in 1922, and the last death from indigenous rabies was in 1902. [97] [98] Unlike the other countries of Europe it is protected by being an island, and by strict quarantine procedures. Mexico Mexico was certified by the World Health Organization as free of dog-transmitted rabies in 2019, since no case of dog-human transmission has been recorded in two years. [99] History Rabies has been known since around 2000 BC. [100] The first written record of rabies is in the Mesopotamian Codex of Eshnunna (circa 1930 BC), which dictates that the owner of a dog showing symptoms of rabies should take preventive measure against bites. If another person were bitten by a rabid dog and later died, the owner was heavily fined. [101] Ineffective folk remedies abounded in the medical literature of the ancient world. The physician Scribonius Largus prescribed a poultice of cloth and hyena skin; Antaeus recommended a preparation made from the skull of a hanged man. [102] Rabies appears to have originated in the Old World, the first epizootic in the New World occurring in Boston in 1768. [103] It spread from there, over the next few years, to various other states, as well as to the French West Indies, eventually becoming common all across North America. Rabies was considered a scourge for its prevalence in the 19th century. In France and Belgium, where Saint Hubert was venerated, the " St Hubert's Key " was heated and applied to cauterize the wound. By an application of magical thinking, dogs were branded with the key in hopes of protecting them from rabies. The fear of rabies was almost irrational, due to the number of vectors (mostly rabid dogs) and the absence of any efficacious treatment. It was not uncommon for a person bitten by a dog merely suspected of being rabid to commit suicide or to be killed by others. [104] In ancient times the attachment of the tongue (the lingual frenulum, a mucous membrane) was cut and removed as this was where rabies was thought to originate. This practice ceased with the discovery of the actual cause of rabies. [25] Louis Pasteur's 1885 nerve tissue vaccine was successful, and was progressively improved to reduce often severe side-effects. [15] In modern times, the fear of rabies has not diminished, and the disease and its symptoms, particularly agitation, have served as an inspiration for several works of zombie or similarly-themed fiction, often portraying rabies as having mutated into a stronger virus which fills humans with murderous rage or incurable illness, bringing about a devastating, widespread pandemic. [105] Etymology The term is derived from the Latin rabies, "madness". [106] This, in turn, may be related to the Sanskrit rabhas, "to rage". [107] The Greeks derived the word lyssa, from lud or "violent"; this root is used in the genus name of the rabies virus, Lyssavirus. [104] Other animals Rabies is infectious to mammals; three stages of central nervous system infection are recognized. The first stage is a one- to three-day period characterized by behavioral changes and is known as the prodromal stage. The second is the excitative stage, which lasts three to four days. This stage is often known as "furious rabies" for the tendency of the affected animal to be hyper-reactive to external stimuli and bite at anything near. The third is the paralytic stage and is caused by damage to motor neurons. Incoordination is seen, owing to rear limb paralysis, and drooling and difficulty swallowing is caused by paralysis of facial and throat muscles. Death is usually caused by respiratory arrest. [108] Research The outer shell of the rabies virus, stripped of its RNA contents and thus unable to cause disease, may be used as a vector for the delivery of unrelated genetic material in a research setting. It has the advantage over other pseudotyping methods for gene delivery that the cell targeting ( tissue tropism) is more specific for the central nervous system, a difficult-to-reach site, obviating the need for invasive delivery methods. It is also capable of infecting neighboring "upstream" cells, moving from one cell to axons of the next at synapses, and is thus used for retrograde tracing in neuronal circuits. [109] Evidence indicates artificially increasing the permeability of the blood–brain barrier, which normally does not allow most immune cells across, promotes viral clearance. [110] [111] See also Global Alliance for Rabies Control Rabies in Haiti Rabies in popular culture World Rabies Day References ^ a b c d e f g h i j k l m n o p q r s t u "Rabies Fact Sheet N°99". World Health Organization. July 2013. Archived from the original on 1 April 2014. Retrieved 28 February 2014. ^ "Rabies - Symptoms and causes". Mayo Clinic. Retrieved 9 April 2018. ^ a b c "Rabies, Australian bat lyssavirus and other lyssaviruses". The Department of Health. December 2013. Archived from the original on 4 March 2014. Retrieved 1 March 2014. ^ a b Wang H, Naghavi M, Allen C, Barber RM, Bhutta ZA, Carter A, et al. 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