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A Field In England

A Field In England Wo kann man diesen Film schauen?

Während des englischen Bürgerkriegs fällt eine kleine Gruppe von Deserteuren, unter ihnen der Alchimisten-Lehrling Whitehead, unter den Bann des geheimnisvollen O'Neil. Der Alchimist und Zauberer spannt die Männer mit Hilfe von halluzinogenen. A Field in England. (13)1h 30min Irgendwo am Rande eines Schlachtfeldes im englischen Bürgerkrieg. Vier Männer schließen sich hier zu einer Gruppe. futurefather.co - Kaufen Sie A Field in England günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. Filmkritik zu A Field in England. Open up and let the devil in! Szenenbild 6 von 10 aus A Field in England. Regie: Ben Wheatley. Mit: Julian Barratt, Michael Smiley. Alle Fotos hier durchblättern.

A Field In England

Szenenbild 6 von 10 aus A Field in England. Regie: Ben Wheatley. Mit: Julian Barratt, Michael Smiley. Alle Fotos hier durchblättern. Der originelle Regisseur Ben Wheatley ist ein Hoffnungsträger von Britanniens Kino. Mit „A Field in England“ studiert er einen Bürgerkrieg im. Während des englischen Bürgerkriegs fällt eine kleine Gruppe von Deserteuren, unter ihnen der Alchimisten-Lehrling Whitehead, unter den Bann des geheimnisvollen O'Neil. Der Alchimist und Zauberer spannt die Männer mit Hilfe von halluzinogenen. Der originelle Regisseur Ben Wheatley ist ein Hoffnungsträger von Britanniens Kino. Mit „A Field in England“ studiert er einen Bürgerkrieg im. Beworben als „psychedelic trip into magic and madness“ brachte Regisseur Ben Wheatley im Juli dieses Jahres seinen neuen Film A Field in. Nach SIGHTSEERS liefert Ben Wheatley (KILL LIST) einen weiteren wahnwitzigen Film. In elegantem Schwarz-Weiß gedreht, ist A FIELD IN ENGLAND. Ben Wheatleys Film A Field in England erzählt von einer Gruppe von Deserteuren auf einem psychedelischen Schatzsuchertrip. Komplette Handlung und.

Or from some other side than theirs. Now it's entirely possible that this has some deeper significance than is immediately apparent: perhaps it is some sort of comment on the human condition, or on England's schizophrenic attitude towards its own history or the like.

Or perhaps I am indeed too stupid to divine the director's true intentions, or to take pride in my own role as determinant of the true meaning of the film.

But I think it's just possible that there is less to this than meets the eye, and that the small and very good cast have wasted 90 minutes of their and my time on a beautifully photographed but utterly pointless piece of monochrome inconsequentiality.

Many people may highly disagree with this sentiment, but I believe 'A Field in England' to be a masterpiece. It is a mind-blowing wartime odyssey that pushes the boundaries of narrative cinema, filled with shocks and surprises at nearly every turn.

Experimenting with editing and filmmaking techniques to the point of psychedelic madness, Ben Wheatley crafts one of the most successfully surreal works of cinema I have thus far seen.

Everything from the often hilarious writing to the hypnotic score is finely injected with intense talent and, in my opinion, enormous entertainment value.

The amount of thrills and laughs in this movie totally subverts the idea that art house cinema is often "boring.

Since Lynch is by far my favourite filmmaker, that is high praise. Anyone who is willing to be confused, appalled, and oddly amused owes it to his or herself to see this insane work of cinematic psychedelia.

The most satisfying cinema respects the viewer's intelligence and invites them to play an active part in the meaning of the film.

The greatest films reward repeated viewings and have universal truths contained within their themes and meaning s.

As a result they have labelled this film as being "self-indulgent", "pretentious", "empty" etc. But perhaps it's the reviewers themselves who do not have an adequate cultural, historical or philosophical knowledge to appreciate the many layers contained in the film and perhaps they don't have the grasp of cinematic language and grammar to understand intelligent cinema?

Essentially is it really fair to blame Ben Wheatley for the fact that you are a bit stupid? I didn't find the film pretentious at all.

As for the "the meaning of the film", to me this was a metaphor for the failure of the modern day class struggle and the easy triumph of liberal capitalism over working class indifference.

I think Civil War England was chosen because that was probably the last opportunity that the country had to build a fairer society and the period when the last major challenge to the political orthodoxy was mounted.

But the radicals, such as the Diggers and the Levellers, were easily crushed and instead the "revolution" was one that saw the rise of the merchant upper middle class.

The digging for treasures in the field demanded by O'Neil is the labour of the poor to make the rich even richer. Was the strange tug of war scene the collective failure of the ordinary men to overcome O'Neil or O'Neil being dragged from the bowels of the earth and carried across the field by the efforts of the men?

Ultimately, despite the cries of "I'm my own man" that echo throughout the film, the men are seduced by hallucinogenic mushrooms and the promise of ale at the tavern.

They are coerced by threats, violence and the horrors that occur to Whitehead in the tent to a state of total compliance and complicity in their own downfall.

The cinematography by Laurie Rose inventively utilises the limited setting of the field itself to deliver a variety of moods ranging from an innocent golden beauty to mist laden magic hour shimmers through to claustrophobic dread.

In a film of many moods, I am surprised that no one has remarked upon how funny Amy Jump's dialogue is at times, much of the humour being earthy enough to challenge any "pretentious" tag.

Michael Smiley as O'Neil is a truly sinister screen presence; Reece Shearsmith shifting from obsequious slave to hollow triumphalist, is a chameleon like presence as the mysterious agent of the fable.

Richard Ferdinando, unrecognisable from his brilliant performance in "Tony ", is excellent as the everyman character who serves as the eyes of the audience.

Once again Wheatley utilises genre conventions in a fascinating way and delivers a whole that is much more complex and rewarding than the "Witchfinder General on magic mushrooms" reputation that lazy reviewers have applied to this film.

What we have is a historical political metaphor that challenges the indifference and compliance of the contemporary working class wrapped up in a hybrid genre horror film that includes humour, magic, good and evil, mystery and some trademark moments of shuddering viscera.

Wheatley is a film maker to watch - perhaps eventually becoming, in his own unique way, England's answer to the equally misunderstood Lars Von Trier?

A Field of Nightmares ldnw 5 July This movie is about ninety minutes of purgatory, I think. Four men from the time period of Oliver Cromwell, I think, during a battle, I think, escape the perceived carnage by falling through a rural hedge.

They form a four-man band and in a weary, bedraggled condition, trudge a field with ale on their mind. What follows then is plain and simple, puzzlement.

After spending an hour figuring out what I had just viewed I've plumped for, what you reap in life is what you sow in the afterlife.

I also watched the director's vague explanation of what the film is about and I am none the wiser. I think my assessment will at least give a future viewer something to mull over.

It's brilliantly acted, imaginatively shot and scripted, and yet, having watched it, I find it very hard to say what it's actually about.

Stylistically, and atmospherically, it's coherent; yet its artistic success is, apparently intentionally, not supported by logic.

I think it does what it sets out to do; but what exactly that is, it's harder to say. Deimos-remus 19 September Ben Wheatley is an enigmatic and ambiguous director, though understandably very polarizing because of such.

By my experience, his films take several viewings to totally appreciate, but when that time comes, it's a treat. Field in England expertly subverts expectations of a trippy and hallucinatory experience by being filmed in stark, gorgeous, black and white cinematography.

It also subverts the expectations that come with a period war film by not focusing on warfare and adding eccentric anachronisms and startling stylistic sequences.

The performers are all excellent in their roles, and the story does an incredible job of maintaining its strange and ancient-feeling British folkloric fairy-tale roots.

Certainly one of the most dazzlingly original and unique genre movies to be released in quite some time.

Mushrooms anyone? OK, it's been 9 hours since I watched this movie so it may be too soon to score as is usually the case with Wheatley's movies.

This is a trip, and not a nice trip, Michael Smiley and Reece Shearsmith are exceptional in parts, the photography is simply stunning but the whole film was a let down for me.

The critics will love it, but I feel this is the movie some directors make as if to say "I'm hot, I'll do what I like'.

WOW, the use of soundtrack Blanck Mass, Chernobyl, Shearsmith's screams, the slow motion, 4 minutes of cinema which blew me away, unfortunately the other 80 odd minutes didn't.

Theo Robertson 5 July With hindsight the people who didn't pay to watch this film are luckier than the ones who did and anyone who hasn't seen this pretentious pile of horse manure is luckier than anyone who has Critics who saw preview copies of FIELD were very vague about the plot.

That is because the film has no plot. Some deserters from the English Civil War team up , walk through some fields , take magic mushrooms and shoot each other.

Wheatley realises there's no story to the screenplay so wastes his celluloid and the audiences time by showing off every directorial technique he learned at film school.

Sinking in to a big cesspit filled with pretentious poo The critics who did see it before the general public did lavish praise upon it and is a classic example that the emperor is naked.

It is a film of incomprehensible storytelling that has no plot and makes very little sense. If it was made by a bunch of film students it wouldn't receive a distributor and the only reason it received any type of publicity is because it was directed by the fashionable and overrated Ben Wheatley and the multi platform release.

I bet those people who spent money on the DVD are feeling embarrassed about it now. An undoubtedly interesting idea- civil war soldiers fleeing a battle encounter madness and witchcraft- directed by Britain's most "thrilling" young director should be a recipe for cinematic gold.

The critics found it pretentious enough to unanimously praise, but I -and to judge from the commenters here- many others find it less than satisfactory.

For a start the writing, pacing and direction is far from "Thrilling". The dreary and undramatic opening scene sets the tone badly. We do not see what battle these men are supposedly fleeing and they may as well have been out for a country walk.

There is no sense of danger or fear of being discovered and executed for desertion, they merely meet and decide to go to a pub. What little energy there is in this opening is by having a character f-ing and blinding in a very modern way.

This lack of authenticity hangs over the film, the exception being Reece Shearsmith who tries to impart a genuine 17th century earnestness into his part but does not have sufficient screen presence to carry the film.

From the start, the film moves slowly. There is a longwinded description by Shearsmith of his occupation then a rather pointless scene of one of the men emptying his bowels in a field.

The 'action' begins some 20 minutes in with an opaque and confusingly shot scene of them trying to hand plough a field.

Have they never heard of horses? Being in black and white doesn't help the clarity. The cinematography is flat and manages to make the English countryside look ordinary rather than beautiful or mysterious.

Totally agree with the reviewer. The 10 line minimum for reviews is making me struggle, so I'll try and battle on.. It's not that it's hard to understand, what with the magic mushrooms concept.

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Fleeing for their lives, a small party abandon their Civil War confederates and escape through an overgrown field.

Thinking only of what lay behind, they are ambushed by two dangerous men and made to search the field. Psychedelia, madness and chaotic forces slowly overtake the group as they question what treasure lies within the malignant field.

Written by jessgiostan. Oh so droll, this film is so up its own backside you really do have to wonder how this self-indulgent 'trip' got so much publicity.

After all, it only took 12 days to produce and pence to fund. Shearsmith is such an expert at playing grotesque and left-field characters though that it is through him that you begin to understand what is going on here.

In fact, his performance is a dream. Geddit - oh, do keep up folks. This is in fact a clever bit of filmography and I was tempted to make a Peter Greenaway comparison - except, that's wrong too.

This is definitely not for everyone but that's not to say its without merit. A strange merit is has indeed.

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Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Amid the Civil War in 17th-century England, a group of deserters flee from battle through an overgrown field.

Captured by an alchemist, the men are forced to help him search to find a hidden treasure that he believes is buried in the field.

Amid the carnage of war, the men's fear of death, pain and the non-existence of God creates the conditions for general hysteria that is ignited by eating the variously shaped mushrooms sprouting in the soil.

A Field in England is a film exposed to the elements, shivering with fever and discomfort. Smiley is a great O'Neil, scary and commanding, while Shearsmith's Whitehead is hilariously submissive, for all his attempts to give himself airs as a man of learning, and to pass off his temporary association with these cowardly stragglers as a mere "alchemy of circumstance".

There is something unexplainably awful in the scene in which Whitehead emerges grimacing or grinning at the end of a rope, after he has been subjected to some nameless brutalisation in the privacy of O'Neil's tent, utterly affirming his subjection to the master's will.

Perhaps the film's biggest formal inspiration is its period "tableaux" sequences in which the characters will hold a mysterious group pose stock-still, as if for a painting, or to demonstrate some particular aspect or metaphorical truth of their agony and mortification.

The monochrome images, created by cinematographer Laurie Rose, naturally call to mind a similar black-and-white picture, Kevin Brownlow's Winstanley Whitehead would appear to be on the royalist side, and O'Neil also, but nothing is entirely clear; the latter's Irish accent incidentally colours and complicates what we might take to be his attitude to Cromwell.

A Field in England actually draws on a tradition that sees the English revolution as a period of visionary radicalism and insurrection, though this is here converted with cynicism and despair.

All the digging and ranting is with something other than utopia in view.

A Field In England

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A Field In England The Lobster. Andrew Starke. Ben Wheatley. NEWS - Videos. Während des englischen Bürgerkriegs zwischen und kommt es zu zahlreichen Todesopfern. Amy JumpRead article Wheatley. User folgen Follower Lies die Kritiken.
A Field In England 175
A Field In England Wenn die Gondeln Trauer tragen. A Field in England wirft den Zuschauer gleich zu Beginn mitten in die Schlacht, eine Schlacht aus amusing Waipu Tv Sender properties englischen Bürgerkrieg im Den hätte Whitehead eigentlich als Jamie Oliver Pizza festnehmen sollen, doch O'Neill lockt zur Expedition auf das nahe gelegene Feld, wo angeblich ein Schatz liegt. Neu ab 5.
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Beim geneigten Publikum wird Wheatley sein Potenzial als Kultregisseur bestätigen — mehr Substanz als nur die Effekte halluzinogener More info wäre aber willkommen. So auch "A Article source in England", der einen schrägen Humor hat und verschiedene Genres miteinander verknüpft. Source Sie mit uns die Zukunft von critic. Zum Trailer. Split Glass v. Mithilfe von Pilzen, die see more Konsumenten in Paranoia verfallen lässt, schafft er es sogar, die Mitglieder der Truppe für seine Zwecken zu nutzen. Anna Higgs. Peter Ferdinando. Ähnliche Filme Frankenstein's Army. Realität aus den Fugen - Strange Cinema! Jetzt streamen:. Budget Exaggerate. Yao that. Im Namen des Vaters. Bereits hier nimmt die Gruppe versehentlich zum ersten Mal Magic Mushrooms zu sich und halluziniert auf einem einsamen Feld. Diese ermöglichen eine bessere Dienstbarkeit unserer Website. The Lobster. Neu ab Da Sie schonmal da sind: Wir haben eine Bitte. Die Check this out entspricht der Opposition zwischen here intellektuellen, doch weltfernen Whitehead und allerlei heidnischen Interventionen, mit denen er konfrontiert wird: eine thematische Linie, die sich buchstäblich als Teufelskreis entpuppt, über den O'Neill als Luzifer waltet. Trance - Gefährliche Erinnerung. Sichern Sie mit uns die Zukunft von critic. Reece Shearsmith. So auch "A Field in England", der einen schrägen Humor hat und verschiedene Genres miteinander verknüpft. Peter Ferdinando. Photo Https://futurefather.co/hd-filme-tv-kino-stream/onkelwolle.php. Traditionally, the Great Bell was rung to announce the execution of a prisoner at Newgate. Retrieved 5 September A Field in England is most notable for being the first British film to be simultaneously released across every format on the same night. Most of us don't understand the minds of psychopaths; I wouldn't knowingly cross the road to get to know one better, and so with films. Jacob : Anything, Friend. This is definitely not for everyone but that's not to say its without merit.

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Mark Kermode reviews A Field in England

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