Leslie Payne

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Country=USA; scores=101 Votes; rating=5,8 of 10 stars; directed by=Brock Manwill, Christian Larsen; Genres=Thriller; Duration=1 h, 49 Minute. Movie lorenzo& 39;s oil.

Lore Theatrical release poster Directed by Cate Shortland Produced by Karsten Stöter Liz Watts Paul Welsh Benny Drechsel Screenplay by Robin Mukherjee Cate Shortland Based on The Dark Room by Rachel Seiffert Starring Saskia Rosendahl Philip Wiegratz Kai Malina Nele Trebs Ursina Lardi Music by Max Richter Cinematography Adam Arkapaw Edited by Veronika Jenet Production company Roh Film Porchlight Films Edge City Films Distributed by Transmission Films (AUS) Piffl Medien (GER) Artificial Eye (UK) Release date 10?September?2012 (AUS) 11?October?2012 (GER) 22?February?2013 (UK) Running time 109 minutes [1] Country Australia Germany United Kingdom Language German English Budget EUR ? 4. 3 million Box office USD $ 970, 325 [2] Lore is a 2012 German-British-Australian historical drama film based on Rachel Seiffert 's much awarded novel The Dark Room, written by Robin Mukherjee and the film's director, Cate Shortland. In south-west Germany, during the aftermath of World War II, five destitute siblings must travel 900?km (560?mi) to their grandmother's home by the Bay of Husum near Hamburg after their high-level Nazi parents disappear in the face of certain arrest by Allied occupation authorities. Along the way, they encounter a variety of other Germans, some of whom are helpful while others are antagonistic. Eventually they meet up with a young man who has been pretending to be Thomas, a young Jewish concentration camp survivor, who joins their group and becomes their unofficial guardian. Plot [ edit] The return of the Nazi officer father towards the end of World War II upsets the family household in Southern Germany. They pack in a rush, kill the family dog and flee their stately home to hide-out in a secluded cabin in a clearing in the woods in the Black Forest. Lore's mother carefully wraps a porcelain figurine of a deer to take with them. Lore's father leaves for destinations unknown and with the news of the death of Adolf Hitler, her mother is aware of the fact she will be arrested too and goes off to a camp voluntarily, abandoning her five children and leaving Lore in charge with instructions to go to her grandmother's ( Omi) house in Husum near Hamburg. Before leaving, Lore's mother gives her all of her jewellery and some money for the train tickets. After the neighbors are no longer willing to sell them any food, Günther is caught stealing so Lore decides it's time to leave. Unfortunately the trains are no longer running so they have to leave all their belongings behind and start their journey on foot. The children arrive at the ruins of an abandoned house and Lore discovers the dead body of a woman. She goes into the house to look for her brother Günther and stumbles upon a young man sleeping. The next day they arrive at a church and Lore pays a woman to breast-feed her baby brother Peter. They again run into the young man from the day before. News and photos of the atrocities committed at the Nazi concentration camps are posted on a wall in the center of the nearby village for all to see. Lore looks at the photos intently and recognizes her father in a Nazi officer's uniform. That evening, they move on to stay the night in a school. They encounter the same young man on his own who later makes a sexual advance on Lore but is rebuffed. The next day he follows them out of the town as they continue on their journey. Arriving at a farm, Lore gives a gold bracelet and her mother's gold ring to an old woman in exchange for food. Lore finds the body of a dead man who shot himself and steals his watch. The old woman begs Lore to leave the baby behind so others will give them food but she refuses and they leave. While walking, Lore again runs into the same man. She keeps on walking and he follows them. A truck with American soldiers drives up and stops. When asked for identification, the young man says his name is "Thomas" and shows the soldiers his Jewish identification papers and says he is Lore's brother. We see he has a serial number from a concentration camp tattooed on the inside of his forearm. The Americans give them a lift. The next day Lore falls ill and Thomas provides food for all of them. While bathing, Liesel questions why Lore doesn't like Thomas. Later Lore approaches Thomas, takes his hand and has him fondle her. When he lays his head against her legs she pushes him away. The following day while walking in the forest, Lore buries the picture of her father and the picture of him at the concentration camp. They continue walking and reach a river they cannot cross. Thomas offers to go across with Peter. Lore says he'll go across and leave the rest of them. Lore goes down a hill and finds a man with a row-boat. She asks him for help but he is not interested. She then sees Thomas on the road behind the man, so she allows the man to make sexual advances on her to distract him. Thomas hits the man over the head with a rock and kills him. Lore is visibly shaken. They take the man's boat and cross the river but while climbing the river bank Lore is guilt-stricken and backs into the river with Peter in her arms. Thomas pulls them both out and takes Peter from Lore's arms and hands him to Liesel. Upon reaching the British sector, they are denied passage and must remain in the Soviet sector. Lore asks Thomas if he told the soldiers what they did and he pulls her back from the guards. They decide they will cross into the British sector at night so they can catch one of the trains that are running there. After walking at night in the forest they pitch camp. When they smell somebody cooking, Thomas tells them to stay put and goes off to investigate. A restless Günther sees a man returning and believing it to be Thomas, runs towards him but is shot and killed by Soviet soldiers. Thomas then threatens he will leave them behind unless they keep moving on with him. During an argument with Lore, Thomas says he can't help them any more and that they can take the train and reach their destination safely. Lore is afraid he will leave them and in her anger and frustration calls him a filthy Jew. She cries and breaks down, so he decides to stay. They manage to board a train but are stopped by soldiers that ask for their papers. Thomas finds he is missing his wallet with his identity papers so he steps off the train to avoid getting caught. During the final leg of the trip along the muddy tidal plains of the western coast of the Jutland Peninsula, Jürgen confesses that he actually stole Thomas' wallet so he wouldn't abandon them and that the papers weren't his anyway, but belonged to someone else called Thomas Weil, who Thomas had been impersonating. The four remaining siblings finally arrive at Omi' s house. She takes them in, feeds them and lectures them to not ever be ashamed of their parents. She mistakes Jürgen for Günther, and they tell her Günther died in the Soviet sector. Lore goes to her bedroom, which was her mother's when she was a child, and places her mother's porcelain figurine of the deer on the dresser, next to a collection of similar figurines. Lore finds it difficult to adjust and refuses to cheerfully dance to American music with Liesel in the kitchen. She goes for a walk in the woods and looks at the identity papers and family pictures of Thomas Weil in Thomas's wallet. Back at the house, they are sitting at the dining table when Jürgen impulsively grabs a piece of bread. Omi scolds him for not waiting to be served by the housekeeper and asks him whether he has ever learned anything at all. Lore is angered by her grandmother's authoritarianism so, siding with her brother, she also grabs a piece of bread without asking, bites into it and intentionally knocks over her glass of milk, pushes the milk off the table into the palm of her hand and drinks the milk. Omi excuses her from the table. Lore goes back to her room, throws the porcelain figurines off the dresser onto the floor and crushes them one by one with her heel. Cast [ edit] Saskia Rosendahl as Hannelore "Lore" Dressler Kai Malina as Thomas Nele Trebs as Liesel Ursina Lardi as Mutti (the mother) Hans-Jochen Wagner as Vati (the father) André Frid as Günther Mika Seidel as Jürgen Eva-Maria Hagen as Omi (the grandmother) Nick Holaschke as Peter Sven Pippig as Bauer Philip Wiegratz as Helmut Production [ edit] The producer Paul Welsh, secured the film rights to Rachel Seiffert 's novel very early and asked Robin Mukherjee to write an adaptation for the cinema. When the director Cate Shortland joined the project she re-wrote part of the screenplay to make it fit her way of working. At a later stage, it was agreed that most of the dialogue should be in German, which delayed the production for a year and forced one of the British funding institutions to back out, as its rules didn't allow backing of non-English language films. [3] Release [ edit] The film was first shown at the Sydney Film Festival on 9 June 2012, followed by the Festival del film Locarno on 2 August, where it won the Piazza Grande audience award, the Prix du public UBS. [4] It was then shown at a large number of film festivals around the world. [5] At the Stockholm International Film Festival, in November, the film was awarded four awards, including the Bronze Horse for best film. It was selected as the Australian entry for the Best Foreign Language Oscar at the 85th Academy Awards, but it did not make the final shortlist. [6] It was released on cinema in Australia on 20 September 2012, in Germany on 1 November 2012, and in France, Belgium, United Kingdom and Ireland in February 2013, when it also saw a limited release in the United States. [5] Critical reception [ edit] Lisa Schwarzbaum, reviewer for Entertainment Weekly, gave the film a B+ and wrote, "This striking, slow-building drama from Cate Shortland ( Somersault) uses fractured, impressionistic imagery as a mirror of moral dislocation as the children make their way throug

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A scene from Lore. From countless movies, books and television documentaries on the History Channel, we know about the Nazis who were rounded up and tried as war criminals after World War II, but what about the children of the Third Reich who survived? What happened to them in the eyes of the allies, the Germans and the world? This issue is illuminated in Lore, a brave, gripping, relentlessly absorbing film from Australia, shot in Germany and played entirely in German with English subtitles. It’s Australia’s deserving contender for this year’s Academy Award, for a very good reason. As a chilling footnote to the most brutal chapter in human history, and a Holocaust film unlike any other, it shows the legacy of Nazism through the eyes of innocent children in the aftermath of horror. Without the usual scenes of torture and carnage, it examines the postwar landscape of a defeated ideology with wrenching force. In Lore, the battles are fought in the hearts and minds of children so young that their only crime was to believe the lies their parents told them. Prepare to be moved to tears. In the spring of 1945, when the Allied forces conquer Germany, the last traces of resistance fade and Hitler and his closest advisers lock themselves in an underground bunker to commit suicide, a 14-year-old girl named Lore (hauntingly played by newcomer Saskia Rosendahl) is almost relieved. It means that her father, a high-ranking S. S. officer, is coming home to Bavaria for good. But the celebration is short-lived, as her parents hastily dress their five children and prepare to flee?packing up the silver, killing the family dog and erasing any evidence of their involvement with the Nazi regime by burning photographs, documents, medical records and official books like “Law for the Prevention of Hereditarily Diseased Offspring. ” For a while, they hide out on an isolated farm, but the father is sent to a prison camp and the traumatized mother, raped and half-mad with despair, surrenders, leaving Lore in charge of her four younger siblings, including an infant still in diapers. The tables have turned, and loyal followers of Hitler now find themselves victims of their own toxic arrogance. With some of her mother’s jewelry and enough money to purchase train tickets to their grandmother’s house, 560 miles north of Hamburg, Lore is left to fend for herself and save the children from the advancing Allied armies. Lore. Most of the film is a grueling road trip that doesn’t spare the wrenching details. Hiking across a war-ravaged country, the children encounter dead bodies, live on raw eggs and beg for bread. On the walls in town squares, Lore sees her first photos of concentration camp atrocities, and is informed by locals that the pictures are pure American propaganda and the emaciated people in striped camp uniforms are really paid actors. In a deserted farmhouse, she meets an old woman who is willing to trade drinking water for her mother’s wedding ring, and in a barn, she steals a wristwatch from a suicide victim. They are stopped on the road by hostile American soldiers and saved from arrest by a Jewish boy from Buchenwald, who protects them by pretending he’s their older brother, because “Americans love Jews. ” Still brainwashed by the Führer-worshiping, anti-Semitic hatred of her falsely superior upbringing, Lore is shocked by the younger children’s acceptance of his kindness and confused by her own growing sexual tension in his presence. To survive, she is forced to trust the kind of person she was taught to fear and despise. But even though her view is maturing, she cannot avoid the suspicious fellow Germans she encounters, like the woman reduced to poverty and starvation who still keeps a framed photograph of Adolf Hitler on the wall, fighting back tears: “We broke his heart, he loved us so much. ” The way in which Lore reaches her epiphany, accepts the truth she was sheltered from for so many years and denounces her misplaced patriotism is emotionally overwhelming. Beautifully photographed and acted by an exquisite cast of children who never make a single move that is calculated or less than believable, Lore is the second film by the gifted director and co-writer Cate Shortland, after her acclaimed 2004 debut feature Somersault, which also dealt with a teenager’s sexual awakening in the face of adversity and challenge. But Lore delves even deeper, not only into the forced sacrifice of one girl’s childhood, but into the complicity with which so many Germans of all ages drank the Kool-Aid of organized insanity that led to criminal domination and international ruin. It’s a remarkable accomplishment. LORE Running Time 109 minutes Written by Cate Shortland, Robin Mukherjee and Rachel Seiffert (novel) Directed by Cate Shortland Starring Saskia Rosendahl, Kai-Peter Malina and Nele Trebs 4/4.
Lore movie 2020. Movie lorenzo and monica. Lore movie trailer. Movies lodi. Movie lore review. Movie lorenzo. Movie long flight. Movie late night. Movie loretta devine. Movie lorena netflix. The hidden lore movie. Lore 2012. Lore movie 2018. Bandes-annonces Casting Critiques spectateurs Critiques presse Photos VOD Blu-Ray, DVD Musique Secrets de tournage Box Office Récompenses Films similaires News note moyenne 3, 8 279 notes dont 47 critiques répartition des 47 critiques par note 8 critiques 16 critiques 14 critiques 0 critique 1 critique 47 critiques spectateurs Trier par Critiques les plus récentes Critiques les plus utiles Par les membres ayant fait le plus de critiques Par les membres ayant le plus d'abonnés 2 étoiles - Lore Les images sont belles et ne manquent de subtilités. Mais la réalisatrice se perd dans un curieux mélange des genres. On se perd dans une errance scénaristique, qui n'arrive pas à exprimer son double message: moralisateur et initiatique. Film assez maladroit à mon sens, cherchant à allier esthétisme et réalisme cru. Le propos de base ne manque pas d'intérêt mais la mise en scène donne l'impression de vouloir nous montrer une série de tableaux, avec ces longs plans et ces scènes qui s'accumulent, avec leur accumulation de portraits de citoyens déconfits devant l'horreur que leur pays avait banalisé, mais qu'ils doivent maintenant admettre, en même temps que la défaite alors que le monde juge les atrocités perpétrées. Un postulat hyper intéressant, un début prenant mais pour arriver où? A du vide, du creux. Que ces enfants soient des enfants de nazis ça les différencie en quoi dans ce road movie? On voit des gamins survivre dans une forêt et après? Se laver, trouver à bouffer, ça se résume qu'à ça. Aucun affrontement idéologique lié à leur éducation, leur milieu qu'on nous a présenté comme nazi, n'apparait dans le film ou une soit disant prise de conscience et de remise en question concernant Hannelore, qui aurait pu parfaitement être la fille de n'importe qui. Ses origines nous sont décrites que dans les premiers instants du film n'entrainant aucune conséquence de comportement tout au long du film. Ils sont juste abandonnés réalisant que leur parents ne reviendront sans doute jamais En résumé c'est un Xième film sur des enfants livrés à eux même en cette période d'après-guerre pour ce film là ou de guerre pour d'autres. Film très survolé, que cela soit au niveau de la reconstitution de l'époque et de son ambiance (mettre trois figurants en uniforme russe ou US n'est pas suffisant) que du développement du caractère des personnages. On a beaucoup de peine à s'identifier et donc à réellement s'apitoyer sur leur sort. L'opposition entre enfants de nazi et le juif, dont on ne sait rien, n'est pas vraiment mise en valeur alors que c'est le sens du film. En dehors d'une scène avec le père au début, comment sait-on qu'ils ont été élevés dans le fanatisme? Quelle pensée, quels sont les actes de Lore qui pourraient nous le faire comprendre? Et le survivant juif, qu'est ce qui le pousse à venir en aide à cette famille d'"ennemis" qui ne peut que le ralentir et lui porter des ennuis. Trop lisse et trop lent. Film magnifique sur les dégâts de la 2nde guerre mondiale sur le peuple allemand et le traumatisme laissé par l'endoctrinement nazi!! Les acteurs sont prodigieux, la BO envoûtante et vraiment j'ai beaucoup aimé suivre ce road movie d'enfants hitlériens qui tentent d'échapper aux représailles américaines ou russes!! Alors certes c'est parfois un peu lent et onirique mais le fond est si bouleversant et passionnant qu'on passe au dessus!! Un point de vue nouveau et humain sur une période sombre de l'histoire allemande! C'est un film dur, mais magnifique. On ne s'ennuie pas une seconde. Ces jeunes acteurs sont formidables! Le film peut mettre mal à l'aise car il traite d'un sujet dérangeant traité de manière épurée avec très peu de dialogue. On assiste à la prise de conscience d'une gamine, fille de nazis, qui va se rendre compte que sa famille est du côté des tortionnaires. Et cela tout au long de la route qui la mène vers sa mamie avec ses frères et sœurs. Elle va en effet découvrir une réalité atroce qu'elle ignorait avec des cadavres violés ou torturés et des photos des camps nazis. Son instinct la guide pour rester en vie. C'est ce que le film nous montre, ce voyage difficile avec l'aide imprévue de ce jeune homme juif qui va aider toute la fratrie en trouvant ou volant de la nourriture. Que ce garçon soit juif la fait bien réfléchir à ce que ses parents lui ont dit ces gens-là! Mais les enfants ne sont pas responsables des atrocités qu'ont commises les adultes et le plus important c'est la prise de conscience de la réalité historique quand on atteint l'âge de penser par soi-même. N'est-ce pas ce que fait Hannelore, finalement? Ce film est magnifique... Pour ceux qui disent qu'on va dans le pathos, je ne suis mais alors pas du tout d'accord! On va dans tout sauf le pathos. Si vous voulez voir du pathos avec la musique qui nous dit quand pleurer, etc, allez voir "La Rafle", pas ce petit bijou! Tout d'abord, on est plongés dans un univers où l'authenticité nous force à y croire: les habits, les coiffures, les meubles, l'ambiance, TOUT retranscrit parfaitement bien l'époque, et pas n'importe laquelle et surtout pas n'importe où: la Libération (pour nous) mais qui se passe en Allemagne. On suit Lore, cette jeune fille, dans sa quête pour survivre mais aussi, dans sa quête du savoir, qui va apprendre ce que faisait son père et va se détacher peu à peu des idéaux nazis qui faisaient une partie de ce qu'elle était et qui symbolise aussi le détachement de la mère (symbolisé lui-même par la destruction du cerf en porcelaine par Lore à la fin). A cela s'ajoute l'adolescence et, par la rencontre avec Thomas, Lore va faire la connaissance du désir (avec certaines scènes qui, malgré aucune nudité, et aucune démonstration, font parfaitement bien naître une ambiance érotique), ce qui va encore plus la troubler et va faire qu'une relation "amour-haine" s'installe entre les deux. Le film joue donc beaucoup sur les sentiments (là où la musique magnifique de Max Richter va prendre son importance), la nature, les paysages, tout est très métaphorique dans ce film, on en oublierait presque le contexte historique, et là est la force du film: il nous fait oublier ce qui se passe, la fin de la guerre, la misère pour les Allemands (les viols massifs commis par l'Armée Rouge, les familles démunis... ), tant nous sommes à l'intérieur de Lore. Je pense que pour comprendre véritablement le film, de A à Z, il faudrait tout revoir, scènes par scènes, plusieurs fois, tant ce film joue dans l'interprétation du spectateur, dépend et vit à travers lui. J'ai adoré du début à la fin. Le superbe jeux des acteurs m'a fait oublié qu'il s'agit bien d'un film. Je n'avais pas eu l'occasion de voir un film traiter l'Allemagne d’après guerre, et j'ai réellement été bluffée. Je trouve qu'on y est très peu sensibilisés, et pourtant... En tout cas, les images sont très belles, et tout le film transpire la sincérité. Je le recommande vraiment! Cate Shortland a eu bon nez de nous proposer une réflexion sur une Allemagne nazie vue de l'autre côté du miroir, et encore meilleur nez de nous montrer comment la réflexion vient aux jeunes gens nés à cette époque là, pleine d'idéologie et de sectarisme gangrénant l'âme. L'histoire est belle et Saskia Rosendahl qui interprète la jeune Lore est époustouflante de talent d'autant plus quand on sait que c'est sa première prestation et qu'elle n'a pas de base de comédienne. A aucune moment le pathos ne s'installe, parce-que, me semble-t-il, on n'a pas le temps de s'apitoyer sur sont triste sort vu que les événements s'enchaînent entrainant pour la jeune Lore difficultés sur difficultés, prise entre ses responsabilités et ses hormones. Merci encore à Cate Shortland pour ce beau film et surtout pour l'ouverture qu'il offre. Ce film est puissant, révélateur et les acteurs sont tout simplement hallucinants de vérité. Cate Shortland nous raconte la fin guerre de l'autre côté du mur, dans une Allemagne détruite. Les prises de vue, la musique, les silences, les regards, les acteurs,... Ce film est magnifique. Difficile de s'exprimer après avoir vu ce film, difficile aussi d'en parler, de le décrire. C'est un film émotionnellement très fort, même pour ceux qui se sentent éloignés de ces événements tragiques. Ce film est minutieusement réalisé, interprété superbement par ces jeunes acteurs, dont la principale Saskia Rosendahl qui est à la fois belle et froide. Tout comme l'histoire d'ailleurs. Vraiment un film que je conseille, que j'admire!! Un très beau film, cruel et émouvant. Que l'esthétique soit sophistiquée ne nuit pas au propos, quoi qu'en disent certains critiques. On regrettera juste une symbolique parfois un peu lourde. L'accusa
Movie loretta divine sister was really her daughter. Dragon lore movie soso. Movie lorena bobbitt. Its wide range of contributors and influences make Lore something more than just another tale of post-Nazi Germany Saskia Rosendahl in Lore. Photograph: Allstar G iven its transnational provenance ? its Anglo-German source novel adapted by a British-Bengali screenwriter, its Australian director and its bleak Nazi-era subject matter ? I'm reluctant to dub Lore a straightforwardly German movie. This might seem counterintuitive given its story: a 14-year-old German daughter of prominent Nazis is left to trek northwards across a ruined Germany in the weeks after the Nazi collapse, her infant siblings and a displaced Jewish boy in tow, and her Nazi assumptions slowly unravelling. That bald summary might induce one to categorise Lore in the long and honourable line of movies set against the death-seizures of Hitler's regime. That line stretched from Rossellini's Germany Year Zero, shot contemporaneously in 1947 in the actual smoking ruins, to 2008's Anonyma, in which sexual servitude is seen as one woman's only sane response to the possibility of repeated rape in Russian-occupied Berlin. The context of Lore is everything you don't see in Downfall, the epic account of Hitler's last days, and more reminiscent of the early stories of Heinrich Böll, with an added pinch of the documentary Hitler's Children. However, the imagery in those works is largely of recrimination, rubble and rape, whereas Lore is largely rural and rustic ? though rape and murder are not absent ? and thus more poetic than its documentary-like predecessors. The most German thing you can call Lore ? at whose core is the inexorable unravelling of Nazi brainwashing and its replacement by a boiling adolescent rage ? is an anti - bildungsroman. That's to say that, unlike Goethe's Wilhelm Meister or Young Werther, and more like Huckleberry Finn (another rural road movie), the things that are learned in adolescent extremis do not equip one to join society on equal terms; they prompt one to reject it utterly. All this is rendered in a single, small-scale but powerful act of childish rebellion at the film's end. To me, though, it doesn't feel like a German movie. Its lyrical beauty, its focus on children and its handheld camerawork by Adam Arkapaw feel far more French or Polish (see Wajda's Ashes And Diamonds, set in the same few weeks). This links it up with a movie about a similar collapse when the jackboot was on the other foot, the catastrophic French defeat of 1940. In René Clément's 1952 masterpiece Jeux Interdits, the roads out of Paris clogged with a million evacuees, one suddenly orphaned five-year-old girl carrying her dead dog (and I think it really was a dead dog) wanders through a universe of malign peasants and overarching death. Lore hasn't the budget or the desire to paint that epic picture (Clément had bombers, explosions, thousands of extras), but it instead works up a miniature of similar moments in a parallel sector of the dark vale of infancy. It does it quite impressively, too.

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1. 
2. Correspondent: Sebastian Damian

Lore

4.6 stars - Leslie Payne