Jessica Petty

A hidden life film. This looks amazing! Reminds me a little of Malick's Heaven. Special Screening Special One-Time Screening About the Film: Ends Thursday, January 30. Based on real events, from visionary writer-director Terrence Malick, A HIDDEN LIFE is the story of an unsung hero, Franz Jägerstätter, who refused to fight for the Nazis in World War II. When the Austrian peasant farmer is faced with the threat of execution for treason, it is his unwavering faith and his love for his wife Fani and children that keeps his spirit alive. Cast: August Diehl, Valerie Pachner, Maria Simon, Tobias Moretti, Bruno Ganz, Matthias Schoenaerts, Karin Neuhäuser, Ulrich Matthes.
A hidden life reviews. A hidden life showtimes. Good to see you kid! Hows the family? Everybody over their sicknesses? I have not seen the movie its on my list. I believe that our lives are not our own and that We should be prepared to do Gods will. He may ask us to fight, resist, help, or martyr ourselves. What ever it is I just pray for courage to do Gods will regardless of how I feel about it. The prize of the high calling is not this world but the next. I love this life but I know the next life will be so much better. I can't wait to watch this movie. Love him so much. He can act very well. A hidden life san diego. A Hidden Life release date for Cinema December 13, 2019 8 Weeks Ago (US) We will only notify you about the most important info & release updates Notify me when A Hidden Life is available. Already a member? Login Here 9 users are already tracking Release Dates! Report Date / Submit Product Report Date / Submit Product A Hidden Life was released on 21d ago in the UK and the US. Blu-ray TBA Confirmed 1 Cinema December 13, 2019 Confirmed 2 DVD TBA Confirmed 3 VOD TBA Confirmed 3 Blu-ray TBA Confirmed 1 Cinema January 17, 2020 Confirmed 2 DVD TBA Confirmed 3 VOD TBA Confirmed 3 Show Full List Image Gallery We will only notify you about the most important info & release updates Notify me when A Hidden Life is available. Already a member? Login Here 9 users are already tracking.

A hidden life movie 2019. A hidden life trailer music. A Hidden life style. The life and death of Blessed Franz Jägerstätter offers cinematic giant Terrence Malick his most fruitful challenge in years. The human body, in the anthropology of Pope St. John Paul II, reveals the human persons vocation to love, to gift of self. This applies, the Pope says, even to the representation of the human body in art. (The topic of art and the body is addressed in a number of the “theology of the body” audiences. ) That may be true ? for those with eyes to see. Those with different eyes may see other things. Few people, carrying scarecrow-like straw dummies at a military base, would playfully hold one over another for an imaginary kiss. Yet the dummies are representations of the human body ? and, while they bear only the rudest resemblance to the real thing, there is a non-accidental emotional implication to their form and function. To charge another human being and drive the point of a bayonet into human flesh requires, typically, a process of desensitizing. Trainees are meant to look at a straw dummy and see an enemy to be killed. But how can one see that when he has already seen in that dummy a fellow human being made for love? An ecstatic, anguished three-hour cinematic hymn, Terrence Malicks A Hidden Life sings the life and death of Blessed Franz Jägerstätter in asymmetrical binary form, in contrasting theologies ? theology and anti-theology ? of the body. This means that, like his celebrated The Tree of Life and The New World, among others, A Hidden Life is another reworking of Malicks signature theme of paradise lost. But such a paradise, and such a loss! An Austrian conscientious objector executed in 1943 for refusing the soldiers oath of loyalty to Adolf Hitler, Jägerstätter was declared a martyr and beatified by Pope Benedict XVI in 2007. The central conflict evokes such dramas of conscience and martyrdom as A Man for All Seasons and Sophie Scholl: The Final Days. Like More, Jägerstätters essential dilemma was that he would not swear an oath contrary to his beliefs. (As a prisoner we see him vainly urged, as the imprisoned More was urged by his daughter Meg, to say the words of the oath while thinking otherwise in his heart. And, like Scholl, Jägerstätter was a devout Christian whose resistance to the Nazi horror resulted in his execution by guillotine in 1943. Yet A Man for All Seasons and Sophie Scholl are cerebral dramas of dueling words, focused from the outset on their moral conflicts. A Hidden Life is a visually lyrical ode to bodies and the worlds they inhabit. Among our first glimpses of Franz (August Diehl) and his wife, Fani (Austrian actress Valerie Pachner) are their hands and knees side by side in the soil of their farm in the village of St. Radegund in Upper Austria, covering potatoes with earth, hands and arms working together, almost as one body. Throughout the first act their bodies orbit one another, coming together often in clinging arms and caressing hands. Work, play and rest are the stuff of this life; there is nothing else, except reflection and memory. This is Malicks paradise at its purest: man and woman in the garden, as it was meant to be. “I thought that we could build our nest high up in the trees ? fly away like birds” are the words of Franzs opening voice-over, capturing in one line both the loss and the paradise. “How simple life was then … it seemed no trouble could reach our valley, ” Fani replies not long after. “We lived high above the clouds. ” Indeed, clouds blanket the lushly forested mountain slopes around their village. A tiered horsetail waterfall tumbles down a rugged cliff wall. A stream churns placidly over rocks. Swelling grassy slopes stretch to distant jagged mountains. If there is paradise on earth, this is a compelling realization of it. Yet the very first images we see (in pointed contrast to Franzs opening words over a dark screen) are black-and-white aerial footage that begins above the clouds before descending over the medieval city of Nuremberg, where a Nazi party rally is underway: images from Leni Riefenstahls infamous, iconic 1935?propaganda film The Triumph of the Will. From the outset, Malick establishes that any paradise in this fallen world ? even above the clouds ? is provisional and qualified. The early scenes in St. Radegund depict life as liturgy: holy moments in a holy narrative, a sacred story that Franz and Fani tell to one another, beginning with the details of the day they met (Franz the wild one with his motorcycle, Fani shy in her best blue dress, knowing he would be the one. The household includes Franzs mother (Karin Neuhäuser) Fanis sister (Maria Simon) and the couples three young daughters. When they arent threshing wheat or gathering firewood, there is playful tossing of hay or splashing of water at one another. Franz and Fani play blind mans buff and other games with the girls and lie together often in the grass. There are no mundane conversations about daily events, though when Franz is called up to basic training at the Enns military base Fanis letters keep him up to date on such matters as the buying of piglets and the behavior of their daughters. (Even these details ? “We burned the bad weeds” ? are potentially fraught with liturgical, parabolic significance. ) After the surrender of France, Franz is returned to farming, where he hopes the Third Reich will continue to consider him of greater service than in uniform. (Diehl played Nazi antagonists in the also very Catholic WWII film The Ninth Day as well as Quentin Tarantinos revisionist fantasy Inglourious Basterds. ) Yet St. Radegund is no longer the refuge Franz remembers. The mayor rants drunkenly in public about foreigners and lesser races. Neighbors greet him in passing with “Heil Hitler. ” To Franz, this is the spirit of Antichrist; he sees National Socialism as a train he once dreamed about barreling toward hell, a train one must jump from whatever the cost. Worse, he is dispiritingly aware that those who fight have the support?of the clergy. His own parish priest (Tobias Moretti) advises him to consider the consequences of his resistance. (Malicks screenplay notes that the prior pastor was jailed for preaching an anti-Nazi sermon. When he goes to see the bishop (Michael Nyqvist) Franz is told that he owes obedience to civil authorities. The story of Jägerstätters hidden life was brought to wide attention by the Catholic sociologist Gordon Zahn, whose pioneering 1962 book German Catholics and Hitlers Wars made the case that the Catholic Church in Germany largely enabled and supported the Nazi regime. It was while researching that book that Zahn encountered Jägerstätters story and published it in 1964 under the title In Solitary Witness. Thomas Merton then devoted a chapter to Jägerstätter in his 1968 book Faith and Violence. This attention paved the way for Jägerstätters cultus and his beatification by a pope who as a boy sometimes took Sunday walks with his mother to St. Radegund. Yet when Franz is eventually called up again in 1943 and his defiance leads to arrest, abuse and increasingly dire peril, he has no reason to think his actions will ever make the slightest difference to anyone but the family from whom he has been taken. Indeed, over and over both allies and opponents point out, reasonably enough, that his defiance will change nothing. Thomas More was an eminent public figure whose very silence spoke volumes. Sophie Scholl and her fellow White Rose conspirators believed, with tragic miscalculation, that their trial would spark riots. Franz has no reason to think that even his neighbors at St. Radegund will ever think of him as anything but a misguided traitor (and, indeed, for decades after the war, that is precisely how he was remembered. In prison Franz and other prisoners are abused and tortured with idle torments and random cruelties ? manifestations of the Nazi anti-theology of the body, of the spirit of Antichrist. A prisoner is forced to stand endlessly in the prison yard, his shoes dusted with white powder. If the powder is disturbed by shifting feet, he will be beaten with truncheons. One guard forces Franz repeatedly to sit down on a chair, knowing that the chair will be pulled away at the last moment. Another guard, incensed that Franz has dared to call him “brother, ” menaces him in his cell, gloating that he can do whatever he likes to Franz and no one will know or care. Here, again, the assumption is that, as with Franzs sacrifice, what goes unnoticed lacks moral significance. Malicks thesis comes in a closing title from a quotation from George Eliots novel Middlemarch which proposes that the growing good of the world is partly dependent on unhistorical acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs. This is doubtless true, though it could be questioned whether Jägerstätters life illustrates this principle. If his heroic example has made the world a better place, is it not precisely because, against all odds, his life did not remain hidden, as this films existence now attests? Did his defiance make anything better while it remained in obscurity? Who can say? A Hidden Life doesnt gloss over ambiguity and ostensible grounds for despair. “Have the meek inherited the earth? ” a fellow prisoner goads Franz. “How far we are from having our daily bread! How far from being delivered from evil! If we could only see the beginning of his Kingdom … but nothing. Ever. ” Indeed, for that prisoner it seems God sent his Son to no avail; Christianity is “20 centuries of failure” in his eyes. “We need a successful saint, ” he adds. If so, Franz is not that saint. He is just another failure, a man taken too early from his wife and from children who grew up with a photograph instead of a father. Hi A hidden life soundtrack james newton howard.

A hidden life santa barbara. Archetypal Love. A hidden life movie times. A hidden life showtimes near me. A Hidden Life Watch Trailer Rate Movie, Write?a?Review PG-13, 2h 53m, Drama, War OR Click Locate Me to detect your location or enter your zip or city to find showtimes near you. Movie Times & Tickets by State Arizona California District of Columbia Hawaii Indiana Louisiana Michigan Missouri New York North Carolina. I thought it was ok but not the best Star Wars movie or a great wrap up of the skywalker saga at all not a happy Star Wars fan.
May 19, 2019 10:00AM PT Back in Cannes with his best film since 'The Tree of Life. Terrence Malick poses tough questions about personal faith in a world gone astray in this epic return to form. There are no battlefields in Terrence Malick s “ A Hidden Life ” ? only fields of wheat ? no concentration-camp horrors, no dramatic midnight raids. But make no mistake: This is a war movie; its just that the fight thats raging here is an internal one, between a Christian and his conscience. A refulgent return to form from one of cinemas vital auteurs, “ A Hidden Life ” pits the righteous against the Reich, and puts personal integrity over National Socialism, focusing on the true story of Austrian farmer Franz Jägerstätters rejection of Adolf Hitler and his refusal to serve in what he sees as an unjust war. And lest that sound like more flower-power finger-painting from a director whose oeuvre can sometimes feel like a parody of itself, consider this: Without diminishing the millions of lives lost during World War II, Malick makes a case for rethinking the stakes of that conflict ? echoes of which can hardly be ignored in contemporary politics ? in more personal terms. Here, it is the fate of one mans soul thats at play, and nearly three hours of screen time doesnt seem the slightest bit excessive when it comes to capturing the sacrifice of Franz (German actor August Diehl) who was ostracized, imprisoned, and ultimately executed for his convictions. Over the past decade ? during which Malick made his Palme dOr-winning magnum opus, “The Tree of Life”; whispery self-doubt drama “To the Wonder”; and cost-of-celebrity critique “Knight of Cups” and its music-world equivalent, “Song to Song” ? has any filmmaker delved deeper in exploring, and ultimately exorcizing, his own demons? With the benefit of hindsight, those four features represent a cycle of increasingly avant-garde, if ebbingly effective semi-autibiographical projects. By contrast, “A Hidden Life” brings Malick back to the realm of more traditional, linear narrative, while extending his impulse to give as much weight to wildlife and the weather as he does to human concerns. Better suited to the directors adherents than the uninitiated, “A Hidden Life” could be seen as a continuation of themes raised in 1998s “The Thin Red Line, ” which also took place during WWII, albeit halfway around the world. In that then-radical tone poem, Malick focused on how ill-suited a group of American infantrymen were to the role of combat, melding their interior monologues and interchangeable faces in tragic tribute to the waste of innocence that is war. By contrast, “A Hidden Life” depicts the proactive decision a single would-be soldier makes not to yield to the boiling bloodlust, but instead to follow what the director has previously dubbed “the way of grace. ” Though it privileges the voices of multiple characters ? by now, a Malick signature ? there can be no question that Franz represents the films hero. Delivering his lines in mostly unaccented English rather than his native German, Diehl carries the film despite being largely unknown to American audiences (he played a smug SS officer in “Inglourious Basterds, ” and here represents the opposite) relying more on body language and what goes unspoken behind his eyes than on the films typically sparse dialogue. Still, Franz is not a conventional Western protagonist in the sense that his story is defined not by his actions but by choices ? and specifically, the things he doesnt do. “A Hidden Life” introduces this salt-of-the-earth Aryan tending the land with his wife, Fani (Valerie Pachner) high on the slopes of St. Radegund, a bucolic West Austrian town. To the extent that all of Malicks films represent the notion of Eden interrupted, this setting feels particularly primeval. “How simple life was then, ” the couple recall ? though the sentiment hardly bears articulating when they are shown picking wildflowers and playing games with their three daughters. Then, in 1940, Franz is called to the nearby Ennis Military Base, where he and a fellow trainee (Franz Rogowski) find amusement among the military drills. The point of these exercises is to prepare the young men for combat, although Franz refuses to swear his allegiance to Hitler, or to support the war effort in any way. When he is called to serve, Franz instead goes to the town priest (Tobias Moretti) seeking help, only to discover that the church he respected has become complicit in the crime of “killing innocent people. ” In truth, Father Fu?rthauer had been appointed to his post after an earlier priest was ousted after giving an anti-Nazi sermon, and could hardly be relied upon to oppose the new regime. Appealing to the bishop (Michael Nyqvist, the first of several major Euro stars glimpsed only for a couple minutes) Franz argues, “If God gives us free will, we are responsible for what we do” ? and just as importantly, “what we dont do. ” Despite its epic running time, the movie doesnt bog down in the details, or else wed learn that Franz was the only person in St. Radegund to oppose the Anschluss ? or peaceful annexation of Austria by the Fatherland ? a vote of daring personal opposition that was never reported. Its worth mentioning here because that early stand already revealed the extent to which his community was allowing fear to poison its judgment, driving the groupthink that made Franz feel like an outcast among his own people. Once Franz makes his oppositional position known, those who might have once been his friends turn on his family. In one scene, a pack of local kids throw mud at his daughters, and later, after Franz is sent away to Berlins Tegel prison, neighbors spit at Fani in the road. Where other storytellers might exaggerate such cruelty, Malick doesnt overplay such slights ? and even contrasts them at times, as when an elderly woman stops to help Fani collect whats spilled from her broken wagon, a gesture of kindness that outweighs even the sadistic behavior shown by Franzs Nazi guards elsewhere in the film. Till the end, and at great personal cost, Fani supports her husband, while nearly everyone (including Matthias Schoenaerts and Bruno Ganz in brief appearances) seeks to spare his life at the expense of his soul. Working with a mostly new team of artisans, Malick leans on DP Jo?rg Widmer (who worked alongside Emmanuel Lubezki on “The Tree of Life”) for the films intense short-lens anamorphic widescreen look, which distorts whatever appears anywhere other than dead center in frame. Since the director likes to place his characters off-axis, expecting audiences to reorient themselves with every jump cut, this creates ? and sustains ? a surreal, dreamlike feel for his longest film yet (not counting directors cuts. This heightened visual style contrasts the rigorously authentic costumes (by Lisy Christl) and sets (from Sebastian T. Krawinkel, rather than career-long collaborator Jack Fisk) while composer James Newton Howard lends ambience and depth between a mix of heavenly choirs and meditative classical pieces. Dont let the period setting fool you. While “The Tree of Life” may have felt more grand ? and how could it not, with that cosmic 16-minute creation sequence parked in the middle of the film ? “A Hidden Life” actually grapples with bigger, more pressing universal issues. Between “Days of Heaven” (Malicks first masterpiece) and “The Thin Red Line, ” the director disappeared from cinema for 20 years. Since his return, his work has been infused with questions of faith, putting him up there with Carl Theodor Dreyer as one of the few film artists to engage seriously with religion, which so often is ignored or dismissed by others despite its prominence in society. In this film, Malick draws a critical distinction between faith and religion, calling out the failing of the latter ? a human institution thats as fallible and corruptible as any individual. At one point, Franz goes to a local chapel and speaks to the cynical old artisan (Johan Leysen) restoring the damaged paintings on its walls. “A darker time is coming, and men will be more clever, ” the man tells him. “They dont confront the truth. They just ignore it. ” In recent years, Malick may have seemed out of touch, responding to issues that interest him more than the public at large. But whether or not he is specifically referring to the present day, its demagogues, and the way certain evangelicals have once again sold out their core values for political advantage, “A Hidden Life” feels stunningly relevant as it thrusts this problem into the light.
I see they're promoting the relationship of Jo and Laurie. I can't take that heartbreak anymore. Why is it that when I saw him go up on stage I said Oh God no... A hidden life. A Hidden lifestyle. A hidden life bande annonce vf. A hidden life full movie 2019. A hidden life download. A hidden life (2019. A hidden life movie reviews. A HIDDEN LIFE is a return to form for Director Terrence Malick - a wondrous and deeply moving one. After films such as KNIGHT OF CUPS and TO THE WONDER, even Malick's most devoted admirers started to feel that his style had gotten style. After his twenty year hiatus from the Directing chair after DAYS OF HEAVEN in 1978, returned with THE THIN RED LINE. A tone poem told largely through images and narration. He continued that new way of filmmaking with A NEW WORLD, reaching his highest acclaim with 2011's TREE OF LIFE.

With A HIDDEN LIFE, Malick continues in a similar vein, but, with a renewed emphasis on narrative to tie the imagery together. The movie is based on the true story of an Austrian farmer Franz Jägerstätter (August Diehl) who refused to pledge allegiance to Hitler and Germany during WWII. Franz had been a soldier for Austria, even so, he refused to avow loyalty to the Nazi regime. Franz's wife Fani (Valerie Pachner) and two young children bear the brunt of the village's citizens who have chosen to go along to get along. Franz is given several opportunities to avoid the consequences of refusing to fight by giving an even half-hearted oath to Hitler, but, he stands on principle above all else. But, pure plot isn't what Malick is after. There is, maybe, about an hour's worth of dialogue over the movie's three hour length. Along with Cinematographer Jorg Widmer and Composer James Newman Howard (augmented with many classical pieces) Malick is striving for something much deeper. Widmer's use of wide lenses allows for the camera to be both intimate as well as giving the viewer a view of the mountainous landscape of the Austrian countryside. Using digital photography exclusively for the first time, Malick was able to have the camera run for long periods in order to allow Diehl and the cast to improvise and inhabit their roles and surroundings. Malick's aesthetic is certainly not for the masses, but, here it works gorgeously. The cumulative effect is a sense of lives that were actually lived - not just scripted. There is a spiritual feel to the movie that goes beyond the mere religious* into something more profound. Malick's work has been compared to that of the great Russian Director Andrei Tarkovsky. They are two of the finest Cinema Poets. A HIDDEN LIFE is a superb testament to Malick's art.

. Franz Jägerstätter has been Beatified and made into a Martyr of the Catholic Church.

P.S. the great European actor Bruno Ganz has a small but important role as a Judge. This was to be his penultimate film.

A hidden life review. A hidden life soundtrack. Matthias Schoenaerts was born on December 8, 1977 in Antwerp, Belgium. His mother, Dominique Wiche, was a costume designer, translator and French teacher, and his father was actor Julien Schoenaerts. He made his film debut at the age of 13, alongside his father in the Belgian film Daens (1992) which was nominated for an Academy Award for Best Foreign Language Film. Schoenaerts enrolled in film school but was expelled for poor attendance in his second year. By age 21, he was enrolled at the Academy of Dramatic Arts in Antwerp and was acting professionally in small roles on Belgian television and in Belgian film. By the time he graduated in 2003, Schoenaerts was already named one of "Europe's Shooting Stars" by the influential marketing organization, European Film Promotion. In 2002, he starred in Dorothée Van Den Berghe's directorial debut Girl (2002) which was also his first feature film since Daens. With his role in Tom Barman's Any Way the Wind Blows (2003) he proved he was Flanders' young actor to watch. In 2004, Schoenaerts produced and starred in the short film A Message from Outer Space (2004. He also appeared in Ellektra (2004) alongside his father. In 2006, he had a small role as a member of the Dutch Resistance in Paul Verhoeven's Black Book (2006) and landed his first starring role in the Belgian film Love Belongs to Everyone (2006) playing Dennis, a mentally-challenged man learning to adjust to life after a prison sentence for a rape he may not have committed. Though Schoenaerts garnered critical praise for his role in "Love Belongs to Everyone" the film that would make him a star in his homeland came in 2008, in Erik Van Looy's Loft (2008) Schoenaerts played Filip, one of a group of married friends who share the rent on a downtown loft as a place to meet their respective mistresses. The dramatic thriller was a smash hit, becoming the top-grossing Flemish film of all time. In the same year, he also starred in the horror film Left Bank (2008. In 2009, he worked once again with director Dorothée Van Den Berghe, playing the hippie Raven in My Queen Karo (2009. In 2010, he played the lead role in Alex Stockman's techno-thriller Pulsar (2010. In 2011, Schoenaerts starred in Michaël R. Roskam's Bullhead (2011) playing Jacky Vanmarsenille, a cattle farmer who becomes entangled with the underworld of bovine hormones and steroids. Impressed by the script, Schoenaerts committed to star in the film in 2005, and over the five years that it took first-time director Roskam to secure financing, the actor transformed his naturally thin body into that of a steroid abusing brute. His powerful performance in the tragic role won awards at numerous film festivals and propelled "Bullhead" to an Academy Award nomination for Best Foreign Language Film in 2012. In 2012, Schoenaerts got the lead role opposite Marion Cotillard in Jacques Audiard's Rust and Bone (2012) in the film he played Ali, an ex-boxer who falls in love with Cotillard's character. Like Audiard's previous films, Rust and Bone" received a breathless reception at the Cannes Film Festival with a ten-minute standing ovation at the end of its screening and was a critical and box office hit in France. Schoenaerts' performance in the film earned him a César Award for Most Promising Actor in 2013. Schoenaerts also starred in the Belgian short film Death of a Shadow (2012) which was nominated for an Academy Award for Best Live Action Short Film in 2013 and won the European Film Award for Best European Short. In 2013, he starred in Blood Ties (2013) after being recommended for the film by his co-star in "Rust and Bone" Marion Cotillard. Following his breakthrough in "Rust and Bone" Matthias started a career in Hollywood and landed roles in American and British productions like Saul Dibb's Suite Française (2014) Alan Rickman's A Little Chaos (2014) Michaël R. Roskam's The Drop (2014) and Thomas Vinterberg's Far from the Madding Crowd (2015. In 2015, Schoenaerts returned to French cinema in Alice Winocour's Disorder (2015) in which he plays an ex-soldier with PTSD. He also played one of the leads of Luca Guadagnino's A Bigger Splash (2015) opposite Tilda Swinton and Ralph Fiennes, and played the art-dealer Hans Axgil in Tom Hooper's The Danish Girl (2015. He will reteam with Michaël R. Roskam in Racer and the Jailbird (2017) and also with Thomas Vinterberg in The Command (2018) in which Schoenaerts will play the Captain of a Russian submarine. More.
A hidden life austin. Search Enter your location above or select your theater below Search & Filter. IM SO READY FOR THIS MOVIE. A hidden life trailer movie. A hidden life trailer 2019. Im here to see dat hot guy on the clip LOL. A hidden life full movie. A hidden life. A hidden life csfd. A Hidden Life Trailer: Terrence Malick's Tale of Love & Nazis in WWII Ryan Scott Aug 13, 2019 Fox Searchlight has revealed the first trailer for Terrence Malick's A Hidden Life, which is a surefire awards season contender.
A hidden life movie trailer. A hidden life true story. The story is inspiring, but the movie is WAY too exhausting! Too long, sorry. A hidden life wikipedia. A hidden life movie review.

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