Bob Dylan - The Other Side Of The Mirror: Musikfilm/Populärmusik-Film von Murray Lerner mit Bob Dylan/Pete Seeger/Johnny Cash. Auf DVD und. Der ehemalige Polizist Woo Young-Min musste wegen einer fatalen Fehlentscheidung den Dienst quittieren. Jetzt arbeitet er in einem Kaufhaus als. Der beste Film von Andrei Tarkovsky: The Mirror DER SPIEGEL HEUTE Sa, . Uhr im 90 Jahre Mosfilm! und Der Zarenmörder Infos und.
Bob Dylan - The Other Side Of The MirrorDer beste Film von Andrei Tarkovsky: The Mirror DER SPIEGEL HEUTE Sa, . Uhr im 90 Jahre Mosfilm! und Der Zarenmörder Infos und. Bob Dylan - The Other Side Of The Mirror: Musikfilm/Populärmusik-Film von Murray Lerner mit Bob Dylan/Pete Seeger/Johnny Cash. Auf DVD und. ↑ Natasha Synessios: Mirror. I. B. Tauris, London (KINOfiles Film Companion 6), S. ↑ Andrej Tarkowski: Die versiegelte Zeit. Gustav.
The Mirror Film Synopsis et détails Video\
Da es sehr unwahrscheinlich ist, Freiburg The Mirror Film, Palo Alto. - Filmhandlung und HintergrundUzumaki - Out of the World. Mirrors (englisch für Spiegel) ist ein US-amerikanischer Horrorfilm aus dem Jahr Alexandre Aja führte Regie, die Hauptrolle wurde mit Kiefer Sutherland. ↑ Natasha Synessios: Mirror. I. B. Tauris, London (KINOfiles Film Companion 6), S. ↑ Andrej Tarkowski: Die versiegelte Zeit. Gustav. The Mirror, bei eBay ersteigert, ist das Objekt jugendlicher Unbedarftheit auf der Suche nach einem paranormalen Kick. Der ehemalige Polizist Woo Young-Min musste wegen einer fatalen Fehlentscheidung den Dienst quittieren. Jetzt arbeitet er in einem Kaufhaus als. Myoeng-su Kim. Weitere Film-News. Home Filme Into the Mirror. Kommentare zu The Mirror werden geladen THE MIRROR Official Trailer () Edward Boase - YouTube Jemma Dallender (Community, I Spit on Your Grave 2) stars in Edward Boase's sophomore feature The Mirror, a headline-grabbing British. ^ Tarkovsky's official English translator, Kitty Hunter-Blair, always referred to the film as Mirror not The Mirror which was a later innovation unauthorized by the filmmaker. ^ In markets outside the US the year of production of Mirror is often stated as since principal photography began in late July and ended in March The Mirror is said to be a film that is not easy to understand. I say that it does not have to be understood to be enjoyed. This is a very beautiful, cerebral, and emotive film. As with other. Film #7 of Make me watch your favourite. Recommended by Adam Cook and Henrik Løberg. Whenever I wake up from a half remembered dream I always wish I could go back and explore just what my subconscious was trying to tell me, or come to terms with. With Tarkovsky's The Mirror, which felt like just that, a waking dream, I had the luxury of. The Mirror is not just the display of a film director at the peak of his unique powers. As an homage to the innocence of childhood, it tells an enigmatic tale that is both gripping and horrifying. Tarkovsky uses his own coming-of-age experiences, himself "mirrored," to convey the mood and action that dominated a country ravaged by war.
But I'll try anyway. I personally hold Tarkovsky in very high esteem. There are many directors I would regard as good or very good for instance Kubrick, Kieslowski, Ozu, or Miyazaki , but there are only two directors I regard as absolute geniuses: Akira Kurosawa and, yep, Andrei Tarkovsky.
Interestingly this is for two solely different reasons - whereas I admire Kurosawa for the manner in which he managed to perfect the art of cinematic storytelling, Tarkovsky deserves praise for wanting to shake cinema out of its complacent acceptance that films should simply tell a story and little else.
Mirror is further proof that Tarkovsky's body of work which is limited in quantity - a mere eight films - but rich in scope establishes that the Hollywood mode of narrative is not the only way in which film can create an emotional response from an audience.
Of course Tarkovsky is not alone in having done so Marker and Greenaway immediately spring to mind , but what distinguishes him from other "art house" directors is that he has managed to take this style of film making and drive it to a stage that can be described as almost perfect.
I personally interpret Mirror as a man's life flashing before his eyes before he dies; his relationship with his wife and mother both played by the same person, in an ingenious move on Tarkovsky's behalf , his children, his friends, the history of his home land, his own childhood.
However, Mirror is deliberately structured in such a way that it can, and will, be interpreted differently by different people depending on how they inscribe their own personal thoughts and feelings into the narrative.
This is where Tarkovsky's genius comes to fore - to create a film which does not dictate to an audience how to feel by manipulating them via music or mise-en-scene, but to make it the other way around.
In the case of Mirror, we, the audience, dictate the emotional response created by the images on screen and, that, ultimately is that makes it such a wonderful work and a true rarity.
This is possibly another way the title of the film can be interpreted, in that it illustrates a wholly reflective style of cinema.
Those not accustomed to a slightly more disjunctive cinematic style are likely to dismiss Mirror as boring or dull because it may not necessarily correspond to their expectations of film.
However, it is still something I would regard as required viewing for everyone since it shows that cinema can be beautiful without necessarily following the rules Hollywood has imposed on the rest of the film making community, and that ultimately rules are there to be broken.
A masterpiece, no less. All Titles TV Episodes Celebs Companies Keywords Advanced Search. Sign In. Get a sneak peek of the new version of this page.
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Written by Edward Boase. Seen it all before. What's more the idea of a haunted mirror was done the year before in the bigger budget American production 'Oculus'.
However, despite sitting down thinking I'd be turning it off after twenty minutes I found myself immediately drawn in by the playful banter of the three flatmates and the subtle shifts into increasingly eerie territory as we wonder what is behind Matt's increasingly erratic behaviour.
A big difference between this and the 'Paranormal Activity' series is that while that series relied on a quiet-quiet-quiet-BANG idea to win cheap scares, 'The Mirror' just sticks with quiet-quiet-quiet which doesn't release the tension and instead maintains it right to the end.
A decent movie which, despite resolutely not adding anything new to the genre, nevertheless does what it was designed to do very well.
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FULL CAST AND CREW TRIVIA USER REVIEWS IMDbPro MORE LESS. Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates. The young Alexei, his mother and sister watch as the family barn burns down.
In a dream sequence Maria is washing her hair. Now in the postwar time-frame, Alexei is heard talking with his mother Maria on the phone while rooms of an apartment are seen.
Switching back to the prewar time-frame, Maria is seen rushing frantically to her work-place as a proof-reader at a printing press.
She is worrying about a mistake she may have overlooked, but is comforted by her colleague Liza Alla Demidova , who then abruptly reduces her to tears with withering criticism.
Back in postwar time, Alexei quarrels with his ex-wife, Natalia also played by Margarita Terekhova , who has divorced him and is living with their son Ignat.
This is followed by news-reel scenes from the Spanish Civil War and of a balloon ascent in the U. In the next scene, set in Alexei's apartment, Ignat meets with a strange woman Tamara Ogorodnikova sitting at a table.
At her request, Ignat reads a passage from a letter by Pushkin and receives a telephone call from his father Alexei.
The strange woman vanishes mysteriously. Switching to war-time, the adolescent Alexei is seen undergoing rifle training with a dour instructor, intercut with news-reel footage of World War II and the Sino-Soviet border conflict.
The reunion of Alexei and his sister with their father Oleg Yankovsky at war's end is shown. The film then returns to the quarrel between Alexei and his wife Natalia in the postwar sequence.
Switching again to prewar time, vistas of the country house and surrounding countryside are followed by a dreamlike sequence showing a levitating Maria.
The film then moves to the postwar time, showing Alexei apparently on his death-bed with a mysterious malady. The final scene plays in the prewar time-frame, showing a pregnant mother, Maria, intercut with scenes showing Maria young and old.
Old Maria is played by Tarkovsky's own mother, Maria Vishnyakova. The concept of Mirror dates as far back as , when Tarkovsky wrote down his idea for a film about the dreams and memories of a man, though without the man appearing on screen as he would in a conventional film.
The first episodes of Mirror were written while Tarkovsky was working on Andrei Rublev. These episodes were published as a short story under the title A White Day in The title was taken from a poem by his father, Arseny Tarkovsky.
In , after having finished Andrei Rublev , Tarkovsky went to the cinematographer's resort in Repino intending to write the script for The Mirror together with Aleksandr Misharin.
This script was titled Confession and was proposed to the film committee at Goskino. Although it contained popular themes — for example, a heroic mother, the war, and patriotism — the proposal was turned down.
The main reason was most likely the complex and unconventional nature of the script. Moreover, Tarkovsky and Misharin clearly stated that they did not know what the final form of the film would be — this was to be determined in the process of filming.
With the script being turned down by the film committee, Tarkovsky went on to make the film Solaris. But his diary entries show that he was still eager to make the film.
Meanwhile, Amy discovers that Mikey is missing at home and a thin reflective layer of water is completely covering the floor. After putting her daughter in a safe closet, she finds Michael using a knife to scrape the paint from the mirrors.
Amy tries to stop him but he escapes, obviously possessed. Having threatened her at gunpoint, Ben returns with Anna to the Mayflower and straps her into the chair in the Psychomanteum.
Back at Ben's house Michael is suddenly pulled through the water on the floor by his reflection and begins to drown. At the Psychomanteum the lights begin to flicker and the building begins to shake as the demons in the mirrors are released.
They repossess Anna and all the mirrors in the Mayflower explode. Simultaneously, Michael is released from the demon's grip and Amy is able to pull him to safety.
Ben is then attacked by the repossessed Anna. He manages to kill her by igniting a nearby gas line, setting off a huge explosion. The old building collapses, killing the demon, and trapping Ben under the ceiling as he rushes toward the exit, killing him.
In the afterlife and without being aware he's dead, Ben pulls himself out of the rubble and stumbles out of the building. Policemen and firemen are everywhere in the street, and a body is seen being taken in a bag by paramedics, but nobody notices Ben.
He looks at the older security guard's name tag and sees it is written backward, realizing everything is in reverse like in a mirror. He comes upon a mirrored surface in the city and fails to see his own reflection as he reaches out to touch it.
He realizes that he is now trapped in the mirror world: in the living world, his hand appears as a handprint on the glass surface as the camera pans away and the movie ends.
The movie began development in under the working title Into the Mirror with music video director Sanji Senaka in talks to direct the movie.
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