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2hours 54Minutes; writed by: Terrence Malick; Directed by: Terrence Malick; ; The Austrian Franz Jägerstätter, a conscientious objector, refuses to fight for the Nazis in World War II; Genres: Romance.

I love just about every part of this movie. Acting amazing cinematography, breathtaking. It is a gripping examination of sacrifice and faith. My favorite line "there are just admirers and not followers." resonated with me so much so. The themes of family and love, even in the midst of the struggles of life.
My one complaint that may change is the length. Though I can watch long movies I found the middle section of the movie to be over repetitive with similar scenes. Some say that this isn't a problem because it is meant to convey the impatience and the trail. I will keep that in mind in my next viewing and see if that comment is valid and makes sense. Other than that this movie was perfect. From the score to the setting, it becomes the most beautiful movie I've seen all year.

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Watch Stream Una vida ocultar. Watch stream una vida oculta online. The movie doesn't look that great to my taste, I will wait for a second trailer to convince me. Movie love scene grate and inspiring. Thank you. I hope my relatives far away can watch it.

Watch stream una vida oculta para. 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; it’s just that the fight that’s raging here is an internal one, between a Christian and his conscience. A refulgent return to form from one of cinema’s 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 Jägerstätter’s 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 man’s soul that’s at play, and nearly three hours of screen time doesn’t 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 d’Or-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 director’s adherents than the uninitiated, “A Hidden Life” could be seen as a continuation of themes raised in 1998’s “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 film’s 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 film’s 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 doesn’t 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 Malick’s 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 Fürthauer 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 don’t do. ” Despite its epic running time, the movie doesn’t bog down in the details, or else we’d 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. It’s 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 Berlin’s Tegel prison, neighbors spit at Fani in the road. Where other storytellers might exaggerate such cruelty, Malick doesn’t overplay such slights — and even contrasts them at times, as when an elderly woman stops to help Fani collect what’s spilled from her broken wagon, a gesture of kindness that outweighs even the sadistic behavior shown by Franz’s 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 Jörg Widmer (who worked alongside Emmanuel Lubezki on “The Tree of Life”) for the film’s 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 director’s 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. Don’t 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” (Malick’s 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 that’s 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 don’t 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.

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Synopsis The story of an unsung hero, Franz Jägerstätter, who refused to fight for the Nazis in World War II. Based on real events. Cast Crew Details Genres Director Producers Writer Editors Cinematography Production Design Composer Costumes Studios Countries Languages Alternative Titles Uma Vida Oculta, 隐秘的生活, Ein verborgenes Leben, 라데군트, Radegund News We pick our top 10 dramatic premieres at the 2019 Cannes Film Festival. Read post Popular reviews More Terrence Malick is back. Back from the present. Back from the twirling. Back from his battle with the boundlessness of digital technology, a neutral force that nevertheless has the power to seduce certain filmmakers away from their convictions. Malick has always been the cinema’s most devout searcher, his faith and uncertainty going hand-in-hand. But the work he’s made over the last few years hasn’t been searching so much as lost. 2011’s “The Tree of Life” found the auteur pivoting away from the past for the first time in his storied career, and that semi-autobiographical masterpiece came to serve as the auteur’s bridge from historical frescos to contemporary sketches – from profound awe to puzzled wonder. If “Badlands” and “Days of… Such an ambitious and emotionally gripping experience. I’m just exhausted. The man could not be more self-indulgent (to a point where it’s honestly just obnoxious) but Malick sure knows how to make a movie. Terry is back babyyyyyyyyyyy What I’m about to tell you is true. My background is Austrian. My father moved here in 1980 for a new and better life in Canada with his brother and mother, where 4 years later he had me, and 20 years later he told me a story about our family history after I asked because at school we were talking about WW2, and how all of my friends had a relative that fought in it. Ignorant and oblivious, I assumed my grandfather either did not participate in the war, or fought against Hitler’s Nazi army. What I learned next shook me. In 1939, at the height of the Nazi regime, you couldn’t escape Nazi favouritism from any corner of Europe, … "What has happened to our country? To the land we love? " Was very excited to see Malick's first linear narrative since A New World on the big screen. Even though I love the images and performances, I really feel the film would have benefited from major editing. But the film introduces a major talent to world - cinematographer Jörg Widmer. (He actually has 49 DP credits but this is his first high-profile) His images are gorgeous. Red Epic Dragon, Zeiss Master Prime and Ultra Prime 8R Lenses Red Epic-W Helium, Zeiss Master Prime and Ultra Prime 8R Lenses (some scenes) From IMDB trivia: Michael Nyqvist's and Bruno Ganz's last film, after their respective deaths in 2017 and 2019. Watched at Cineplex Odeon Intl. Village - Vancouver Recent reviews Definitely didn’t need to be three hours long. The last hour is great. I feel the film suffers from unnecessary length though Great movie. Amazing montage and high-quality photography. August’s performance exceeded my expectations. 2019 Ranking Terry Mallick Ranking 1917 is the Most Immersive war film Experience of 2019 My Ass. If Mendes' film is a roller coster, Mallick's film is the closest I've come to having a virtual reality film effortlessly transported me in the time period it was presenting and I felt like I was there with the characters for most of the runtime. Mallick may not have collaborated with Lubezki this time around, but this is easily one of his best looking majesty of the hills & rivers coupled with a Great score is what's even more note-worthy is how much beauty he was able to find in ugly places, like prison this point, Mallick could direct a film about cockroaches and… Enchanting meditation on morality, choice, submission, collectivism the value of one’s ‘allegiance’. Filled with all the techniques Malick has honed over his career - cameras that feel alive and organic, swooping around claustrophobic sets, rushing towards and away from people wandering through landscapes A restless camera, super wide-angled, flying low, accompanied by soulsearching dialogue that feels more like prayer than poetry, and more like poetry than the spoken word. With so much focus on the beauty of the natural world, the interjections of violence (like a point-of-view scene of a beating) stand out as harshly as they would have in the lived life the film covers. Malick stresses the moral dilemma of the film - swear to Hitler, we will… 3 tedious hours of Austrian country life nostalgia porn with (admittedly) amazing cinematography. The most Malick. [70/100] الاعتزال فكرة مش سيئة يا ترنيس ماليك أفلامك أصبحت تتشابه حتى أصبح الشخص لا يتوقع منها شي لا أتوقع الا القُبح والعشوائية ولا خاب توقعي Don't call it a comeback as this particular period of Malick has been pretty much in full effect post- Tree of Life with the roaming transitional inserts and narrative montages as the prime stylistic choice du jour. What A Hidden Life accomplishes is a very distinct and focused narrative now imbued in the style that just about twenty other indie films will try to do again this year. It's absolutely beautiful, this style. Only Malick can do it without feeling like a ploy or cheap. Here, there are some other pieces (the VO now centered to the characters, the usage of stock footage) that fit in quite well and feel immediately new. The issue is for all the beauty and transitional… Popular Lists More.

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This is my first review, I couldn't help it.
This movie is beyond amazing. It made me wanting more, I have never felt this way after watching a 3 hour movie. The cashier asked me if I was watching the "3 hour movie" I got worried since we're not so used to it. But the first 20 minutes... I know 3 hours would be too little for such amazing cinematography and score. Everything is incredible! Some shots you just wonder; they're so real who'd they capture that on film. Terrance Malick is from a different universe for sure. Do yourself a favor and watch it with no expectations. Oh man I loved that movie.

Seems great. Watch stream una vida oculta pelicula. Watch stream una vida oculta del. Watch stream una vida oculta con. YouTube. Watch stream una vida oculta video. Watch Stream Una vida oculta. Thanks for giving his work justice. Watch stream una vida oculta full. Film, Drama Now showing Recommended Time Out says 4 out of 5 stars Rural rhapsody gives way to Nazi nightmare in Terrence Malick’s best film in years. The famously press-shy director won’t be discussing it anytime soon, but Terrence Malick must have been stung by the shrugs that have greeted his recent films. As blasphemous as it sounds, his triptych of ruminations on love and relationships – ‘Knight of Cups’, ‘To the Wonder’ and ‘Song to Song’ – saw a style of filmmaking that had once been gloriously loose-limbed and elliptical starting to feel self-indulgent and unfocused. Had the maestro lost his magic touch? Happily, the answer is a resounding no. The hard-hitting yet tender ‘A Hidden Life’ is his best work since ‘The Tree of Life’. It’s another languorous affair that leans heavily on the usual devices of disembodied voiceovers, golden landscapes (it’s his most beautiful-looking film since ‘The New World’) and Dreyer-like spirituality – and it’s sure to divide opinion – but the screws have been noticeably tightened on the storytelling and it makes a world of difference. There’s discipline and some raw power to go with all the usual visual beguilement. His philosophising feels much more urgent this time; the questions raised much more worthy of grappling with. The film tackles the true-life story of Franz Jägerstätter (August Diehl), an Austrian conscientious objector whose refusal to swear an oath to Hitler and serve in the Wehrmacht made him a pariah first in his village, then with the Nazi authorities. We’re introduced to him as a farmer and a spiritual man living with his wife Franziska (Valerie Pachner) and young daughters in a chocolate-box mountain village. It’s 1939 and war is around the corner (the movie opens with Leni Riefenstahl footage of Hitler’s Nuremberg speech and the Nazi war machine gearing up), and the gentle Franz is called up for basic training. Instead of tilling the soil, he’s plunging bayonets into stuffed dummies in British uniforms. But with Germany’s invasion of France over, farmers are soon discharged from the army and a troubled Franz returns to his village now entirely convinced that his nation (Austria having been annexed by Germany) is in the wrong. Back-dropped by the bucolic landscape and captured with roaming Steadicam shots, Franz and Franziska begin wrestling with the ramifications of opting out. What will it mean for them and their family? How long will it be before the Nazis come for him? But, even more importantly, what will it mean for him if he doesn’t protest? ‘If our leaders are evil, ’ he asks, ‘what are we to do? ’ It’s the central – and, you could say, fairly topical – poser of a movie that ushers the audience into Franz’s shoes. There are moments when he seems mulish, even selfish, as when he presents his supportive wife with what’s basically a fait accompli. But Diehl charts his complexities with a heavy-laden believability. The voiceover works here too, giving quiet voice to the doubts. And they come from all angles. If Franz objects to killing, surely he could serve as a medic instead? What about the other villagers who’ve been forced to serve? What about the memory of his father, who died in the trenches of World War I? Why not just hide out in the wood until it all blows over? The arguments are put to him in a series of vivid vignettes of rural life: the Nazi mayor who drunkenly berates him at a summer fete; the priest who contorts his own faith to persuade him to serve; the miller who offers snatched, worried words of support. Diehl and Pachner are both terrific, mastering Malick’s improvisational style and bringing earthy authenticity to its playful family moments. It’s not a film full of familiar faces, though Matthias Schoenaerts pops up as a lawyer and the great Bruno Ganz appears as the head of a military tribunal with echoes of Pontius Pilate in his cross-examination of Frantz. The second half of the film works slightly less well, mainly because Malick overpowers things with a laboured Christ metaphor (is there any other kind? ) and one too many Gethsemane moments. The power of Franz’s actions is in its quotidian bravery not its Messianic destiny. What are we to do? Take a stand. But, wonders this quiet but resoundingly emotional movie, how many of us would have the courage? Details Release details Rated: 12A Release date: Friday January 17 2020 Duration: 174 mins Cast and crew Director: Terrence Malick Screenwriter: Cast: August Diehl Valerie Pachner Michael Nyqvist Find a cinema We've found 6 cinemas showing ' A Hidden Life' Curzon Victoria Curzon Victoria, Victoria Street London, SW1E 5JL Curzon Bloomsbury Curzon Bloomsbury, The Brunswick Centre London, WC1N 1AW Mo Feb 10 2020 2:50pm Tu Feb 11 2020 3:00pm We Feb 12 2020 1:50pm Th Feb 13 2020 ICA ICA, The Mall London, SW1Y 5AH 8:25pm 3:20pm 1:35pm Curzon Aldgate Curzon Aldgate, Goodman's Fields, 2 Canter Way London, E1 8PS Curzon Richmond Curzon Richmond, Water Lane Richmond, TW9 1TJ 6 Users say () 5 out of 5 stars.

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