#Jesse Kaufmann

[afterdark-vp]

Jesse, Alyx, Seb, Callum and Kaylie ♡

[the-summer-i-turned-online-cz]

The Summer I Turned Pretty Online (2023) Film CZ Dabing a Zdarma

Koukat na film The Summer I Turned Pretty (2023), online ke zhlédnutí česky v hd, CZ dabing. Sledovat celý online film zdarma a bez omezení.

Filmy The Summer I Turned Pretty online zdarma sledujte kdykoliv a kdekoliv, Bez reklam a na 7 dní zdarma FULL HD.

Kde Sledovat Filmy The Summer I Turned Pretty Online Zdarma :

► Filmu The Summer I Turned Pretty Online CZ Dabing Zdarma

Nyní můžete sledovat The Summer I Turned Pretty své oblíbené české i zahraniční filmy bez přerušení!

Sledovat celý film The Summer I Turned Pretty (2023) je aktuálně nejoblíbenějším filmem na vyhledávacím webu Google.

Sledujte The Summer I Turned Pretty nerušeně a legálně české i zahraniční filmy a Všechny mají český dabing nebo titulky ·

Kde sledovat The Summer I Turned Prettya?

několik způsobů, jak sledovat film The Summer I Turned Pretty online v USA Můžete použít streamovací službu, jako je Netflix, Hulu nebo Amazon Prime Video. Film si také můžete vypůjčit nebo zakoupit na iTunes nebo Google Play. sledujte jej na vyžádání nebo ve streamovací aplikaci dostupné na vašem televizoru nebo streamovacím zařízení, pokud máte kabel.

Co je to film The Summer I Turned Pretty?

The Summer I Turned Pretty Obsah

The Summer I Turned Pretty je americký romantický dramatický televizní seriál o dospívání vytvořený autorkou Jenny Han pro Amazon Prime Video a je založen na její stejnojmenné románové trilogii . Lola Tung hraje jako teenager zapletená do milostného trojúhelníku se dvěma bratry, které hrají Christopher Briney a Gavin Casalegno .

Produkce série začala v roce 2021. Premiéru měla 17. června 2022, přičemž první sezóna sestávala ze sedmi epizod. [1] Před premiérou seriálu byl obnoven na druhou sezónu, která měla premiéru 14. července 2023 a bude sestávat z osmi epizod.

Kdy vyjde film The Summer I Turned Pretty?

Film měl premiéru 30. června roku 2023.

Kompletní údaje o filmu The Summer I Turned Pretty ČSFD.cz

Drama / Romantický USA, (2022–2023), 11 h 30 min (Minutáž: 39–57 min) Tvůrci: Jenny Han Režie: Jesse Peretz, Jeff Chan, Erica Dunton, Zoe R. Cassavetes (více) Předloha: Jenny Han (kniha) Scénář: Deborah Swisher, Jenny Han, Marty Scott, Becca Gleason (více) Kamera: J.B. Smith, Sandra Valde-Hansen Hudba: Zachary Dawes Hrají: Lola Tung, Gavin Casalegno, Jackie Chung, Christopher Briney, Al Vicente, Rain Spencer, Alfredo Narciso, J.R. Rodriguez, Minnie Mills, Sean Kaufmann, David Iacono, Colin Ferguson, Rachel Blanchard, Summer Madison, Major Dodge Jr., Jocelyn Shelfo, Bryan McClure, Nicole Marie Johnson, Rae DeRosa, Cara Mantella, Elsie Fisher, Kyra Sedgwick, Tom Everett Scott, Zach Hanner (méně)

The Summer I Turned Pretty na Disney Plus?

Na Disney+ nejsou žádné stopy po The Summer I Turned Pretty Trail, důkaz, že House of Mouse nemá žádnou kontrolu nad celou franšízou! Disney+, domov pro tituly jako ‘Star Wars’, 'Marvel’, 'Pixar’, National GThe Summer I Turned Pretty graphic’, ESPN, STAR a další, je k dispozici za roční předplatné 79,99 $ nebo měsíční poplatek 0,99 $. Pokud jste jen fanouškem některé z těchto značek, stojí za to se přihlásit do Disney+ a nemá ani reklamy.

The Summer I Turned Pretty na HBO Max?

Je nám líto, ale The Summer I Turned Pretty Way není na HBO Max k dispozici. Je tu spousta obsahu HBO Max za 14,99 $ měsíčně, toto předplatné je bez reklam a umožňuje vám přístup ke každému titulu v knihovně HBO Max. Streamovací platforma oznámila verzi podporovanou reklamou, která stojí mnohem méně za 9,99 $ měsíčně.

The Summer I Turned Pretty na Amazon VidThe Summer I Turned Pretty?

Bohužel, The Summer I Turned Pretty Path by Water není k dispozici ke streamování zdarma na Amazon Prime VidThe Summer I Turned Pretty. Můžete si však vybrat i jiné pořady a filmy, které budete odtud sledovat, protože má širokou škálu pořadů a filmů, ze kterých si můžete vybrat za 14,99 $ měsíčně.

The Summer I Turned Pretty na Peacockovi?

The Summer I Turned Pretty Way nelze na Peacock v době psaní tohoto článku sledovat. Peacock nabízí předplatné, které stojí 4,99 $ měsíčně nebo 49,99 $ ročně u prémiového účtu. Stejně jako její jmenovec si streamovací platforma může hrát s venkovním obsahem zdarma, i když omezeně.

The Summer I Turned Pretty na Paramount Plus?

The Summer I Turned Pretty The Road to Water není na Paramount Plus. Paramount Plus nabízí správnou možnost předplatného: základní verze služby Paramount + Essential podporuje reklamu za 4,99 $ měsíčně a prémiový plán bez reklam za 9,99 $ měsíčně.

Kde mohu sledovat film The Summer I Turned Pretty zdarma?

Cinego.lat je webová stránka, která nabízí zdarma více než 20 000 streamovaných filmů všech žánrů zdarma. Když se přihlásíte, najdete neomezené množství HD filmů, obrovský katalog k procházení a vyhledávací panel, který vám umožní vyhledat všechny filmy, které chcete vidět.

Zajímá vás, jak legálně sledovat bezplatný streaming filmu The Summer I Turned Pretty? Pokud ano, budete rádi, že je to skutečně možné, protože v současnosti existuje v Itálii několik webových stránek, kde můžete zdarma sledovat filmy všech žánrů a dob. V některých případech se možná budete muset zaregistrovat prostřednictvím e-mailu nebo použít svůj online účet k přihlášení.

Řeknu vám podrobně, jak můžete pomocí nejpopulárnějších internetových stránek, online služeb a aplikací pro chytré telefony/tablety streamovat filmy zdarma. Cinego.lat je jedna z nejlepších stránek. Nabídka filmů sahá od nejnovějších filmů po klasiky z historie kinematografie, od amerických filmů po italské filmy, od hororů po komedie… zkrátka svoboda výběru, počet filmů je působivý. Samozřejmě to nenajdete, když půjdete do kina.

[bestfashionphoto]

Nadine Ijewere for WSJ. Magazine March 2019

Ph: Nadine Ijewere Model: Ayobami Okekunle, Elibeidy Dani Martinez, Huan Zhou & Yoonmi Sun Style: Coquito Cassibba Hair: Junya Nakashima MUA: Grace Ahn Manicure: Honey Set Design: Jesse Kaufmann

[athingcalledbliss]

Eva Herzigova by Chris Colls for Vogue Poland April 2018 

[edithshead]

from Eva Was The First Eva Herzigova by Chris Colls for Vogue Poland, April 2018

[aefward]

Mini dress, Bottega Veneta; rings, Timeless Pearly, By Pariah; earrings, Fry Powers.

Photography by Deirdre Lewis, Styling by Natasha Royt, Art direction by Michael Kelly, Hair by Nai'vasha at The Wall Group, Make-up by William Scott, Nails by Aki Hirayama, Set design by Jesse Kaufmann, Production by Ellie Robertson, Block Productions

[theinkast]

Ajak Deng & Maria Borges by Steven Klein for V Magazine | Styled by Arianne Phillips | Hair by Shon | Makeup by Kabuki | Manicure by Honey | Set Design by Jesse Kaufmann & Stefan Beckman

[mentaltimetraveller]

Billy Sullivan

leo and jesse 2001, 2002 digital c-print, 51,4 x 33,7 cm / 13 x 21 in

at Kaufmann Repetto

[paulzizkaphoto]

Behold one of the wildest valleys in the Canadian Rockies. Climbing partner Jesse looks over Freshfields Lake and the meandering Howse River on a recent adventure to a remote part of the Canadian Rockies. Kaufmann Col, Banff National Park — view on Instagram https://ift.tt/3sAplDD

[charliejrogers]

I’m Thinking of Ending Things (Or, What Many Will Think About Midway Through This Movie)

You may be expecting a long review for this movie. I mean, let’s be honest, I dissected the shit out of Birds of Prey, to the point that it was almost inappropriate for the kind of movie it was. But this movie? The arthouse classic-to-be from the much-revered Charlie Kaufman (both writer and director here), I’m Thinking of Ending Things? A movie filled to the brim with symbolism and which refuses to commut itself to any one point of view or plane or reality? This guy’s gonna write about it for fucking eternity.

Well, no. It won’t be the case. Why? Because I don’t think I really got it. Sure, I could try to wax poetic about my thoughts on aging, time, whether there’s meaning in relationships, meaning to our lives (all themes the film raises and which serve as its central core) But it would just kinda sound bullshit coming from me.

So, yeah, this isn’t much of a plot movie. It starts with a young woman (Jessie Buckley) waiting in the street of a snowy quiet country town’s downtown for her boyfriend, Jake, (Jesse Plemons) of one month (or longer?) so that the two can join Jake’s parents for dinner. Despite taking this proverbial big step in her relationship, she’s wondering (evoking the film’s title) whether she should end things. Or is that really what the title is about. Like everything in this movie, every piece of dialogue every character, every suggestion of a chronology, things are laden with a second meaning. Part of your enjoyment from the film will derive from whether or not you enjoy being strung along for 135 minutes without ever really understanding what’s going on, what’s really being said, who these characters really are, or when/where the hell are we in the world?

Despite those tantalizing and exciting questions, I’m here to warn you now, nothing big or exciting happens in this film, at least by conventional movie standards. We watch the couple drive to the Jake’s parents’ house and that takes about 25 minutes of film time. We’re in the house with his parents for probably about 45 minutes. Then the drive home takes another 20-25 minutes. The scenes about driving are just that: two people in a car talking to one another without much event. It’s like the car ride scenes from your favorite buddy/road trip movie but with all the fun adventures taken out. Instead what we get are long, confusing conversations more akin to Matthew McConaughey’s time spent in a car on True Detective.

But one thing becomes exceedingly clear when we finally get to Jake’s parents’ house: the film’s banal settings (a country road, a farmhouse, a rural high school) belie a truth about the film. It is not set in our reality. Jake and the woman’s conversation on the car ride is full of reflections on the nature of time, aging, depression, and life. Jake is a slightly insufferable intellectual. He’s the kind of guy who says he doesn’t know a whole lot about musical theater and then proceed to list 15-20 musicals of various fame and obscurity. The whole scene feels as quirky and just-shy of overwritten, i.e. par for the course of a pretentious art house film such as this. But the mannerisms of Jake’s parents are more than can be attributed to a quirky film. His mother is a jealous, possessive neurotic played by Toni Collette in a way only she could and a twitchy, and his father is a lecherous rival obsessed with his girlfriend played by David Thewlis (a favorite actor of mine). And throughout the meal, the confident, know-it-all we knew from the drive regresses into the behavior of a weak, embarrassed child. These are caricatures taken word from word from a textbook on Freudian psychology more than they are believable humans. The film admits and confirms the Freudian aping rather explicitly.

But just when you think you understand what the film’s up to, it switches course. After dinner, the woman starts to explore their house and starts a journey through time (but, again, with none of the excitement that sentence would normally imply.) It’s my second favorite sequence in the film (the first being an interpretive dance that occurs towards the film’s end… yes, it’s THAT kind of film). It’s filmed and framed in the trappings of a horror movie, but there’s no jump scares or horrible truth to be found. It’s how I imagine someone would adapt the tone of the superb video game Gone Home (yes, I’m one of THOSE people). But yeah, there’s no horrible truth… except if you consider the inevitability of human decay and disease to be a terrible truth. Every room the woman stumbles upon finds Jake’s parents appear to be a different age and health than when she first got to the house, ranging from a mother decked out in 50s/60s apparel to old, feeble gentleman. From there the movie continues to refuse to stay in one place and becomes odder and odder. It’s then I realized to think of this movie of a totally abstract piece of art, like the dream sequences of The Sopranos or Buffy.

So what do I think is going on? Obviously spoilers for here on out. Despite getting the majority of the screen time, this is NOT a movie about the young woman. At the very beginning of the film we are introduced, briefly, to an older, portly gentleman in his late 70s, looking out a window. The film cuts back to that exact same room and window 30 seconds later, but in the old man’s place is Jesse Plemons’ Jake. From that I take it to mean the two are the same person, with Plemons representing the older Jake younger self (or imagined younger self). Alongside the main plot, we occasionally get images and short scenes of the older Jake, a janitor at a rural high school who lives alone. The intellect (or perhaps false sense of intellect) of his younger self is clearly not meeting its potential. He is mocked by students for his age and fragility. What I think we’re watching is this older Jake trying to make sense of what it means to be old and who is currently on the verge of suicide unable to see its meaning. Although I compared the film to a dream sequence, I don’t think it’s fair to reduce the whole thing to Jake’s dream. More I feel like we are seeing a manifestation of Jake’s subconscious thoughts on screen play out.

Who is the young woman then? I’m not sure. I doubt she represents any actual woman – she’s given a variety of names. She almost plays the part of our (and his) guide into Jake’s subconscious like Virgil to Dante, but she’s more than a void. I think she represents what Jake would want in a woman in his life, a confident woman who can see through Jake’s faults (but notably sees them and sees them clearly). She’s not overtly sexual like the women at the ice cream who clearly make Jake uncomfortable. But yet, it’s telling that even in his deepest, most private thoughts that I think we’re seeing, he cannot imagine that even his ideal woman would want to be with him.

We get lots of reasons for why Jake thinks things are like this. Clearly he holds resentment for his parents, even if he feels like it’s cliché to do so. But time is his true nemesis. For me the most telling scenes for my understanding of the movie comes at the end with the interpretive dance, which shows Jake and the young woman (or, at least, stand-ins for those two) engage in a beautiful display of courtship, love, and marriage, only for the young Jake stand-in to be violently by a representation of the older janitor Jake. Clearly Jake thinks of his current self as something wholly distinct from his younger self, and that the creature he is now, a creature created by time, has destroyed who he once was. Like many of us (or as many of us think), he peaked in high school, the last place where people gave him awards for being who he is. This detail adds a sadness to the fact that he works as a janitor at one now. And it is notable that the film’s journey ends there, at a high school, where inexplicably he is being awarded a lifetime achievement award. Achievement in what? It’s unclear. What is clear that the person receiving the award is not the janitor Jake, but the younger Jake (Jesse Plemons) with old-age make-up on. With his dying breath he is able to see the self he loves, his younger self, grow up and live the life he wanted. There’s no sense at all of his present circumstances or person. Then we cut to a shot of janitor Jake’s truck buried in snow, presumably (on my interpretation) with janitor Jake frozen inside, dead.

So ultimately whether or not you like this movie depends on your tolerance for head-up-its-butt dialogue about the grand questions of life combined with its purposefully obtuse presentation. As one of the biggest douchebags I know, I liked it, but didn’t fall head over heels for it. The only other associated Kaufmann production I’ve seen is Eternal Sunshine of the Spotless Mind, but from what I understand, this movie is Kaufmann at its Kaufmann-iest. I have a great respect for the planning and thought behind every second of the film and I can honestly say I was never not entertained. I loved the film’s mood and atmosphere and that I was always on my toes. It’s a movie that truly has gotten better as I’ve continued to think about it over the last three days. But still, I don’t think I always understood what was going on and it’s a little too obtuse/abstract for it to be an all-time classic. I respect that for some people this may be their favorite movie of all time, and for others it may be a crock of shit. I’m somewhere in the middle, and cautiously recommend this film to those of you who are open to some abstract art in film. If you are, definitely try it out, you won’t forget it. If you are not open to it, skip it; you will have no qualms about endings things early.

***1/4 (Three and one-fourth stars out of four)

[thefashioncomplex]

Bel Powley for W Magazine, Vol. II 2019

Wearing: Vetements dress, Dior fishnet jumpsuit, Lee M. Hale earrings, Foundrae necklace, 4 Moncler Simone Rocha gloves, Falke socks, and vintage boots

Directing: Marielle Heller Photography: Collier Schorr Styling: Elin Svahn Hair: Bob Recine Makeup: Diane Kendal Manicure: Natalie Pavloski Set design: Jesse Kaufmann

[afterdark-vp]

my boys and their pride colours. 🌈✨

[luccimia]

More or Less Magazine

Parting Ways photographed by Lucci Mia

Hair by Jawara

Makeup by Maki Ryoke

Styling by Anatolli

Set design by Jesse Kaufmann

Spaced provided by Red Hook Labs

[universomovie]

WSJ. Magazine Spring Men's 2021 - Cheikh Tall & Cloud Modi By Philip-Daniel Ducasse

WSJ. Magazine Spring Men’s 2021 – Cheikh Tall & Cloud Modi By Philip-Daniel Ducasse

All That Jazz   —   WSJ. Magazine Spring Men’s 2021   —   www.wsj.com Photography: Philip-Daniel Ducasse Model: Cheikh Tall & Cloud Modi Styling: Ronald Burton III Hair: Dana Boyer Make-Up: Dan Duran Set Design: Jess Kaufmann

[edithshead]

from Vertigo Malgosia Bela by Chris Colls for Vogue Ukraine, 2017

[aefward]

Photography by Renell Medrano, Styling by Elissa Santisi, Art direction by Phil Buckingham, Fashion assistant: Jordyn Payne, Hannah Krall, Hair by Evanie Frausto, Make-up by Marcelo Gutierrez using Pat McGrath Labs, Nails by Yuko Tsuchihashi, Set design by Jesse Kaufmann, Production by Rachael Evans, China Ruby Hill, Model: Paloma Elsesser.

Bodysuit, skirt, and pumps, all Saint Laurent; single hoop earring, Eéra; rings (right and left hand), both Repossi.