#vinyan

[ladyaislinn]

VINYAN 2008 ▪ Interview  ▪ 42.* VINYAN (2008) | 366 Weird Movies ▪

“When I read the script, that’s not what I read - I read a very painfully truthful psychological thriller that I found very moving. Put that along the side the fact that Fabrice believes he is making a ghost movie at the same time; which I think that contrast is extraordinary, in that it’s a genre shifting film. To start off with, the film has a sort of John Cassavetes style to it. Very rough and hand held camera - close up, psychological drama. Which proceeds to get weirder, and weirder; and that is a very difficult thing to sell. It’s a very difficult film to even describe, in a way that doesn’t confuse people.” Rufus Sewell

What was it like, working with Emmanuelle Beart? “Working with Emmanuelle was very easy, she is a very easy person to connect with. We just immediately felt like a couple. We were very relaxed and trusting of each other. I loved working with her. It was one of the easiest, automatic relationships I’ve ever had on screen. To use an American expression, we had each other’s back; which is something that I never had to worry about, because it was just there.” Rufus Sewell

VL: You’d never worked with Emmanuelle before, had you even met each other? RS: No, never. I didn’t know what to expect, and I had seen some of her work before. It wasn’t until I went over to France for an early read-through, that we immediately hit it off – it was easy. Talking about it sounds weird, like people are expecting to see signs of it on screen. If the chemistry is there, it's all pretty straight-forward. If it's not there, it's amazingly complex to fake. But if it's there, it's amazingly work-a-day – it's just a couple and you believe them. It’s something you see on the street every day. It’s not like, “Oh my GOD, look at their chemistry!” - we were just naturally relaxed with each other, and you buy it on screen. You see couples all the time, and you don’t need to read their biography. It's something that you can work out for yourself, because you believe the basic silhouette.

VL: What was the hardest scene to film? RS: The underwater scene was quite difficult, because when she fights, she really fights. I really couldn’t point out one. As we got further and further into filming, it became more and more zombiefied.

“(Rufus Sewell) plays my husband, Paul. We had shared an absolute solidarity. At the beginning, we shared the same capacity, not for mourning, but for living with absence. During this whole period, I don’t remember having acted much. I slipped into scenes, into situations, always tied to him, like people clinging to one another. Later, we moved apart, because our characters moved apart.” Emmanuelle Béart

Interview with Rufus Sewell - 25th September, 2009

Jeanne (Emmanuelle Beart) and Paul (Rufus Sewell) are a wealthy couple who were in Thailand helping to establish an orphanage when the 2004 tsunami leveled the island. Jeanne and Paul had a young son who disappeared in the storm, and since his body has never been found, Jeanne holds out hope that he might still be alive, a hope that becomes a desperate concern when she sees a video of children being held by kidnappers in Burma which shows a child who looks like her boy. Eager to find out the truth, Paul pays a hefty fee to local outlaw Mr. Gao to escort him and Jeanne into a forbidden zone known only to Thailand's criminal underclass. The first English language project from Fabrice du Welz, VINYAN was an official selection at the 2008 Venice Film Festival. (allmovie.com)

Der Film feierte seine Premiere bei den Internationalen Filmfestspielen von Venedig am 30. August 2008.

[team-ginga]

映画『美しき運命の傷痕』

　U-Nextでダニス・ダノヴィッチ監督、エマニュエル・ベアール出演のフランス映画『美しき運命の傷痕』（L'Enfer、2005）を見ました。『トリコロール』三部作（『トリコロール／青の愛』、『トリコロール／白の愛』、『トリコロール／赤の愛』）を撮ったクシシュトフ・キェシロフスキーがダンテの『神曲』をモチーフに企画した三部作『天国』、『地獄』、『煉獄』の『地獄』を原案とした映画だそうです。

　私はエマニュエル・ベアールが好きですしーージェラール・ドパルデュー、ファニー・アルダンと共演した『恍惚』（Nathalie...、2003）は名作中の名作だと思いますし、『変態島』（Vinyan、2008）も邦題はひどいですがいい映画だと思っていますーーキェシロフスキーと聞いたら、そりゃ見ないわけにはいきません。

　私は全く予備知識なしで見たのですが、３人の女性……というか姉妹の物語です。ただし、姉妹であるというのは最後にしかわかりません。３人が実際に顔を合わせるのは映画のラスト10分頃かな。それまでは全く関わりのない３人の女の物語が淡々と描かれます。

　プロローグでは小さな女の子が母親に連れられてどこかの建物に入っていきます。女の子は一人で駆けていき、ある部屋のドアを開けます。すると中には中年の男性と少年がいます。少年はどうやら上半身裸のようです。追いついた母親が女の子の目を手で覆うところでカット。もちろんこれが伏線となり、後から活きてくるわけです。

　そのあとカッコウの「托卵」（なのだろうと思います）の様子が映ります。これも伏線かと思いきや、こちらはそういうわけではないようです。

　長女のセリーヌは一人暮らしのオールドミス（という言い方は今日ではあまりいい言い方ではないでしょうが、他にどう言えばいいかわかりません）で、養老院にいる母親を定期的に見舞っています。

　ある日、彼女は街で男に声をかけられます。その時はやり過ごしますが、別の日、彼女はカフェで男と再会し、男はセリーヌに詩を朗読します。

　男のことが気になるのか、セリーヌは何度もそのカフェに立ち寄ります。でも、探すとなるとなかなか男は見つかりません。

　しかし、ある日ようやくカフェに男が現れます。セリーヌは男を自宅に招き入れ服を脱ぎます。

　しかし、男の目的はそういうことではありません。彼は「あなたのお父さんが投獄されたのは、僕のせいだ」と言います。

　彼は同性愛者で、10代の頃、セリーヌの父親に恋をしました。だから自ら進んで裸になったのですが、セリーヌ��父親はやんわりと彼を諌めました。ちょうどそこにセリーヌと母親が来てしまったのです（これがプロローグの場面ですね）。

　セリーヌの母親は夫を告発し、彼は刑務所に入ることになります。刑期を終えて出てきても、母親は子どもたちに会わそうとしません。無理やり部屋に入り込んできた父親は妻と揉み合いになり、妻に怪我を負わせて絶望したのか、ベランダから下に落ちて死んでしまったようです。

　一方、次女のソフィ（エマニュエル・ベアール）は写真家の男と結婚し、子どもも二人いますが、どうやら夫は不倫をし��いるようです。

　ソフィは異様なまでに嫉妬し、夫を責めます。ソフィに追い出された夫は不倫相手の元へ行こうとしますが、「妻とは別れた」という彼に不倫相手の女性は「子どもは？　私の父は私が5歳の時に家を出て行った。だから子どもを捨てる男は許せないの」と言われてしまいます。

　三女のアンヌは大学生（なのだと思います）で、教授と不倫をしています。教授に別れを切り出されたアンヌは、女友達の家へ行って自分の苦しみを打ち明けます。

　女友達の母親もアンヌのことをよく知っているとみえて、アンヌを慰め励まします。少し遅れて女友達の父親が入ってくると……

　なんとそれはアンヌの不倫相手の教授です。

　ここはなかなか衝撃的な場面でした。

　数日後、教授はゼミの学生たちとギリシャのアクロポリスへ行った際、事故に遭って死んでしまいます。そのことを新聞で知ったアンヌは、教授の家へ行き女友達を慰めようとしますが、「あなたが好きだったのは私の父なんでしょ」、「出ていって」と言われてしまいます。

　ここでは便宜上３人の姉妹の話を別々に書きましたが、実際には物語は寸断され交互に置かれています。物語が一つに収束するのは、長女のセリーヌが次女のソフィの家に行き、父親に関する真実、つまり父親は何も悪いことはしていなかったということを伝える場面からです。

　３人は養老院にいる母親に会いに行きます。ソフィとアンヌが母親に会うのは久しぶりです。母親は口がきけない状態なので筆談で「やっと会いにきてくれたんだ」と書きます。

　３人は母親に「お父さんは何も悪いことはしていなかった」と言います。それを聞いた母親は紙に何事かを書きます。

　その内容は……

　Je ne regrette rien（私は何も後悔しない）

　なるほどね。

　いや、つまらない映画ではありません。むしろいい映画だと思いますし、いかにもヨーロッパ的……というか、ハリウッドでは絶対に撮れない映画です。

　でもなあ……男の身勝手かもしれませんが、３人の姉妹を見ていて、私は正直「面倒臭い女だなあ」と思ってしまいました。

　あと、画面が非常に暗く、何が起きているのかさっぱりわからない場面がいくつか（いくつも？）あったのも減点材料かな。

　キェシロフスキーが企画した三部作の『天国』はドイツで映画化されているそうです。こちらも見てみようかな。

　エマニュエル・ベアール出演の映画としてはおそらく一番有名であろう『美しき諍い女』をまだ見ていないので、近いうちに見てみようと思っています。

[sixeye-sketch]

yummy poison fly

[nawanagartime]

કલ્યાણપુરની સરકારી વિનયન કોલેજના છાત્રોને મળશે આધુનિક કોમ્પ્યુટર લેંગ્વેજ લેબ

કલ્યાણપુરની સરકારી વિનયન કોલેજના છાત્રોને મળશે આધુનિક કોમ્પ્યુટર લેંગ્વેજ લેબ

ખંભાળિયા : દેવભૂમિ દ્વારકા જિલ્લાના કલ્યાણપુર તાલુકા મથકે રાજય સરકાર દ્વારા કાર્યરત સરકારી વિનયન કોલેજના વિદ્યાર્થીઓના લાભાર્થે રૂા.17 લાખના ખર્ચે આધુનિક કોમ્પ્યુટર લેંગ્વેજ લેબ કાર્યરત કરવામાં આવી છે. ગઈકાલે ગુરૂવારે રાજયના મુખ્યમંત્રી વિજયભાઇ રૂપાણી દ્વારા આ કોમ્પ્યુટર લેંગ્વેજ લેબનું લોકાર્પણ કરાયું હતું. ભાષાના વિદ્યાર્થીઓ લેંગ્વેજ લેબ ખુબ ઉપયોગી પુરવાર થાય છે. અત્રે ઉલ્લેખનીય છે કે, દ્વારકા…

[fredriksewell]

[argocitycosplay]

Vinyan

Let me just say right off the bat, this movie isn’t for me. That’s not to say it’s bad, it’s just not my kind of thing and if I’d spotted it at the video store, I would have passed right by.

A couple are looking for their child who was lost in the tsunami. While watching video footage, the wife spots what she believes to be their kid, playing amoungst the mud cover natives. So they journey into…

[samoililja]

วิญญาณ (Vinyan)

A short film about an eight year old boy that uses a special gift to help bring reconciliation to his family.

[jozstankovich]

Hey 👋🏻 2, 37, 42 & 60

Love you, I'm sending you a hug and I wish you a lovely night 💖💫

awwww thank you hun!  love you too <3

2. Your most rewatched movie. Oh man, it feels like all I ever do is rewatch movies lol.  Probably Hook, Silent Hill, & Jurassic Park are like my top three (with Bad Samaritan working its way up there)

37. Share an unpopular film opinion you have. I wish more movies would stop relying so heavily on CGI and go back to being creative with special effects, puppets, & models.

42. A movie that made you go ‘wtf was that’. There was this one called Vinyan I watched once that was a trip.

60. Biggest movie pet peeve. When at the end of a romantic comedy (or any movie really) and they have to pair off every. single. side character for no reason.

[riftmeanewverse]

one day I’ll screencap Vinyan and yeet this sad at someone

[444names]

russian forenames and cities + quenya names

Abil Abim Abindor Afta Aganiki Agards Aglina Agrafon Aindo Ainov Ainovoye Ainquë Ainsk Aldangs Aldar Alneysk Alpet Alpirna Alsk Amagandë Amaitonen Amaltili Amanno Amar Amasnouga Ambabrs Ambo Anallight Anazadozh Andov Ankaráto Anovo Antireur Apin Apow Aracen Arannim Aransk Arasusina Araton Ardlen Argingor Aril Arinsk Artovsk Atey Athebsky Aulenikhay Aulyove Avder Avendil Avlamon Avlavala Avoyatemo Avrolovsk Avrovorods Axanyor Barine Barp Barsa Bashevo Beinovot Beka Beli Belinsk Betano Biperix Bokus Bolem Bolsk Borsk Briil Briones Broftacen Bushits Calada Caladyazar Calamil Calend Call Castrod Chatkinoy Chil Chinsk Cilië Colle Comirrov Comwe Corty Cronikond Damsk Deepandan Delya Demolov Devenina Dezha Dienieles Dilin Dminér Dolvian Dynd Eagertsy Eagorel Eashch Eassë Echestari Eldesta Elemes Elen Elevsk Eleyshalwë Elmiron Elmë Elodis Elperfalë Elvetsaf Endersk Enelneshan Enta Erchovo Eruhar Estall Etyakinwë Evinsk Evitha Exil Faka Fatayar Fino Finsk Fold Folli Folma Fologolev Foremysk Fori Forië Forlië Forsk Fortsy Fresnozma Fria Frudo Golexeyar Golonov Goreldo Gori Grachandú Grakotross Grevelómë Hairoit Halmë Hein Hele Heleka Herbir Hernarme Hersk Hims Hísilosk Ilmanotka Ilúvë Ingalmë Ingle Inksaly Inol Insk Inónards Iremnanar Iril Iryefins Isiba Iven Izelperaya Judgelen Kallë Kemnatkado Khor Kinsk Kinórë Kirdamossë Kirzh Klyon Knozamirë Kolya Koroft Kotky Kovsk Koyeleyk Kozher Kranna Krant Kuman Kuvo Ladilukot Laina Lanazraxë Lanild Lanwë Laty Lazoy Leata Lendobrsk Lenië Liddlenna Limel Lina Linefts Lorind Lufinsk Luin Luinado Luinorshta Lyorsk Lómiklië Lómilda Lórey Mach Majosse Mand Mandiel Margindië Melendleng Mglor Miccildal Micon Mikovsk Mini Minovrenna Minsk Mirë Mister Mite Mithánusha Mootkalmë Moralzhny Mors Mougany Mury Míristīrē Namaindino Namodil Narro Nedvin Negolyur Nels Nesh Nestirs Neto Netto Nieloda Nikir Ninsk Nobov Nogor Nokht Nokhte Nollave Nortië Nozelovsky Nyuris Nísë Nólamessim Nólamírof Nóri Númelosema Númente Oamikhosle Ohínakov Oion Oksankinsk Oldom Olgor Olómë Omon Ondilyando Ondushlip Onezhsk Onnoyanna Ordoluzno Oren Oroi Oross Oser Osobied Ostsk Palas Pandeleye Parochiry Pattast Pelen Pelent Pellov Peor Pereakha Perer Petutar Pinóna Poll Poloc Poser Potmandië Pransk Priinwë Pukothi Pusitsynsk Pusta Quetetiny Rals Rash Raychecil Reaul Reftama Repvata Rinsk Roambod Romed Rosland Rovsk Rozyorovsk Russar Rzheki Rzhelmë Rímaindim Rínaye Rúats Salcoly Sanousam Sarsta Saryaur Seecolsk Setur Shang Sharmë Shchundórë Sher Shia Shin Shinulina Sian Slanisevka Smacolo Snov Sokirds Somp Sonsk Sornë Souninsk Sovy Starmary Stovagafin Stru Sund Sverifey Svets Sworsusi Sysk Súriumsk Súrëan Tafaniky Tana Taruhansk Tarë Telderza Terli Tetuksiyer Thal Tiluga Timinopay Tinkosky Tiya Toloks Toly Tongwan Tourë Tovsk Trom Tulerda Tulyugav Turast Turemeht Turthsk Turuinwë Turule Twitsk Tyessë Tyevka Túrië Uinquest Uinsk Unaxan Undond Ungarinsk Uressa Vagry Valatary Valin Valye Valë Vana Vanday Vanóri Vart Versk Vets Vinegtya Vinores Vinyan Vlace Vodō Vorsk Vëanáriárë Walailda Welimang Wetsk Willatov Winge Wistar Wring Yalinsk Yansk Yarómen Yavo Yearnë Yerimitton Yertarass Yever Yevkalis Yevsk Yokin Yubar Yukon Yusenika Yuzeres Yéna Zava Zelervo Zlorty Zmorsk Zubor Ñorsk Úmadak

[menarddg]

SNIP [HD] from Julien Zenier on Vimeo.

[ Full Screen recommended ] Turn off the lights, crank up the volume... and get down the rabbit hole!

■ The Short Film ■

"Glued to his TV set, a man channel-surfs frenetically, zapping from one stultifying show to the other. As he grows more and more indifferent to the constant stream of violent and crude images, he stands up and engages himself in an unspeakable act of self-liberation."

- Meliès d'Or 2008 Best Short Film Nominee - Best Special FX: South African Horror Fest 2008 - 2d Audience Award: FantosFreak X Festival 2009

SNIP has been screened at more than 70 festivals all over the world including FanTasia, Austin Fantastic Fest, BIFFF, ScreamFest LA, L'Etrange Festival, Sitges, Science+Fiction Trieste, Rhode Island Int. Film Fest, A Night of Horror Sidney, Germany Fantasy FilmFest etc.

■ Some Quotes ■

"An uncompromising creative force." Nacho Cerdà (Aftermath, Genesis, The Abandoned)

"As Sharp as Scorsese's The Big Shave and absurd as Kafka's Metamorphosis, SNIP stands out as a bold accomplishment." Fabrice Du Welz (The Ordeal, Vinyan)

"Dark and very disturbing. 12 minutes of helplessness and eventual self expression by the edge of a knife. Wow!" Andrew Mack (Twitch)

"SNIP ratchets the audience pain level to the maximum." Donato Totaro (Offscreen)

"When you can't strike out against the world, that only leaves one option. This self-punishing short may very well have the audience running for air..." Zack Carlson (Alamo Drafthouse Cinema, Fantastic Fest)

"It'll creep the audience out for sure, in the same way Buñuel and Dalí's Andalusian Dog did in the 30's." Fernando Secco (Revista Moviola)

"This short makes the Saw and Hostel series seem like Nickelodeon television for horror fans" Hollywood Independents News Source

■ Main Credits ■

Written and Directed by: Julien Zenier Performed by: Zoe Berriatua Produced by: Anne-Sophie Vernhes & Julien Zenier Cinematography: David Acereto Art Direction & Titles: Cristo Aleister Music: Miguel A. Ruiz Sound Design: Regis Muskiz Special FX: Quimera FX Digital Intermediate Color by: Jordi "Yoyi" Molina

Full Credits: snipthemovie.com IMDB: imdb.com/title/tt1258159

Copyright (©) 2008 Vernhes&Zenier Ltd. All Rights Reserved.

[ponapisach]

Fabrice Du Welz ma wyraźną słabość do bohaterów potłuczonych, poranionych i tych, którzy najwyraźniej nigdy nie dostaną swojego happy-endu, przynajmniej takiego w hollywoodzkim rozumieniu. Czy można więc napisać, że belgijski reżyser i scenarzysta nie zna litości i specjalnie skazuje wykreowane przez siebie postaci na cierpienie? Zdecydowanie nie. Du Welz stoi po prostu w opozycji do tego całego pokrytego lukrem mainstreamu i przedstawia drugą stronę życia. Ciemną, pozbawioną złudzeń, często niezwykle bolesną (prawdziwą). Taka też jest "Adoracja". To również najbardziej liryczny i po prostu piękny w swoim smutku film o miłości, która nie ma szans się spełnić. To zresztą jeden z ulubionych tematów Belga. Uczucie, które jest na wyciągnięcie ręki, ale jednocześnie niemożliwe do uchwycenia na zawsze. Można się nim zaciągnąć, nawet zachłysnąć, ale tak jak każdy łyk powietrza, trzeba go w końcu wypuścić.

Jeden z moich ulubionych filmowych gatunków, coming of age, w wykonaniu Fabrice'a Du Welza jest pociągnięty farbami bardzo wyrazistymi, praktycznie tonie w szczerości, daje posmak nieuchronnej zagłady młodości, miłości, nawet przyjaźni. "Skazańcem" Du Welza jest Paul, dwunastolatek, który mieszka samotnie z matką. Czas spędza włócząc się po okolicy w pobliżu szpitala psychiatrycznego, w którym pracuje jego matka. To tutaj właśnie, nieopodal szpitala, spotyka o kilka lat starszą Glorię, pacjentkę tego mało urokliwego miejsca. Zakochuje się w niej i jako dwunastolatek nie zdaje sobie sprawy z jakim obciążeniem wiąże się choroba dziewczyny. Zgodnie jednak z tytułem i jego definicją, ale też naturalnie pojawiającą się "pierwszą miłością", podnieceniem, chłopak (ciągle jednak walcząc ze zdrowym rozsądkiem, bo przecież głupi nie jest) szybko okazuje Glorii swoje uwielbienie. Wpada w sidła miłości do tego stopnia, że wyrywa dziewczynę ze szpitalnych jarzm i ucieka. Bez planu (z jakąś iluzoryczną figurą dziadka dziewczyny, u którego kiedyś była i czuła się tam dobrze) ruszają w podróż ku niewiadomej, a raczej, z perspektywy dorosłego widza, w kierunku brutalnie przewidywalnemu finałowi. Jak może skończyć się podróż dwójki nastolatków, wyciszonego, fanatycznie wręcz oddanemu dziewczynie chłopaka i Glorii, wybuchowej, nieprzewidywalnej, z wyraźnymi oznakami schizofrenii, zapewne się domyślacie. Wszyscy to wiedzą, tylko nie oni, młodzi, którzy zanurzają się w rzekę zapomnienia.

To bolesny, trudny i bardzo gorzki obraz o świecie, który nie ma szans przetrwać. Ale też bardzo melancholijny i wspaniale zagrany przez dwójkę małoletnich aktorów (Thomas Gioria i Fantine Harduin). Droga Paula i Glorii jest zarejestrowana w taki sposób, że niemal stoimy koło nich, biegniemy z nimi, jesteśmy trzecią osobą, którą Gloria, lub Paul trzymają za rękę. Nie pomożemy im, bo młodzi przesiąknięci są naiwnym przekonaniem, że chwila będzie wieczna. 

Pomijając ten gorzki przekaz jesteśmy w końcu zachwyceni obrazem i zdjęciami Manuela Dacosse, zauroczeni muzyką Vincenta Cahaya, ale przede wszystkim trwamy w ciągłym napięciu dzięki reżyserii Fabrice'a Du Welza. Wyczekujemy nieustannie z każdą chwilą czegoś brutalnego. Być może twórca zaserwuje coś gwałtownego rodem z "Kalwarii", albo w takim grobowym nastroju jak w "Vinyan"? Na pewno będzie dramatycznie. I nawet ten urwany w pół słowa finał nie przynosi wytchnienia. a tym bardziej spokoju. To tylko przeciągnięty w czasie ostatni dzień na wolności dwójki nieletnich kochanków, niepewnego już niczego chłopca i tak samo niepewnej, nieobliczalnej dziewczyny.

[filmtexts]

VINYAN – The Visual Worlds of Benoît Debie

September 19, 2014

Recently, I watched two quite different films – the rock biopic “The Runaways“ and the subtle psychological horror film VINYAN which coincidentally turned out to have a connection. What do music video director Floria Sigismondi’s effective recreation of the mid-70s sleaze and glam scene in L.A. and a hallucinatory journey into the jungles of Thailand and Burma have in common?  Both films were shot by Belgian cinematographer Benoît Debie.

Debie has created the imagery of several remarkable films of the last decade and a half. He has become to enfant terrible Gaspar Noé what Michael Ballhaus was to Martin Scorsese. Debie shot Noé’s controversial (and in some countries banned), ultra-violent reverse chronological rape revenge drama “Irreversible” (2002) and follow up “Enter the Void” (2009), a neon-lit, amphetamine-fuelled headtrip set in Tokyo and told from the point of the view of the recently deceased main character. Day-glo colors also define Harmony Korine’s “Spring Breakers” (2013), the divisive Bildungsroman, if you will, about four disaffected young women who use money from a restaurant heist to head to Fort Lauderdale for the annual bacchanale of sex and drugs, with hip hop and dubstep (well, Skrillex…) standing in for rock ‘n’ roll. Critics and audiences either slammed the film as exploitative trash or praised Korine for critiquing consumer culture without ridiculing the female lead characters. Almost universally acclaimed was Debie’s hyperkinetic cinematography.

VINYAN (2008), Debie’s second of three collaborations with director Fabrice du Welz (released between du Welz’s 2004 debut “Calvaire” and 2014 crime drama “Colt 45”) , makes entirely different use of exotic locales. The film tells the story of Paul and Jeanne Bellmer (Rufus Sewell and Emmanuelle Béart, displaying the English language skills that netted her parts in such Hollywood flicks as “Mission: Impossible”), a wealthy philanthropic couple who lost their son in the 2004 tsunami in Thailand. Six months after the disaster, Paul seems to have accepted Joshua’s likely death. But when Jeanne sees a boy wearing a similar soccer jersey to Joshua’s in a video of kidnapped children in Burma, she decides to search for her son. The only way into Burma is with the help of the Triad, so the well-mannered but inscrutable mobster Thaksin Gao (Petch Osathanugrah) is enlisted. In the course of the journey, Jeanne and Paul, but even Thaksin Gao and his loyal lieutenant Sonchin fall apart in the netherworld of the Burmese jungle. Who is really the “vinyan”, a Thai term for restless undead spirit? With its themes of grief, guilt and the disintegration of “civilization”, VINYAN evokes “Apocalypse Now”, “Don’t Look Now”, “Lord of the Flies” and even Tennessee Williams’ “Suddenly Last Summer”  without feeling derivative. (The likewise not dissimilar ANTICHRIST was released the following year.) Debie’s de-saturated and humid cinematography makes the oppressive, disorienting atmosphere of the jungle palpable. He creates a both hyperrealistic and highly allegorical, archaic world of great beauty and menace.

Debie’s next outings are Ryan Gosling’s directorial debut “Lost River” and “Everything Will Be Fine”, Wim Wenders’ first narrative feature since 2008’s “Palermo Shooting”. Surreal neo-noir “Lost River” showcases flames and fire imagery as VINYAN did water, rain and moisture. “Everything Will Be Fine” sees Debie work in 3D for the first time. Debie’s talent lies in both his signature style and his versatility as he conjures a variety of unique cinematic worlds.

[badmovieihave]

Bad movie I have Possessed by Evil it has 5 movie  De Vour 2005, The Plague 2006, Wind Chill 2007, Insanitarium 2008 and Vinyan 2008

[nawanagartime]

સરકારી વિનયન કોલેજ પાસે યુજીસીના પરિપત્રની હોળી: એનએસયુઆઈના નવ કાર્યકરોની અટકાયત

સરકારી વિનયન કોલેજ પાસે યુજીસીના પરિપત્રની હોળી: એનએસયુઆઈના નવ કાર્યકરોની અટકાયત

ખંભાળિયા : યુ. જી. સી. દ્વારા તાજેતરમાં યુનિવર્સિટીની પરિક્ષા અંગેની ગાઈડલાઈન બહાર પાડવામાં આવી છે. આ ગાઈડલાઈન માત્ર વિદ્યાર્થીઓના સ્વાસ્થ્ય અને કેરિયર સાથે ચેડા કરતી હોવાના પ્રતિભાવો વ્યક્ત કરાઈ રહ્યા છે.

યુ.જી.સી.ની ગાઈડલાઈનમા કહેવામાં આવ્યું છે કે બાકી રહેતી યુ.જી.પી.જી.ના બધા જ વિદ્યાર્થીઓને ઓનલાઈન અથવા ઓફલાઈન પરીક્ષા ફરજીયાતપણે યુનિવર્સિટી દ્વારા લેવામાં આવે. જ્યારે હાલની પરિસ્થિતિને જોઈને…

[fredriksewell]

Thanks @annachibi i have it but no one is seeding. Lol