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Writer - Brock Manwill. director - Christian Larsen. year - 2017. . Star - Sean Wei Mah. scores - 98 Votes. Lore movie rotten tomatoes. As the title character in “Lore, ” Saskia Rosendahl plays a German girl who grows to rely on a young Jew (Kai Malina) — just the sort of person she had been trained to hate. (Courtesy of Music Box Films) The protagonist of “ Lore, ” a powerful and haunting drama set in Germany immediately after the country’s defeat in World War II, is a teenage girl. Subtly played by Saskia Rosendahl, Lore (pronounced “Laura”) is just old enough to have learned to fear and hate Jews. It’s a sick lesson imparted to her by her Nazi parents (Hans-Jochen Wagner and Ursina Lardi) who, as the film gets underway, are being taken into custody by Allied troops. This leaves Lore the rest of the film to begin to unlearn that lesson, and maybe to pick up a few new ones, as she and her four younger siblings, who are still relatively untainted by anti-Semitism, make their way through the Black Forest to a relative’s house near Hamburg. The carved-up countryside they travel through — a land divided into sections controlled by the Americans, the British, the Russians and the French — resembles the setting of a latter-day Brothers Grimm tale. Death and moral ambiguity litter the roadside. As Lore’s mother puts it while warning her daughter to avoid soldiers, “They kill all the children. ” It’s a sad, scary and slightly surreal place for anyone to be, let alone a child whose world has been defined by war and propaganda. Adapted by Australian director Cate Shortland and co-writer Robin Mukherjee from Rachel Seiffert’s 2001 novel “ The Dark Room, ” “Lore” moves with a deliberate pace, marked less by dramatic incident than by a slowly quickening, ominous mood. The quickening increases significantly when Lore and her brood encounter a mysterious young man named Thomas (Kai Malina). A fellow refugee, Thomas becomes their protector and benefactor when they are all stopped by American troops, telling the soldiers that he is Lore’s brother and that they are traveling together. It is his yellow star, marked “Jude” (Jew), that allows him safe passage. There is an immediate sexual attraction between Thomas and Lore but also a deep mistrust, even loathing, given that these two young people come from backgrounds of such enmity. But they need each other: Lore needs Thomas to deflect attention from her group and Thomas needs Lore’s baby brother to cadge food from sympathetic strangers. Over time, their relationship becomes more complex, even contradictory. “Lore” is not a love story, nor the story of a friendship. Rather, it’s a story of healing and of how breaking, sometimes painfully, is often necessary before that process can begin. As demonstrated by Shortland’s assured first feature, “ Somersault, ” the filmmaker has a sensibility keenly attuned to the condition of female adolescence. Under normal circumstances, the teenage Lore’s world would be one characterized by the constant discovery of new desires, self-doubts and even occasional dread. That this story is set in a world turned upside down and that it concerns a character ripped away from every certainty she ever knew — even the false ones — only makes it more poignant. Unrated. At Landmark’s E Street Cinema, AMC Loews Shirlington and Cinema Arts Theatre. Contains obscenity, nudity, sensuality, violence and disturbing images and thematic material. In German and some English with English subtitles. 108 minutes.

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Lore movie maker. Lore movie 2020 review. Movies | No Ordinary Trip to Grandma’s House Movie Review Video A Times critic reviews “Lore. ” Lore NYT Critic's Pick Directed by Cate Shortland Drama, History, Romance, Thriller, War Not Rated 1h 49m Cate Shortland’s “Lore” is not a fairy tale, but it feels like one: a dark, mysterious fable of hungry, frightened children making their way through a perilous enchanted forest inhabited by demons. The film sustains an air of overarching mystery in which the viewer, like the title character, is in the position of a sheltered child plunked into an alien environment and required to fend for herself without a map or compass. A remarkable young actress, Saskia Rosendahl, plays this chilly, largely unsympathetic protagonist, a blond 14-year-old German girl nicknamed Lore who herds her siblings through the Bavarian woods in the spring of 1945. Hitler is dead, and German resistance to the Allied forces has collapsed. The stragglers include her younger sister, Liesel (Nele Trebs); her twin brothers, Jürgen (Mika Seidel) and Günter (André Frid); and her baby brother, Peter (Nick Leander Holaschke). Their destination, 500 miles to the north, is the farm of their grandmother Omi (Eva-Maria Hagen). Image Credit... Music Box Films In the opening scene, Lore and her parents, Vati (Hans-Jochen Wagner), a Nazi S. S. officer, and Mutti (Ursina Lardi), destroy incriminating papers and shoot the family dog, then hastily pack their valuables and travel to their country home. Their arrests imminent, Vati and Mutti must go their separate ways, never expecting to see each other or their children again. They give their cash, jewelry, silverware and trinkets to Lore to exchange for food, with instructions to go to their grandmother’s. Then Vati returns to what remains of the army, and Mutti, suitcase in hand, marches stoically to an internment camp. Most of the facts in the screenplay — by the Australian Ms. Shortland, the director of “Somersault, ” and Robin Mukherjee, adapted from a novel, “The Dark Room, ” by Rachel Seiffert — are slipped in rather than stated. Throughout the movie you are as starved for information as Lore and her siblings. Until the children reach their destination, “Lore” seems to exist in a surreal, timeless limbo in which horror mingles with beauty. You are acutely aware of the contrast between the numb, shocked German citizenry they encounter and the magnificence and indifference of the natural world. Until the railroads resume operation, the children proceed on foot. Adam Arkapaw’s luminescent cinematography drinks in the landscape and pauses to study the wildlife, almost as if the movie were a nature walk amid a catastrophe. Because the film is set in the countryside, there are shots of ruined buildings but none of bombed-out cities. There is no Nazi stereotype on whom to pin your loathing. All that is seen of the occupying forces are scattered army trucks and soldiers standing guard at checkpoints. Wherever Lore and her siblings go, they come upon posted photos of concentration camp victims. But most of the people who cluster around them refuse to believe the evidence of their eyes and dismiss them as photographic fakery and staged propaganda. Lore, as she has been taught, is unashamedly, viciously anti-Semitic. The movie’s most important relationship is Lore’s complicated connection to Thomas (Kai Malina), an enigmatic man several years older who carries papers identifying him as Jewish, although he does not match the documents’ picture. When they first see each other in a village square, they make serious eye contact. He reappears later on a road they are traveling and attaches himself to Lore, posing as her brother while assuming responsibility for Peter. He and Lore do a wary dance of curiosity, attraction and repulsion. In a moment that strains credulity, Lore impulsively seizes Thomas’s hand and puts it up her dress. Yet Thomas remains poker-faced and inscrutable, even when Lore reflexively lashes out with an anti-Semitic barb. He offers no information about his past, and she doesn’t press him. It isn’t until the very end of the film that Lore registers the impact of what she has been through. Having lost her faith, this once obedient Aryan princess vents her rage.

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Very much enjoyed. Thank you. Imagine Jord costaring a TV show like ' Finding Bigfoot' or something cool and goth like that. Lore movie ending. Not even into dnd but I find this stuff fascinating. Lore movie. Lore movie eric roberts. Lore movie. Lore movies. Lore movie summary. | Steven Boone February 12, 2013 “Lore” gets right down to business. We're in Germany at the end of World War II, watching a large, once-prosperous family pack hurriedly to avoid the onslaught of Allied forces. A Swastika emblem on a discarded piece of clothing tells us we're dealing not with mere German citizens but Nazis. No wonder the mother looks petrified as she torches documents and the father flees at the first opportunity. Other than the rather slovenly father, this is one gorgeous family. The mother might as well be Marlene Dietrich in her prime. The eldest daughter looks like a Leni Riefenstahl Aryan goddess. Her four younger siblings have been spared none of the stunner genes. That these Hitler Youth are easy to watch on a superficial level seems part of director Cate Shortland's strategy: We are about to see these beauties trudge through every muddy, thorny stretch of the Black Forest, into the kind of indignities and horrors their parents' political party inflicted upon the Jews. We know where this is going pretty early on, but that doesn't prevent “Lore” from being riveting stuff, start to finish. Advertisement The focus shifts from the mother, doomed to face Allied justice for her and her husband's apparent connection to a concentration camp, to Lore ( Saskia Rosendahl), the daughter whose coming of age happens alongside her awakening to the truth: Hitler, her Santa Claus, her Jesus, presided over genocide. Shortland is a sensualist, using constantly shifting handheld cameras shooting tight and close to make each step of Lore's education a palpable event. When she leads her siblings through the forest on a quest to grandmother's house, it ain't fairytale stuff. We see poorly shod feet set down in mud puddles, skin scratched and bruised by jutting branches, the air crowded with insects, smoke, mist, rain. Shortland seems determined to represent every kind of sensation and yearning in image and sound. Which is why it doesn't raise eyebrows much when this film starts to become as obsessed with Lore's sexual awakening as it does her political one. Shortland's way into a scene is holistic: Lore's physical and emotional response to events merit equal scrutiny; each draws current from the other. When the kids meet up with Thomas ( Kai Malina), an apparent concentration camp escapee who also happens to be a volatile and daring young man, his courage attracts her; his possibly being a “dirty Jew” repulses her. He circles the family discreetly but relentlessly, following them through the countryside like both a predator and a protector. But whenever they're in trouble, he steps in and takes charge. There are moments where we're unsure if Lore and Thomas will tear each other's clothes off or eyes out or both. There's a style of filmmaking widely known as “Shaky-Cam” which increasingly threatens to cause an audience revolt as the new century rolls on. Shaky-Cam movies deploy handheld cameras to record the events of a screen story in pseudo-documentary style. When done sloppily and incoherently (usually in action films) it earns scholar Matthias Stork's designation, “ Chaos Cinema. When done with inspiration and control, you get the realist classics of the Dardenne brothers and Ken Loach, the earthy lyricism of new classics like “ Beasts of the Southern Wild " (2012) and the Andrea Arnold “ Wuthering Heights ” (2012). “Lore” belongs in the inspiration-and-control camp. It makes dizzying flourishes out of moments that would pass as filler in other films. A sublime shot of Lore's younger sister skipping rope on a dirt floor sings of their rapidly vanishing youth with such slow-motion grace it aches. (It also evokes Riefenstahl's "Olympia. ") Very little of this style-to-burn would mean much without actors to give it a pulse. All of the children are living fully in their moments of terror, disillusion and heartbreak. It's slightly disturbing to see such young kids, down to the swaddled infant, put through such an ordeal, but the payoff justifies the torture. Here's the payoff (no, not a plot spoiler): The protagonists are stand-ins for us. Wherever “Lore” is apt to screen, most audience members are likely to be citizens of the 27 NATO countries that signed onto America's War on Terror. How many of these folks are as loyal and unquestioning of the war's aims and practices as Lore is of her Fuhrer early on? How many Americans among them believe in extrajudicial killing of fellow citizens “suspected” of ties to terrorism -- and in assassination-by-robot-plane of individuals thought to be linked to Al Qaeda? How many Westerners subscribe to the “better there than here” philosophy that has kept thousands of foreign civilian deaths out of our sight? (An international treasure,, was censored off the web a few years ago, due to its raw images and videos of war atrocities that shame governments on every continent. ) I'm referring to a specific contemporary situation, but “Lore” offers up its lessons for all time. Citizens everywhere are often lost in the fog of their nation's propaganda, until reality comes crashing in. Lore's mental breakdown begins at an exhibit of fresh holocaust photos. The Americans taunt her and her neighbors with stark black & white images of concentration camp bodies piled high. Denial and acceptance push her to the verge of suicide. This can't be real. I don't live in a country that could do this to innocent people. Reveal Comments comments powered by.

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Lore movie reviews. Lore movie 2017 trailer. Lore movie poster. Lore movie clip. Its wide range of contributors and influences make Lore something more than just another tale of post-Nazi Germany Saskia Rosendahl in Lore. Photograph: Allstar G iven its transnational provenance – its Anglo-German source novel adapted by a British-Bengali screenwriter, its Australian director and its bleak Nazi-era subject matter – I'm reluctant to dub Lore a straightforwardly German movie. This might seem counterintuitive given its story: a 14-year-old German daughter of prominent Nazis is left to trek northwards across a ruined Germany in the weeks after the Nazi collapse, her infant siblings and a displaced Jewish boy in tow, and her Nazi assumptions slowly unravelling. That bald summary might induce one to categorise Lore in the long and honourable line of movies set against the death-seizures of Hitler's regime. That line stretched from Rossellini's Germany Year Zero, shot contemporaneously in 1947 in the actual smoking ruins, to 2008's Anonyma, in which sexual servitude is seen as one woman's only sane response to the possibility of repeated rape in Russian-occupied Berlin. The context of Lore is everything you don't see in Downfall, the epic account of Hitler's last days, and more reminiscent of the early stories of Heinrich Böll, with an added pinch of the documentary Hitler's Children. However, the imagery in those works is largely of recrimination, rubble and rape, whereas Lore is largely rural and rustic – though rape and murder are not absent – and thus more poetic than its documentary-like predecessors. The most German thing you can call Lore – at whose core is the inexorable unravelling of Nazi brainwashing and its replacement by a boiling adolescent rage – is an anti - bildungsroman. That's to say that, unlike Goethe's Wilhelm Meister or Young Werther, and more like Huckleberry Finn (another rural road movie), the things that are learned in adolescent extremis do not equip one to join society on equal terms; they prompt one to reject it utterly. All this is rendered in a single, small-scale but powerful act of childish rebellion at the film's end. To me, though, it doesn't feel like a German movie. Its lyrical beauty, its focus on children and its handheld camerawork by Adam Arkapaw feel far more French or Polish (see Wajda's Ashes And Diamonds, set in the same few weeks). This links it up with a movie about a similar collapse when the jackboot was on the other foot, the catastrophic French defeat of 1940. In René Clément's 1952 masterpiece Jeux Interdits, the roads out of Paris clogged with a million evacuees, one suddenly orphaned five-year-old girl carrying her dead dog (and I think it really was a dead dog) wanders through a universe of malign peasants and overarching death. Lore hasn't the budget or the desire to paint that epic picture (Clément had bombers, explosions, thousands of extras), but it instead works up a miniature of similar moments in a parallel sector of the dark vale of infancy. It does it quite impressively, too.

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