איפה אפשר לצפות ב-Marceline. A Woman. A Century ב-בישראל
Portrait of Marceline Loridan-Ivens, a writer and filmmaker who survived the Holocaust. גלה את "Marceline. A Woman. A Century", תְעוּדָהסֶרֶט שובה לב שהופיעה לראשונה על המסכים ב-2019. הפקה זו, שמקורה ב-צָרְפַת.
צפו ב"Marceline. A Woman. A Century" עכשיו ב-True Story, וגלו דרכים נוספות לצלול לתוך סֶרֶט האהוב עליכם עם המדריך האולטימטיבי לצפייה של Popcorn Time.
Marceline. A Woman. A Century מדורג במקום ה-33972 במצעד הסטרימינג של פופקורן טיים היום בישראל. הסרט ירדה 1 מקומות מאז אתמול.
מערכת הדירוג של Popcorn Time מחשבת פופולריות על ידי שילוב נתונים ממקורות מהימנים שונים, כולל פלטפורמות סטרימינג, מגמות עמית לעמית ומאגרי מידע עולמיים.
האלגוריתם שלנו מתאם את הדירוגים באופן דינמי בהתאם לביצועים של התוכן בפלטפורמות, אזורים וזמנים שונים. כל סרט או תוכנית מדורגים באמצעות שילוב של מיקומם הגלובלי, הפופולריות האזורית שלהם וביצועיהם ההיסטוריים. זה מבטיח שיקוף הוגן, מדויק ומתעדכן תמידית של מה שטרנדי בישראל.
חקור עוד אפשרויות סטרימינג עבור Marceline. A Woman. A Century!
גלה כיצד לצפות ב-Marceline. A Woman. A Century במגוון פלטפורמות ומדינות! בין אם אתה בבית או נוסע לחו"ל, מציאת מקום לצפייה חוקית מעולם לא הייתה קלה יותר. מ-, Marceline. A Woman. A Century זמין בשירותים מובילים כמו . זמין ב-9 מדינות נוספות, תוכל לחקור אפשרויות סטרימינג מותאמות אישית שמתאימות לרישוי המקומי, ולהבטיח חוויית צפייה חוקית וללא טרחה.
מידע נוסף
- משך זמן
- 58 דקות
- שוחרר
- ארץ מקור
- צָרְפַת
- שפות
- en
דומים ל-Marceline. A Woman. A Century
סֶרֶט
Colonel Honorine Munyole is a robust forty-four-year-old widow and mother of seven young children – four of her own, three adopted. She wields her uniform, beret and black handbag like a protective shield, which her daily work desperately requires. More or less on her own, she runs a small police unit dedicated to protecting women who’ve been raped and children who’ve suffered abuse in the war-plagued regions of the Congo. At the start of Maman Colonelle, she’s transferred from Bukavu to Kisangani, arriving only to discover her future home and office in a desolate state. While she deals with such practical obstacles with suitable feistiness, the traumas and social deformities of the people around her have nightmarish dimensions: the envy surrounding those with state-recognised ‘victim’ status, hope for help from the ‘whites’, depression, helplessness.
Mama Colonel (2017 )
סֶרֶט
In their small village in the Cuban countryside, Leonel (9) and Antuán (13) have been friends for their entire lives. But Antuán will move to Habana at the end of the summer and these holidays might be the last they ever spend together.
Baracoa (2021 )
סֶרֶט
45,000 patients died in French psychiatric hospitals between 1939 and 1945. A single site escaped this carnage: the asylum in Saint-Alban, an isolated village in Lozère. What happened there for it to be an exception? Retracing several decades in the history of this important site of psychiatry, using precious archival films and the accounts of those who worked there, Martine Deyres answers this question and, in doing so, shows how the political courage and poetic audacity that were practised there contributed to changing medicine and society’s perception on madness. Intersecting in the crucible of this movement called “institutional psychotherapy” were members of the Resistance, artists, doctors and philosophers—including Paul Eluard, Tristan Tzara and Georges Canguilhem.
Our Lucky Hours (2022 )
סֶרֶט
In her debut feature, Alexandra Pianelli captures the unique world in and around her family’s Paris newsstand, presenting a film diary that lovingly documents her time working there. Sequestered behind the cramped counter, Pianelli films the world as it passes before her with a boundless sense of curiosity and compassion. iPhone or GoPro strategically set up before her, she records idiosyncratic interactions with charming regulars who drop by for their newspapers and a chat, or the lost passers-by simply looking for directions. Le Kiosque is a tender study of humanity, as well as a bittersweet sketch of physical media’s dying days as the newsstand’s future becomes increasingly unclear.
The Kiosk (2021 )
סֶרֶט
Khonsaly finds his former Khmer Rouge executioners, in the obscure intimacy of the village in which they lived for 4 years. Between past and present, identities are revealed, the forgotten specters re-emerging and the story, facing the other, is finally told.
Angkar (2018 )
סֶרֶט
Camille became a peasant, as they say of someone that lives off the land. She chose the Creuse region, a rough and supple land, laborious yet luminous, but experiences a growing rejection of the agricultural standards that govern her production. Raising her three children, caring for her animals and plants, will always be more important to her than yield. In parallel, her children learn to make choices in the face of the standards imposed on them by the school system.
Middle Earth (2020 )
סֶרֶט
We know what labour wreaks on the body, but what less visible imprint does it leave on the unconscious? The nights of twelve dreamers – sometimes recounted in front of the camera, sometimes with a voice-over that accompanies shots of office buildings or urban worksites – reveal how the capitalist system invades the modern-day psyche. Long shots of edifices with smooth surfaces and sheer edges instil a deceptive gentleness. Zombies, corpses, mummies, ghosts, skulls sliced open like an egg and emptied by spoonfuls… The images follow one after the other, no two alike, but the editing organises a gradation towards the vampirism and an insidious passage from night to day, from dreams to real working life.
Dreaming Under Capitalism (2018 )
סֶרֶט
Shenzhen at night, copyist painters recount their daily lives and their craft. Their acts shift alternately between an artistic and blue-collar imagery, from new technology to classical techniques. Here, another history of painting is being drawn.
Shānzhài Screens (2020 )