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Museum Hours [Edizione: Regno Unito]
Tutte le versioni DVD | Edizione | Dischi | Prezzo Amazon | Nuovo a partire da | Usato da |
DVD
10 dicembre 2013 "Ti preghiamo di riprovare" | — | 1 | 31,72 € | 34,94 € |
DVD
"Ti preghiamo di riprovare" | — | 1 |
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Dettagli prodotto
- Lingua : Tedesco, Inglese
- Dimensioni del collo : 18.03 x 13.76 x 1.48 cm; 83.16 grammi
- Numero modello articolo : 5060238039604
- Attori : Mary Margaret O'Hara, Bobby Sommer, Ela Piplits
- Studio : Soda
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- ASIN : B00GDEZPKM
- Numero di dischi : 1
- Recensioni dei clienti:
Recensioni clienti
4,1 su 5 stelle
4,1 su 5
35 valutazioni globali
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Maggiori informazioni su come funzionano le recensioni dei clienti su AmazonLe recensioni migliori da altri paesi

Chris
5,0 su 5 stelle
Beautiful film
Recensito nel Regno Unito il 20 febbraio 2021
Captures the rhythms of normal life. The importance of companionship and the atmosphere of the darker months of the year.

Will Shelf
5,0 su 5 stelle
Art and companionship
Recensito nel Regno Unito il 14 marzo 2017
Masterful. Captures the joy of art, the art of looking, the magic of random encounters and companionship. I've never seen anything quite like it.

Eunice Sampayo
5,0 su 5 stelle
Art and life
Recensito nel Regno Unito il 18 febbraio 2014
I read a review from a portuguese critic and decided to see the movie. It's a wonderful sensitive film that teaches us to appreciate the beauty in everyday life. Highly recommendable for those who are already motivated to think about art and life, but also for those who are a little more distracted!

Jennifer A Knox
5,0 su 5 stelle
Five Stars
Recensito nel Regno Unito il 24 ottobre 2014
Gentle, riveting. Have bought it for my daughter to show her that all drama isn't violent

Entartete Musik
4,0 su 5 stelle
Hallucinations of the Real
Recensito nel Regno Unito il 8 marzo 2014
Jem Cohen's Museum Hours is a quiet film. At times it's almost silent. The 'hours' to which its title refers – as well as the days and weeks – unfold in the spacious calm of the Kunsthistorisches Museum in Vienna. One of its guards narrates the advent of a friendship with a visitor from Canada. She is in Vienna to comfort an ill friend, whom she hasn't seen for years. Lonely, stranded by language and inexperience, she finds solace in the guard, the gallery and its extraordinary collection of artworks. It is within these simple parameters that Cohen unfolds a world of connections and reflections.
Midway through this hushed tribute to life in a major gallery space, a member of the Kunsthistorisches Museum's staff guides a group of visitors through its famous Brueghel room. Vienna has a particularly enviable collection of Breughels – The Massacre of the Innocents, The Procession to Calvary, The Conversion of Paul and several others. They provide a tantalisingly dramatic backdrop to what is a deliberately and impressively passive film. 'They are not sentimental, nor do they judge', says the guide, in a metacinematic moment.
She also cites Auden's poem 'Musée des Beaux Arts' and the displacement of suffering he describes, just out of view, just out of a window. Her 'speech', a consciously staged moment in a seemingly aleatoric film, makes us ponder where the heart of Cohen's drama lies, whether it is in the paintings of Vienna's KHM, in a suburban hospital or between Bobby Sommer and the Toronto-based artist and singer Mary Margaret O'Hara.
In a series of quietly touching moments, the sharing of coffee, a folk song at the invalid's bedside, Cohen summons a whole series of suggestions and places the narrative in our hands. 'One is reminded of the transience of things', it is said in the film. Yet one is also reminded of the magic, both in the extraordinary art featured on the walls of the gallery and in the cold, grey days we see unfolding in a small capital city in a landlocked republic. When the narration, which has previously accompanied images of the Breughels, the Michelangelos and the Rembrandts turns to sections of Cohen's own film, another boundary magically disappears between art and the everyday.
Midway through this hushed tribute to life in a major gallery space, a member of the Kunsthistorisches Museum's staff guides a group of visitors through its famous Brueghel room. Vienna has a particularly enviable collection of Breughels – The Massacre of the Innocents, The Procession to Calvary, The Conversion of Paul and several others. They provide a tantalisingly dramatic backdrop to what is a deliberately and impressively passive film. 'They are not sentimental, nor do they judge', says the guide, in a metacinematic moment.
She also cites Auden's poem 'Musée des Beaux Arts' and the displacement of suffering he describes, just out of view, just out of a window. Her 'speech', a consciously staged moment in a seemingly aleatoric film, makes us ponder where the heart of Cohen's drama lies, whether it is in the paintings of Vienna's KHM, in a suburban hospital or between Bobby Sommer and the Toronto-based artist and singer Mary Margaret O'Hara.
In a series of quietly touching moments, the sharing of coffee, a folk song at the invalid's bedside, Cohen summons a whole series of suggestions and places the narrative in our hands. 'One is reminded of the transience of things', it is said in the film. Yet one is also reminded of the magic, both in the extraordinary art featured on the walls of the gallery and in the cold, grey days we see unfolding in a small capital city in a landlocked republic. When the narration, which has previously accompanied images of the Breughels, the Michelangelos and the Rembrandts turns to sections of Cohen's own film, another boundary magically disappears between art and the everyday.