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The loss of sexual innocence (1999)

The Loss Of Sexual Innocence (1999) Film-Bewertung

The Loss of Sexual Innocence ist ein von Mike Figgis geschriebener und inszenierter Film. Es erzählt die Geschichte der sexuellen Entwicklung eines Filmemachers in drei Phasen seines Lebens auf nichtlineare und unzusammenhängende Weise. The Loss of Sexual Innocence ein Film von Mike Figgis mit Julian Sands, Saffron Burrows. Inhaltsangabe: Wie wird man, wie man ist? Was macht uns zu dem. Komplette Handlung und Informationen zu The Loss of Sexual Innocence. Kameramann Nic führt scheinbar ein glückliches Familienleben. Doch bei einem​. The Loss of Sexual Innocence - der Film - Inhalt, Bilder, Kritik, Trailer, Kinostart-​Termine und Bewertung | perabar.se The Loss of Sexual Innocence. Minuten In another, year-old Nic (​Jonathan Rhys-Meyers) discovers his girlfriend is having sex with someone else​.

The loss of sexual innocence (1999)

Großbritannien , Min. von. Mike Figgis. mit. Saffron Burrows Julian Sands Stefano Dionisi. Weltvertrieb. Summit Entertainment. © Internationale. The Loss of Sexual Innocence. Kinostart: Symbollastige, impressionistische Episoden um die Erlebnisse eines Kameramannes in Afrika. Original Titel The Loss of Sexual Innocence; Laufzeit Minuten; Startdatum ; Genres Romance, Drama, Indie; Länder USA, UK; Regie Mike Figgis​. Großbritannien , Min. von. Mike Figgis. mit. Saffron Burrows Julian Sands Stefano Dionisi. Weltvertrieb. Summit Entertainment. © Internationale. The Loss of Sexual Innocence (). User-Film-Bewertung [?]: unterirdisch schlecht mittelmässig gut weltklasse / 5. Filmsterne von 1 bis 5 dürfen vergeben. Alles zum Film «The Loss of Sexual Innocence ()»: Reviews, Trailer, Bilder, Kinoprogramm und vieles mehr. The Loss of Sexual Innocence. Kinostart: Symbollastige, impressionistische Episoden um die Erlebnisse eines Kameramannes in Afrika. The Loss of Sexual Innocence [VHS]: Julian Sands, Saffron Burrows, Stefano Figgis in seinen Spielfilm von eine dreiste Bearbeitung des Mythos von.

Italian Twin. Stefano Dionisi. Kelly MacDonald. Jonathan Rhys Meyers. Nic, aged Justin Chadwick. Flash Man. Gina McKee. Susan's Mother.

Bernard Hill. Susan's Father. Rossy de Palma. Blind Woman. John Cowey. Nic, aged 5. Nina McKay. Mixed Race Girl. Dickson Osa-Omorogbe. This was very eye-painful to watch, the fade is at such a rate you feel as though you are just slow-blinking before falling asleep.

Thankfully, this is only done briefly in the film. Over all, excellent filmmaking! Looking for some great streaming picks? Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist.

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He doesn't. It's that simple. A triumph of bloated, indulgent and affected style over zero substance, this film takes itself very seriously indeed.

It is nothing more than a very, very long Calvin Klein commercial, and it's just chock-a-block with phony portent.

I was actually embarrassed for Mr Figgis. It's painfully obvious he thought he was creating a masterpiece of art film, but his metaphors, juxtapositions, casting and editing choices were juvenile and grandiose and, therefore, ridiculous and laughable.

Possibly the worst use of Chopin to date. And by the way, to the previous commenter from Seattle who thought they were being so smart and clever in dissing the person who used "cliched and hackneyed" in the same sentence There is a distinction between the two, they are not one in the same; nor are they interchangeable.

In the Oxford English Dictionary, hackneyed is defined as "Trite, uninteresting or commonplace through familiarity or indiscriminate and frequent use.

So, one could decry the hackneyed symbolism of TLoSI while simultaneously finding its visual cliches contemptible. Tito-8 25 May It seems like I've seen several awful movies lately, but this easily stands out as the worst.

Basically, it's a series of thoroughly dull scenes, most about an uninteresting guy named Nic. Nic has several flashbacks, all of which seem to pop up for no apparent reason.

Then there are the Adam and Eve scenes, and they somehow are even more out of place than the flashbacks. I should also mention that there is a minimum of talking in this movie, so we are left with little except a string of visuals, many of which are ordinary in the extreme.

Simply one of the worst movies that I've had the misfortune to see. Mike Figgis has always been a pretentious and overreaching director and screenwriter.

His past successes have largely been due to excellent source material and some genuine talent with regards to his technical ability as a director.

When these items were combined with truly excellent performances, such as Cage and Shue in "Leaving Las Vegas", Figgis' has managed to produce a legitimately good movie.

None of the above is true for "TLoSI". First off, Mike Figgis might think his life is interesting, and perhaps it is, but his own telling of his sex life is dreadfully boring.

At least he certainly makes it out to be that way. Sex is almost always a great topic for a movie even when you show absolutely nothing graphic because it is such an integral component of the human condition.

And yet, in this movie, with all its handsome players, it's mind numbingly dull and extremely anti-erotic. I think possibly the biggest problem that plagues this movie is Figgis' own inability to identify or empathize with other people.

This is noticeable in his writing and direction in other movies, but in those cases it appears intentional and provided an unflinching look at disturbing subject matter.

This movie actually seems to shed some distressing light on his earlier work as it appears that his detached style of storytelling is, in fact, a flaw.

It is not unlike watching a sociopath feign remorse or guilt; they might say all the right things and perform all the right actions, but it still comes across hollow and insincere.

Now, take all the above and combine it with editing that is full of self aggrandizing nonsense. Soaring music lingers over a minute of watching an Alitalia jet on approach.

And yet, none of what I have written can convey just how awful this movie really is; avoid it at all costs. You are not captured to watch the movie in the first few minutes, just made confused by how the story unfolds and how it is presented to the audience.

The movie jumped from story line to story line, just when you are getting interested in a part of the story, it shifts to something else. There does not seem to be one train of thought that wants to lure you into the story.

Personally I would re-edit it so the story would not seem so confusing. Now I can see why it took Mike Figgis so long to find financing for this movie.

The movie was so fragmented that it was pathetic. I think this script should have been left in a box somewhere to collect dust and fall apart!

The Exit tedg 28 December Spoilers herein. Thank god for Mike Figgis. There are more clever directors, and others more intelligent. But no one quite as obsessed with the structure of the narrative as visual music.

Some of his other experiments play with folding in other ways; here we get an adventure in parallel narratives at different levels of abstraction.

Nothing in it struck me solidly until the surprise at the end where Adam and Eve exit the garden to paparazzi and news cameras.

Endings are always problematic for experiments where the form is not well established, because so much depends on what we expect. This ending saved the whole project for me.

Completely transformed all that went before. That's because he treats the whole thing until that point as music: starting with a pure theme, embellishing with variations in several parallel threads, then abruptly shifting from musical noodling to cinematic plunge.

Some films are structured this way, where the entire film is merely preparation, setup, for the end. I know of none other that uses music as the distraction while doing this.

This movie tries WAY too hard to be artistic. Ozzieboy 10 March After seeing this movie, I don't think I ever want to hear of him again.

I suspect Figgis is a Fellini or Kubrick wannabe. Lucky for both of them that they died before this film was released and didn't have to sit through this rubbish.

I have nothing against 'Art' movies, or movies with minimal dialogue, or movies that develop in a non-linear fashion, but as these sort of movies go, this is a dud.

It has lush scenery, great cinematography and features beautiful music from composers like Chopin and Beethoven, but overall the movie is so completely mind-numbingly BORING!

Thank goodness it was on cable and I didn't PAY to see it! I sat through the full minutes of this film, just to see if in fact there was any point to it at all.

Nope, afraid not. It's simply symbolistic tripe assembled with over-the-top editing. Despite having said all that, I will say that I thought the scene at the airport where the two twins encounter each other was very well done.

Unfortunately, that one scene is not enough to make up for the time I lost, when I could have been doing something more exciting - like watching the grass grow!

The loss of intelligent film. Faux-Art frannyzooey 14 December This movie feels like something a freshman in film school would do when he was trying to be "artsy.

I didn't learn anything from this film. There were no new insights into life, or new ways of looking at things. Through the most basic symbolism that a college kid would be embarrassed to use the director tries to say something about sex I guess.

The film was shot beautifully, but so what. Britney Spears albums are recorded beautifully by talented producers but the music underneath still sucks, and that's what happened here.

Figgis would be a great cinematographer, that's about it. He really does do some inventive and passionate work visually, unfortunately, the rest of the movie is total garbage and you need MORE than just visuals to make a quality film.

His story ideas are hackneyed and cliche. He tries to tie together different times of a man's life, yet he uses a blond haired, big-headed kid as a young child; a fat brown haired kid as a pre-teen; and then a blond stick-thin man as an adult.

If you are going to show different stages of someone's life, especially not in sequence, you should at least have the actors bear some minimal resemblance to each other.

Don't tell me this movie is sooo abstract that you can have totally physically differing looking actors playing the same person.

I can't fathom how or why they would do this. Totally ridiculous casting. By the way, Why is Eve a thin white woman and Adam a strapping black man who looks like there must have been a solo-flex in Eden?

There was absolutely no point in those scenes. Oooh, I get it, a snake. At one point I thought the whole movie was just one long Diesel Jeans commercial--all pretension with no substance.

I have no problem with non-linear film, in fact I have loved some and gotten a lot out of them, but this movie manages to at once be incredibly obvious and predictable and at the same time totally incongruent and non-sensual.

I don't know what Mike Figgis was thinking about when he thought to do this one I don't recommend this to anyone This is the worst film of so far.

Runs like a very long Calvin Klein ad, ridiculously unconnected stories of Adam and Eve and pretentious filmmakers.

Taught me once again the lesson to stay away from anything starring Julian Sands. An error has occured. Please try again. African Ex-Pat Life.

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  1. Yozahn Saramar

    die Neugierige Frage

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